Ravel, the magician of the keyboard, possessed the gift of never repeating himself. The triptych Gaspard de la nuit, by turns magical, sepulchral, and horrific, is followed by the irresistibly sophisticated momentum of the Valses nobles et sentimentales, then the austerity of Le Tombeau de Couperin, the discret sensibility of which stands out even more clearly in this context.