Maurice Ravel: Concerto for Piano and Orchestra in G major

Movement I (Allegramente) – overall comment

This movement opens with a whiplash sound and rapidly builds momentum through passages which demonstrate Basque and Spanish influences alongside recollections of Stravinsky and Gershwin.

STRUCTURE: SONATA FORM. However, the traditional key structure of the form has been modified in this case. The Exposition is a substantial section, containing a number of distinct themes of character, including ideas of significance in the transition passage. The Development section is replaced by a mechanical section – a toccata built on the opening idea and the E¨ clarinet idea from the transition. The Recapitulation begins with a powerful reminder of the opening, but the section is shorter, and the second subject is recapitulated within the piano cadenza. The Coda revisits the toccata style of the development, and reminds us briefly of some opening figures.

The structure has been analysed according to the following outline:

EXPOSITION

Starts bar 1 (106 bars)

DEVELOPMENT

Fig. 10 (65 bars)

RECAPITULATION

Fig. 18 (83 bars)

CODA

Fig. 29 (69 bars)

First Subject: Transition Second Subject Development First Subject Transition Second Subject

Bar 1 – Fig. 4 Fig. 4 – Fig. 7 Fig. 7- Fig. 10 Fig. 10 – Fig. 18

(including cadenza at Fig. 17)

Fig. 18 – Fig. 20 Fig. 20 – 26 Fig. 26 – Fig. 29

(Cadenza)

Fig. 29 - end

THEMES: The opening theme contains important motivic ideas for this movement – and indeed, the rest of the concerto. While it is said to suggest a Basque folk melody, thematic material from the transition passage is representative of Spanish elements, and a number of the other thematic ideas derive from the idiom of jazz.

MOOD: With the exception of two quiet interludes, this movement is vivacious, lively and jazzy, with a very ‘American’ feel. It probably reflects the business and bustle of the USA that Ravel encountered on his travels in 1928!

TONALITY: The overall tonality is G major.

HARMONY: Mainly diatonic – but there is also evidence of bitonality, modality, higher discords, dissonances, false relations, chords with raised and lowered 3rds, ‘jazzy’ chords and ‘blue’ notes.

WRITING FOR PIANO: A ‘pyrotechnic’ piano part which is a real ‘tour de force’! This presents challenging and fiery passage-work offset by magical, even mysterious, moments of repose, when the piano indulges in dreamy, languid soliloquies that demonstrates Ravel’s love of jazz. Ravel delights in the piano's expressive potential, and fully employs the instrument's sonority, weaving, for example, a trill into a melody.

WRITING FOR ORCHESTRA: This is a whirlwind of orchestration, which emerges as a demonstration of sheer musical colour. It begins with solos for the piccolo and trumpet, and employs creative use of percussion, glissandi and other similar instrumental devices and effects. The orchestra complements the soloist by reinforcing the sensation of relentless energy, and the instruments are used to their maximum ability. Note particularly the demanding writing for trumpet, bassoon and horn at various points in the movement.

MOVEMENT 1: Allegremente Structure: SONATA FORM

SECTION FIG THEMES COMMENTSEXPOSITION

First Subject

Bar 1 – Fig. 4

S1a:

(including figures x, y and z as outlined in general comments)

STRUCTURE: 1+14+9+12+5+2

RHYTHM: Duple; an exuberant and energetic start to the movement with 2 minim beats to the bar. It is probably fair to say that the success of this movement depends on its speed! The fast quavers propel the music forward, and the inclusion of triplets, syncopation and strategically placed string chords add to the momentum. Steady

S1b: crotchets at the end of the phrases are directional and purposeful.

TEXTURE: Generally, this is melody dominated homophony. The orchestra takes the lead here and the instrumentation is colourful, with much of interest. Within this section there are: piccolo and trumpet solos; pizzicato/arco/divisi strings; glissandi in piano, swirling upwards and downwards; and active and interesting percussion work. The accompaniment here is effective, building up to the main event.

Bars 1 – Fig. 1: With the whipcrack and snare drum roll in the first bar, the piano figuration provides an accompaniment very typical of Ravel, in that it is mechanical and repetitive in style. The arpeggio triplets in the piano and high register of the tremolando cello lines contribute stylistically to the long snare drum roll. While the double basses remain tacet throughout this opening sentence, other strings are heard divisi, pizzicato and pp, which supports the colouring.

Fig.1 – Fig.2: Technically of interest here in the score is the rapid glissandi contrary motion heard crescendo in the piano part, swirling upwards and downwards, effectively building up the texture and increasing the expectancy. The texture is further enriched by percussion rolls, with animated and imitative bursts in the woodwind. The passage concludes with an ascending glissando spanning four 8ves in piano, along with a row of strong, staccato contrary motion chords that are timbral rather than functional in effect.

