ABSTRACT
In terms of its Parisian premiere, La Valse represents Maurice Ravel's final completed ballet; in its origins, however, it actually predates Valses nobles. As far back as 1906, Ravel had in mind a celebration of the waltz, to be entitled simply Vienne. As for the status of La Valse, Diaghilev's outburst raises fascinating questions about the nature of ballet. His argument was that the music was self-sufficient and therefore could not work with dance: there was no space or need for dance. Although the early acclaimed existence of La Valse was as music alone, Ravel was never in any doubt that 'This "choreographic poem" is written for the stage.' Balanchine's juxtaposition of the waltzes causes similarities to be set in relief, with the prewar, pre-Valses nobles origin of La Valse becoming more evident. Conversely, it is apparent how small distortions of the 'straight' waltzing in Valses nobles can cue the destructive forces of La Valse.
