I was listening to Faure's Pavane, op. 50, and realized that most Pavane's I know are quite beautiful in a sad, wistful way. I'm trying to explore romantic pavane's and this is what I've come up with. Any others?
Andriessen - Symphony No. 2 (1937) -2 Pavane
Bainton - Pavane, Idyll and Bacchanal
Bonis - Pavane
Casella - Pavane, Op. 1
Chausson - Pavane, Op. 26
Faure - Pavane, Op. 50
Martin - Pavane couleurs du temps for string quintet
Poulenc - Suite Francaise -2 Pavane
Ravel - Pavane pour une Infante Defunte
Ravel - Pavane de la Belle au bois dormant
Rontgen - 6 early Netherlands Dances, Op. 46 -6 Pavane 'Lesquercarde'
Tellefsen - Pavane de la Reine Elisabeth in c# minor, Op. 44
Is the Mel Bonis Pavane you're referring to her Op.81 (published as part of her Pavane, sarabande et bourrée, by E. Demets of Paris during the 190xs?)
A quick look suggests some other Pavans composed during the Romantic era generally speaking, though I don't know them yet- one by Albeniz (his Pavana-Capricho), one for piano and strings (published 1901) by d'Ambrosio, organist Charles Ferlus' "Pavane de la ligue" (pub.1871), and others... not a commonly used title by composers who flourished 1820-1915 or so, but not unknown.
Certainly not common...
There's been a trend - more than one thread - of consciously archaic music (and other forms of art) going back many centuries (in music, from pieces that just use the rhythm or form or etc. of a well-known idea of an earlier period as a frame to hold ideas that are otherwise very much the composer's own- whether Korngold or Sorabji in the 20th century, or earlier examples- to works that more obviously evoke their models in one way or another, to... ... (Ravel's le Tombeau de Couperin is -- somewhere in there...er... tangent, that. Saint-Saëns' ballet music to Henry VIII is an interesting example, to judge from what I've seen - not yet heard - of it. Mozart's Suite in C (unfinished) for keyboard (after Händel) obviously is inspired by this general idea (obviously...) - and the Pavan dance, (and ones very like it) have often ended up as parts of Romantic/more recent suites for similar reasons.
(Never, that I know of, the "dump" - doleful slow elegiac tune - which Romeo asked to be played to lift his spirits in Shakespeare's play...)
Not related (possibly), but there is the Slavic "Dumky" or "Dumka", of which Dvorak Trio, op. 90 is a great example. But certainly different than a Pavane, at least after Faure modernised it.
There is the Pavana for piano or orchestra by Aldo Finzi (1897-1945, no relation with Gerald) tonal and decidedly romantic (Nuova Era recording of the piano version).