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.

But it is more frequently given as a concert work, either complete or excerpted, vindicating Ravel's own description above.

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.

[1] Ravel began to write the score in 1909 after a commission from impresario Sergei Diaghilev for his Ballets Russes, completing it some months before the premiere of the staged work.

This took place at the Théâtre du Châtelet in Paris on 8 June 1912, with sets designed by Léon Bakst, choreography by Fokine, and the Orchestre Colonne conducted by Pierre Monteux.

At almost an hour long, Daphnis et Chloé is Ravel's longest work.

[3] Ravel extracted music from the symphonie to make two orchestral suites, which can be performed with or without the chorus.

Ravel adhered to his description of the music in his formal titling of the suites: Daphnis et Chloé is scored for a large orchestra consisting of: Woodwinds Brass

On the island of Lesbos, in a meadow at the edge of a sacred wood stands a grotto hewn out of rock, at the entrance of which is an antique sculpture of three Nymphs.

Somewhat toward the background, to the left, a large rock vaguely resembles the form of the god Pan.

She innocently offers her cheek, but with an abrupt motion Daphnis pushes aside the cowherd and approaches Chloé affectionately.

The group sarcastically imitates the clumsy movements of the cowherd, who ends his dance in the midst of general laughter.

Dorcon comes forward as well, but he is chased off by the group, accompanied by loud laughter.

The laughter ceases at the sight of the radiant group formed by the embracing Daphnis and Chloé.

She notices the young shepherd, approaches, and raises his head, placing her hands over his eyes.

Daphnis thinks this is a game of Chloé’s but he recognizes Lyceion and tries to pull away.

Vexed, she runs off mocking him, leaving the young shepherd very disturbed.

Mad with despair, he curses the deities who were unable to protect the girl, and falls swooning at the entrance of the grotto.

Fantastic beings crawl or leap here and there, and satyrs appear from every side and surround the brigands.

The earth opens and the fearsome shadow of Pan is outlined on the hills in the background, making a threatening gesture.

The old shepherd Lammon explains that, if Pan has saved Chloé, it is in memory of the nymph Syrinx, whom the god once loved.

In despair, he picks several stalks to form a flute and plays a melancholy air.

The dance becomes more and more animated, and in a mad whirling, Chloé falls into Daphnis’s arms.

American trumpeter Harry James, in his 1942 arrangement of Eric Coates's By the Sleepy Lagoon, made use of the Sunrise from Part III for its opening theme.

[citation needed] The title song from the musical On a Clear Day You Can See Forever is similar to the same passage.