A Comparison of 'Pavane pour une infante défunte (1899, 1910)'

Maurice Ravel (hereinafter Ravel) was a French composer born in 1875.

While he is often mentioned in the same breath as his contemporary Claude Debussy as an 'Impressionist composer,' Debussy was a direct descendant of Erik Satie—focusing, simply put, on atmosphere—whereas Ravel was known as a 'meticulous perfectionist.' He was hailed as a 'magician of orchestration' for his compositional techniques, which calculated every last resonance of sound, and his highly sophisticated orchestration skills.

His style was extremely broad, spanning from the late Romantic tradition to Neoclassicism, which reinterpreted the formal beauty of the Classical period through a modernist lens. He also actively incorporated elements of folk music from around the world, including jazz, Romani music, Spanish music, and Indian music, making him one of the most difficult composers to categorize in classical history.
His most famous work is likely the ballet piece 'Boléro' (1928). You have probably heard it before.

In his youth, Ravel was known as one of the most eligible bachelors in Parisian high society, thanks to his handsome features and sophisticated style, but due to his quiet and shy personality, he remained a bachelor for the rest of his life.
A stylish, handsome man who is perfect at his job but shy in love—that is a combination that is always in demand, isn't it? I wish he could fill out my dating app profile for me. Including all the profile pictures.

'Pavane pour une infante défunte' is a piano solo piece, M.19 (1899), composed by Maurice Ravel, and an orchestral version, M.19a (1910), arranged by Ravel himself.

The title is often mistaken for a funeral march, but it was composed after Ravel was inspired by Diego Velázquez's 'Portrait of Infanta Margarita Teresa' (1659), which he saw at the Louvre Museum. The title was apparently chosen simply for its atmosphere. There is no historical fact that a princess of any country died young at the time of its composition.
By the way, a 'pavane' is a processional dance that was popular in the Spanish court during the 16th and 17th centuries.

The melody, which is full of lyricism, feels simple in the piano version and majestic in the orchestral version, and is truly graceful.
It is nostalgic, elegant, and emotional. It is overflowing with sentiment while remaining intellectual and smart.

Listening to this piece, I feel that Ravel must have been a very delicate and kind person. I imagine he was too sacred for the jaded women of 19th-century Paris to approach.
He is the archetype of a man who is so handsome yet so serious that he would become invisible at a hostess club. Please forgive the strange analogy, Ravel fans—I am paying him a huge compliment.

I have posted several recordings of 'Pavane pour une infante défunte (1899)' below, so please listen and enjoy comparing them.

Which 'Pavane pour une infante défunte (1899)' is your favorite?

Pavane pour une infante défunte, M.19 (1967) / Samson François

Pavane pour une infante défunte, M.19 (1968) / Monique Haas

Pavane pour une infante défunte (2017) / Kyohei Sorita

Pavane pour une infante défunte, M.19a (1963) / André Cluytens - Orchestre de la Société des Concerts du Conservatoire

Pavane pour une infante défunte, M.19a (1986) / Claudio Abbado - London Symphony Orchestra

Pavane pour une infante défunte, M.19a (1986) / Herbert von Karajan - Berliner Philharmoniker