MAURICE RAVEL, AUTOGRAPH MUSICAL MANUSCRIPT, A STUDY NOTATED FOR FOUR VOICES IN OPEN SCORE, [POSSIBLY 1890S]

lacking the opening, written in pencil, black ink and red ink, notated on four four-stave systems per page, apparently to be read with soprano, alto, tenor and bass clefs and a key-signature of two sharps, the music drafted in pencil throughout, the second page sketched but not completed, the first page gone over by the composer in red and black ink, ending in D major, the top part annotated by Ravel (“Rallo...1o Tempo”)

2 pages, folio (34.8 x 26.9cm), 16-stave paper, no place or date, probably 1890s

Condition is described in the main body of the cataloguing, where appropriate
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This manuscript contains part of Ravel’s exercises in harmony and counterpoint at the Paris Conservatoire during the 1890s or early 1900s.  The use of antiquated C-clefs was standard at the Conservatoire at this time; ie middle C on the bottom line of the stave in the soprano, C on the middle line in the alto, C on the fourth line up in the tenor, with a normal bass clef on the bottom line. For another example, see Lot 7 in today's sale of Fine Autograph Music: The Property of Helmut Nanz and Family, where Debussy also uses these clefs in a harmony exercise.  Unlike Debussy, Ravel believed this type of rigorous education was indispensable, for it assisted the composer in mastering his craft.  Nevertheless, under Ambroise Thomas and Théodore Dubois, Ravel fared badly at the Conservatoire.  In 1895 he was expelled (for failing to win any prizes) and had to reapply in 1897.  Dubois’s refusal to let Ravel proceed to the final round of the Prix de Rome competition in 1905 became a national scandal, leading to radical reforms under the new director Gabriel Fauré.  Ravel’s harmony exercises are discussed in Orenstein, Ravel. Man and Musician (1991), p.152. Sotheby's is pleased to acknowledge the advice of Roger Nichols in preparing the catalogue description for this Lot. See also Lot 27