Fig. 2 – Fig. 4: An orchestral passage – the piano remains tacet throughout. This features a feisty trumpet solo, accompanied by chordal support in brass, harp and strings (though no double bass at first). From Fig. 3, the full orchestra builds up the texture: additional accents propel the music forward and the strong upward thrust allied with parallel harmonies and syncopated movement in brass lead us to expect more than the anti-climax that it brings. Flutes and unison 2nd violins wind their way

suddenly downwards as the momentum suddenly collapses, for 2 bars of solo cor anglais accompanied by quiet pizzicato strings to conclude this opening section.

THEMES: Bars 1 – Fig.1 Above the triplet pp accompaniment in the high register of the piano, the lively S1a theme is heard f in the piccolo. This theme is written low for piccolo, apparently to suggest a fife, in line with Gallic traditions; this has been acknowledged as being suggestive of a Basque folk melody. It begins pentatonically, and it is worth identifying three motives, (x, y and z) from its opening bars:

[Pentatonic scale here is G-A-C-D-E].

To clarify this figuration in the analysis,fig x = interval of 5th, with the repeated notefig y = step of a tone (here on the 5th and 6th degree of the key)fig z = the combination of a tone and a minor 3rd.

Derivatives and combinations of these motifs are seen throughout the movement – and indeed, throughout the entire concerto. Note also the inversion of fig x at bar 10 – a falling 4th is another favourite with Ravel.

Fig. 1 – Fig. 2: The pentatonic flavour and derivative figures of the theme are clearly evident throughout the passage.

e.g. Fig 1/clarinet in B¨ (at original pitch):

At this point the intervals in the motif are a minor 3rd followed by a tone; this is the opposite order to that first identified in bar 3.

Fig. 2 – Fig. 4: The first 12 bars of S1 are repeated, heard in the trumpet.

HARMONY:Bars 1 – Fig 1: Slightly dissonant colouring to begin. The combination of G and neighbour-note F# triads in the piano is not strictly bitonal as the music is obviously quite settled in G. Note that the piano entry begins on a semi-tone interval between the two hands i.e. D and C#. Interestingly, this is a device seen in a great deal of Ravel’s piano music. The continued and insistent inclusion of semitones and neighbour-note dissonances in the harmony (noticed in the piano, string parts and harp) do not detract from the home key of G major; the clashes are added colours in this lively picture. The 15 bar sentence concludes with descending parallel triads, still on the dominant chord; in a sense everything up till now has been on the dominant! The first real G major chord in root position comes in bar 24/Fig.2. Those that appear in bars 14, 15 and 23 don’t really count because they are part of a series of “decorative” parallel chords; the piano’s RH continues to play second inversion G major arpeggios, which also resolve onto the dominant chord in bar 16. This is the first unequivocal dominant chord in the movement, and the parallel triads in bars 16-221 are dominant (7th) chords or the triad above and below that chord – i.e., C major and E minor. It’s almost as if bars 1-25 are a big “upbeat” to the tonic key. Although the RH plays G major chords at the start, the lowest note (in the orchestra) is a (sustained) D, making it a tonic 6/4 chord, which is first resolved at bar 16. [Similar parallel chords against a “static” chord occur in bars 394-43, 1864-189 and 313-320 – also bars 58-61, 68-71 of the 2nd movement, these being in the same 2nd inversion as some of those in the 1st movement.] Note the #4 in strings and L.H. piano, which gives a subtle taste of D major.

Fig.1 – Fig.2: Note the held notes in clarinets at Fig. 13which are the root and 7th of the prevailing V7 chord, followed by pedals in flute, cor anglais and trumpet. This feels like the 7th of the dominant harmony (D-F#-A-C), and the chord is reinforced by the starting points of the piano’s glissandi (despite additional notes of the occasional chords in the upper strings). This is dominant preparation for the strong down beat bringing the resolution to the tonic chord of G major at Fig. 2.

Fig. 2 – Fig. 4: This repeat of the opening material is still rooted in G. Pitches in horns and trombones are flanked by accented appoggiatura type movement, resolved onto either the tonic chord (as at Fig. 2) or the dominant chord (8-10Fig. 3). These are reminders of the F# major chords at the opening – even more so in the harp. The music shifts up a gear pitch-wise at Fig. 3, changing key signature to two #s – B minor. The final two bars are clearly based around the note of F# - the key of the next section.

TransitionPassage: Meno Vivo

Fig. 4 Theme Ta =

Theme Tb=

The above theme is as notated on the E flat clarinet part. At concert pitch, this would sound:

STRUCTURE: 8+3+8+4+8

Ta Piano Soliloquy

TbPf and orch.

TcPiano Soliloquy

TbPf and orch.

