| # | Title | Artist | Length |
|---|
| 1 | Daphnis et Chloé, M. 57: Première partie. Introduction. Lent: A meadow at the edge of a sacred wood. Hills in the background. On the right, a grotto, at the entrance of which, cut out of the rock, three Nymphs are represented in an archaic sculpture. A little towards the back, on the left, a great mass of rock vaguely simulates the shape of the god Pan. In the middle ground, sheep are grazing. A clear springtime afternoon. The curtain rises on an empty stage. Youths and maidens enter, carrying open baskets of gifts intended for the Nymphs. Très modéré: The stage gradually fills. The crowd bows down before the altar of the Nymphs. The maidens encircle the pedestals with garlands. | Maurice Ravel | 3:32 |
| 2 | Daphnis et Chloé, M. 57: Première partie. Danse religieuse. Modéré | Maurice Ravel | 2:35 |
| 3 | Daphnis et Chloé, M. 57: Première partie. In the far background, Daphnis becomes visible, preceded by his flocks. Chloé joins him. They make their way towards the altar and disappear round a corner. Un peu plus lent: Daphnis and Chloé reappear in the foreground, coming to prostrate themselves before the Nymphs. The dance is interrupted. Tender emotion at the sight of the couple. | Maurice Ravel | 3:13 |
| 4 | Daphnis et Chloé, M. 57: Première partie. Vif: The maidens entice Daphnis and surround him with their dancing. Chloé feels the first pangs of jealousy. | Maurice Ravel | 0:51 |
| 5 | Daphnis et Chloé, M. 57: Première partie. Just then, she is drawn into the dance of the young men. The driver Dorcon shows himself particularly venturesome. Daphnis, in his turn, seems upset. | Maurice Ravel | 0:56 |
| 6 | Daphnis et Chloé, M. 57: Première partie. Danse Générale. Beaucoup moins vif: At the end of the dance, Dorcon, emboldened, wants to kiss Chloé. Innocently, she offers her cheek. | Maurice Ravel | 0:44 |
| 7 | Daphnis et Chloé, M. 57: Première partie. Vif: But, with a brusque movement. Daphnis brushes the herdsman aside and gently approaches Chloé. The young men intervene. Placing themselves in front of Chloé, they gently lead Daphnis away. Plus modéré: One of them proposes a dance contest between Daphnis and Dorcon. A kiss from Chloé will be the winner’s prize. / Danse grotesque de Dorcon. Très modéré. Pesant: Ironically, the crowd imitates the awkward movements of the herdsman, who ends the dance amidst general laughter. | Maurice Ravel | 2:37 |
| 8 | Daphnis et Chloé, M. 57: Première partie. Danse légère et gracieuse de Daphnis. Assez lent. Animé: All invite Daphnis to receive the award. Vif: Dorcon also comes forward, but is chased away by the crowd accompanying him with noisy laughter. | Maurice Ravel | 2:54 |
| 9 | Daphnis et Chloé, M. 57: Première partie. Lent: The laughter breaks off when the radiant couple formed by Daphnis and Chloé entwined is sighted. Moins lent: The crowd retires, leading Chloé away. Daphnis remains motionless, as if in ecstasy. Then he lies flat on the grass, his face in his hands. Très libre: Lycanion enters. She sees the young shepherd, approaches him, lifts his head, putting her hand before his eyes. Daphnis thinks it is one of Chloé’s pranks. But he recognises Lycanion and wants to get away. | Maurice Ravel | 1:42 |
| 10 | Daphnis et Chloé, M. 57: Première partie. Très modéré: Lycanion dances. As if by accident, she lets one of her veils fall. Daphnis picks it up and puts it back on her shoulders. Ironically, she continues her dance, which, more languorous, quickens till the end. Another veil falls to the ground. Again, Daphnis picks it up. Vexed, she slips away, mocking, and leaving the young shepherd very confused. | Maurice Ravel | 1:35 |
| 11 | Daphnis et Chloé, M. 57: Première partie. Modérément animé: The noises of weapons and war cries are heard coming nearer. The women cross the middle of the stage, pursued by pirates. Daphnis dreams of Chloé, perhaps in danger, and hurriedly leaves to rescue her. Chloé runs in, lost and seeking shelter. She throws herself before the altar of the Nymphs, imploring their protection. Très animé: A group of brigands rushes in, sees the young maid and abducts her. Lent: Daphnis enters, looking for Chloé. On the ground, he finds a sandal which she has lost in the struggle. Très agité: Mad with despair, he curses the gods who have been unable to protect the young girl and falls fainting to the ground before the entrance to the grotto. | Maurice Ravel | 1:36 |
| 12 | Daphnis et Chloé, M. 57: Première partie. Modéré: A strange light envelops the landscape. A small flame suddenly illuminates the head of one of the statues. Coming to life, the Nymph descends from her pedestal. The second Nymph descends. The third Nymph descends. Plus lent: They act in concert … | Maurice Ravel | 1:54 |
| 13 | Daphnis et Chloé, M. 57: Première partie. Lent et très souple de mesure: … beginning a slow and mysterious dance. They notice Daphnis. They lean over him and dry his tears. They revive him and lead him towards the rock. They invoke the god Pan. Gradually, the form of the god takes shape. Daphnis prostrates himself, imploring. The scene grows dark. | Maurice Ravel | 3:30 |
