It is in this spirit that Gabriel Fauré's Pavane, Op. 50, a piece originally for piano and later orchestrated, also with a choral version, arises. Far from reconstructing the old dance, Fauré reinterprets it from the modernity of symbolism, with music that evokes rather than describes; of restrained gesture and subtle elegance.

The same ideal of recovery is projected by Maurice Ravel in his Pavane de la Belle Sleeping Beauty, which in turn opens the suite Ma mère l'Oye - ‘my mother the goose’ - written for the children of friends and inspired by Charles Perrault's fairy tales. The five pieces combine simple harmonies, transparent textures and a dreamy atmosphere, and were orchestrated in 1911 and, a year later, converted into a ballet.

L'Éventail de Jeanne (1927) was also created for ballet, a collective work conceived for a dance school in Paris. The work is made up of delicate waltzes such as the one by Jacques Ibert and is opened by a beautiful Fanfare by Maurice Ravel, as well as his imposing Boléro, which closes this concert, where from a minimal initial idea, a monumental and unstoppable sound structure is built.