Boléro is a 1928 work for large orchestra by French composer Maurice Ravel. It is one of Ravel's most famous compositions. It was also one of his last completed works before illness diminished his ability to write music.

Daphnis et Chloé is a 1912 ballet and orchestral concert work, subtitled symphonie chorégraphique (choreographic symphony), for orchestra and wordless chorus by Maurice Ravel. It is in three main sections, or parties, and a dozen scenes, most of them dances, and lasts just under an hour, making it the composer's longest work. It premiered as a ballet, but it is more frequently given as a concert work, either complete or excerpted. The dance scenario was adapted by choreographer Michel Fokine from a pastoral romance by the Greek writer Longus thought to date from the 2nd century AD, recounting the love between the goatherd Daphnis and the shepherdess Chloé. Scott Goddard in 1926 published a commentary on the changes to the story Fokine had to apply in order to make the scenario workable.

Maurice Ravel's Piano Concerto in G major was composed between 1929 and 1931. The piano concerto is in three movements, with a total playing time of a little over 20 minutes. Ravel said that in this piece he was not aiming to be profound but to entertain, in the manner of Mozart and Saint-Saëns. Among its other influences are jazz and Basque folk music. The first performance was given in Paris in 1932 by the pianist Marguerite Long, with the Orchestre Lamoureux conducted by the composer. Within months the work was heard in the major cities of Europe and in the US. It has been recorded many times by pianists, orchestras and conductors from all over the world.

L'heure espagnole is a French one-act opera from 1911, described as a comédie musicale, with music by Maurice Ravel to a French libretto by Franc-Nohain, based on Franc-Nohain's 1904 play ('comédie-bouffe') of the same name The opera, set in Spain in the 18th century, is about a clockmaker whose unfaithful wife attempts to make love to several different men while he is away, leading to them hiding in, and eventually getting stuck in, her husband's clocks. The title can be translated literally as "The Spanish Hour", but the word "heure" also means "time" – "Spanish Time", with the connotation "How They Keep Time in Spain". The original play had first been performed at the Théâtre de l'Odéon on 28 October 1904. Ravel began working on the music as early as 1907, and the opera was first performed at the Opéra-Comique on 19 May 1911.

L'enfant et les sortilèges: Fantaisie lyrique en deux parties (The Child and the Spells: A Lyric Fantasy in Two Parts) is an opera in one act, with music by Maurice Ravel to a libretto by Colette. It is Ravel's second opera, his first being L'heure espagnole. Written from 1917 to 1925, L'enfant et les sortilèges was first performed in Monte Carlo on 21 March 1925, conducted by Victor de Sabata. After being offered the opportunity to write a musical work, Colette wrote the text in eight days. Several composers had proposed to Colette that she write to music, but she was only excited by the prospect of Ravel.

Ma mère l'Oye (English: Mother Goose, literally "My Mother the Goose") is a suite by Maurice Ravel (1875-1937), based on tales de Charles Perrault (Sleeping Beauty and Tom Thumb, drawn from Mother Goose Tales, 1697), Madame Leprince de Beaumont (Beauty and the Beast, 1757) and by Madame d'Aulnoy (The Green Serpent, 1697). There are three main versions of this suite: the first—the work's original form—which was written for piano four-hands); the second, following in the tradition of Ravel's orchestrations, is a score for symphony orchestra (1911); and the last—a more expanded version—is an adaptation for ballet, with choreography by Jane Hugard (1912).