| 14 | Daphnis et Chloé, M. 57: Deuxième partie. Même mouvement: Offstage, voices are heard, very distant at first. Trumpet calls in the distance. The voices draw nearer. A dull light. It is the pirates’ camp. A very rough coast. In the background, the sea. On the right and left, a perspective of rocks. A trireme is visible near the coast. Here and there, cypress trees. Pirates are seen, running hither and thither, loaded with plunder. They carry torches, which violently light up the stage. | Maurice Ravel | 2:52 |
| 15 | Daphnis et Chloé, M. 57: Deuxième partie. Danse guerrière. Animé et très rude | Maurice Ravel | 2:00 |
| 16 | Daphnis et Chloé, M. 57: Deuxième partie. Un peu moins animé | Maurice Ravel | 1:54 |
| 17 | Daphnis et Chloé, M. 57: Deuxième partie. Très rude: The pirates, exhausted from dancing, send for the captive, and Bryaxis orders the captive to be brought in. Chloé, her hands bound, is led in by two pirates. Bryaxis commands her to dance. / Danse suppliante de Chloé. Modéré Animé – Assez lent: Chloé tries to flee. Violently, she is brought back. Desperately, she resumes her dance (tempo primo). Animé – Lent: A second time, she tries to escape. Again, she is brought back. She abandons herself to despair, thinking of Daphnis (tempo primo). | Maurice Ravel | 3:31 |
| 18 | Daphnis et Chloé, M. 57: Deuxième partie. Assez animé: Bryaxis wants to seduce her. She implores. Triumphant, the pirate chief bears her off. | Maurice Ravel | 0:30 |
| 19 | Daphnis et Chloé, M. 57: Deuxième partie. Lent – Modéré: Suddenly, the atmosphere seems charged with strange new elements. In places, lit by invisible hands, little fires break out. Fantastic creatures jump, here and there. Gradually, terror seizes the whole camp. Little fauns appear on all sides and surround the pirates. Plus animé: The earth opens up. Formidable, with a menacing gesture, the shadow of Pan is profiled against the mountains in the background. All flee, bewildered. On the deserted stage, Chloé holds herself motionless. A luminous crown is placed on her head. The scene seems to dissolve. It is replaced by the landscape of Part One towards the end of night. | Maurice Ravel | 2:09 |
| 20 | Daphnis et Chloé, M. 57: Troisième partie. Lent: No sound but the murmur of the brooklets gathered by the dew that flows from the rocks. Daphnis still lies stretched out in front of the grotto of the Nymphs. Gradually day breaks. Birdsong is heard. In the distance, a shepherd passes with his flock. Another shepherd crosses the back of the stage going farther away. Enter a group of shepherds looking for Daphnis and Chloé. They discover Daphnis and awaken him. Anguished, he seeks Chloé with his eyes. At last, she appears, surrounded by shepherdesses. They throw themselves into each other’s arms. Daphnis notices Chloé’s crown. His dream was a prophetic vision. Pan’s intervention is manifest. | Maurice Ravel | 4:49 |
| 21 | Daphnis et Chloé, M. 57: Troisième partie. The old shepherd Lammon explains that if Pan has saved Chloé, it is the memory of the nymph Syrinx, with whom the god was once in love. Lent: Daphnis and Chloé mime the tale of Pan and Syrinx. Chloé depicts the young Nymph wandering in the meadow. Daphnis/Pan appears and declares his love for her. The Nymph rejects him. The god becomes more pressing. She disappears into the rushes. Desperate, he tears off some reeds, makes a flute with them and plays a melancholy air. | Maurice Ravel | 2:02 |
| 22 | Daphnis et Chloé, M. 57: Troisième partie. Très lent – Vif: Chloé reappears and depicts, in her dance, the accents of the flute. The dance becomes more and more animated, and, in a bewildered swirling, Chloé falls into the arms of Daphnis. | Maurice Ravel | 4:08 |
| 23 | Daphnis et Chloé, M. 57: Troisième partie. Lent – Animé: Before the altar of the Nymphs, he plights his troth by two ewes. Enter a group of young maidens, dressed as bacchantes, shaking tambourines. Lent – Animé: Daphnis and Chloé tenderly entwine. A group of young men invades the stage. Joyous tumult. | Maurice Ravel | 1:02 |
| 24 | Daphnis et Chloé, M. 57: Troisième partie. Danse Générale – Danse du Daphnis et Chloé – Danse de Dorcon – Danse finale : Bacchanale | Maurice Ravel | 3:44 |
| 25 | Valses nobles et sentimentales, M. 61: 1. Modéré | Maurice Ravel | 1:19 |
| 26 | Valses nobles et sentimentales, M. 61: 2. Assez lent | Maurice Ravel | 1:53 |
| 27 | Valses nobles et sentimentales, M. 61: 3. Modéré | Maurice Ravel | 1:32 |
| 28 | Valses nobles et sentimentales, M. 61: 4. Assez animé | Maurice Ravel | 1:10 |
| 29 | Valses nobles et sentimentales, M. 61: 5. Presque lent | Maurice Ravel | 1:00 |
| 30 | Valses nobles et sentimentales, M. 61: 6. Assez vif | Maurice Ravel | 0:44 |
| 31 | Valses nobles et sentimentales, M. 61: 7. Moins vif | Maurice Ravel | 2:54 |
| 32 | Valses nobles et sentimentales, M. 61: 8. Epilogue. Lent | Maurice Ravel | 3:15 |
