However, Ravel changed his mind and decided initially to orchestrate one of his own works. When Arbós heard of this, he said he would happily waive his rights and allow Ravel to orchestrate the pieces. While working on the transcription, Ravel was informed that the movements had already been orchestrated by Spanish conductor Enrique Fernández Arbós, and that copyright law prevented any other arrangement from being made. The works had its genesis in a commission from the dancer Ida Rubinstein, who asked Ravel to make an orchestral transcription of six pieces from Isaac Albéniz's set of piano pieces, Iberia. The two piano concertos and the Don Quichotte à Dulcinée song cycle were the only compositions that followed Boléro. It was also one of the last pieces he composed before illness forced him into retirement. Apart from such compositions intended for a staged dance performance, Ravel had demonstrated an interest in composing re-styled dances, from his earliest successes – the 1895 Menuet and the 1899 Pavane – to his more mature works like Le tombeau de Couperin, which takes the format of a dance suite.īoléro epitomises Ravel's preoccupation with restyling and reinventing dance movements. Before Boléro, Ravel had composed large scale ballets (such as Daphnis et Chloé, composed for the Ballets Russes 1909–1912), suites for the ballet (such as the second orchestral version of Ma mère l'oye, 1912), and one-movement dance pieces (such as La valse, 1906–1920).
Originally composed as a ballet commissioned by Russian actress and dancer Ida Rubinstein, the piece, which premiered in 1928, is Ravel's most famous musical composition. Boléro is a one-movement orchestral piece by the French composer Maurice Ravel (1875–1937).
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