A dotted-eighth, sixteenth, eighth, dotted-quarter rhythm in 6/8 (“six-eight”) time opens the dissonant E minor third movement of this work, named for an Italian folk dance. After critics complained about the levity of this work, its composer responded “The dead are sad enough, in their eternal silence.” (10[2])In his orchestration, (10[1])the composer of this work used an oboe solo (10[1])for the rapidly cascading melody of its opening prelude, which is in 12/16 (“twelve-sixteen”) time. A soft, chordal (10[1])musette (10[1])serves (10[1])as the trio of this work’s G major minuet, (-5[1])which follows (10[1])a rigaudon. (10[1])Zoltán (10[1])Kocsis (10[1])(“ZOL-tahn COACH-eese”) orchestrated the fugue and toccata (10[1])movements (10[1])of this work, which its composer’s orchestration had omitted. (10[1])This work’s composer dedicated each of its movements to a friend (10[1]-5[1])who had perished (10[1])in World War I. (10[1]-5[1])For 10 points, what suite of piano pieces by Maurice Ravel is named for a deceased (10[1])French Baroque (10[2])composer? ■END■ (10[2])