TcPf + horn

Fig. 4/8 bars Fig. 5/3 bars Fig 54/8 bars Fig. 6/4 bars Fig. 64/ 8 bars

This section begins with the first dreamy soliloquy for piano solo in this concerto (Ta). Above sustained chords in the strings and a gentle rhythmic pattern beginning to emerge in percussion, other solo lines are added at Fig. 5 (Tb). From bar 55 i.e. Fig 54, a second piano solo commands the stage with a new theme (Tc). Fig. 6 corresponds with Fig. 5, with the addition of the harp glissandi. Structurally, bar 67 corresponds to bar 55.

TEXTURE: A complete change of mood and texture. Apart from some straightforward imitation in clarinet and trumpet at Fig. 5, and then in piccolo,

Theme Tc in piano=

(played senza pedale)

clarinet and trumpet at Fig. 6, the passage is homophonic (melody plus chordal accompaniment). The piano has two solo sections, but plays accompanying figuration to the alternating thematic material.

THEMES: This passage has three significant musical ideas.Theme Ta: A quirky rhythmic idea with plaintive melodic lines which seems representative of ‘a little Spanish guitar-strumming’ (Gerald Larner).Theme Tb: This bit of blues influenced material displaces the first theme. At Fig. 5, the distinctive strains of Tb are heard in E¨ clarinet closely followed by muted trumpet.Theme Tc: This emerges as a slow fox-trot on the piano – but is actually reminiscent of the solo entry of Gershwin’s piano Concerto in F – very simple, but with a different musical flavour. At Fig. 54, this theme T2 is heard espressivo in the R.H. piano part, accompanied by a cheeky fox-trot rhythm in the L.H. When Tb returns at Fig. 6 in piccolo (mf espressivo), the echoing statements are heard again in E¨ clarinet and trumpet. The addition of the harp, wood block and cymbal help to create the ‘Broadway’ feel to the music. Theme Tc at bar 67 begins with the same L.H as before in bar 55, but note that the R.H. line is set a perfect 4th higher. This ensures that the melodic phrase will end on the tonic of F# as this section concludes, and the final note - typical of Ravel - is repeated, harking back to the repeated E at the start of Tc. The F# is not harmonised by a tonic chord, however, but by a B7 chord (with, in jazz terms, a #9), which functions as the dominant of the following E major section. The slow, chromatic descending line in the horn is a delightful touch.

TONALITY: The notes of the F# major triad are suggested throughout this passage, but the flattened inflections are strong in the score. These could be the flattened degrees typical of the Dorian or Phrygian modes – common in Ravel. It could also be the result of Ravel adopting the style of the Blues; this passage could be related to a Blues scale.

HARMONY: Diatonic, with flattened inflections in the melodic part. It is static, and the F# major chord is sustained by the middle strings (divisi/arco) at Fig. 5, with first violins added at Fig. 6. Note the 7th of this chord is held by the horns at bar 67 – and there are “bluesy” 3rds in the piano with the false relationship of the Aª in the R.H. against the sharp staccato of the A# in the L.H. (Similarly, note from bar 70 the Dªs in the RH against the D#s in the left hand of the piano). Dominant preparation for the next section begins in bar 71 with a B7 chord. As the phrase extends, the chromatic downward movement in the horn comes to rest on the note B, root of the dominant chord. The interval left sounding at the end of this passage is a perfect 5th (B →F#), which is dominant of the next section.

Second Subject Fig. 7

Note the obvious jazz influences here – a direct link with Gershwin’s Rhapsody in Blue.

S2a =

S2b =

STRUCTURE: 5 + 4 + 12 + 5 + 3 + 3

S2a + fox-trot rhythm

S2b + fox-trot rhythm

S2 thematic material

S2a + fox-trot rhythm

S2b + fox-trot rhythm

S2a – link to development

Fig.7/5 bars (3+2)

Fig.76/4 bars(2+2)

Fig.8 /12 bars in solo piano

Fig.9 /5 bars (3+2)

Fig. 96/ 3 bars (2+1)

Fig.310 /3 bars

TEXTURE: Initially dominated by the piano soloist, this idea expands into the orchestra from Fig. 9, where we note the theme in different instruments. The texture is melody dominated homophony. As far as the instrumentation is concerned, the piano leads the way here, though the theme high in the first bassoon gives an interesting dimension to the timbre. Occasionally, solo lines cut through the reduced orchestration, and it is possible to note a variety of performance directions (i.e. divisi, con/senza sordini, pizz etc).

THEMES: Second subject material – S2a and S2b, with the fox trot chords from the transition used to further support the style. It is particularly noticeable here that the thematic content can be closely linked to, and is seemingly dependent on, motifs y

and z from the first subject theme.

For example:

Interestingly, the first use of figure y in this second subject is also placed on the 5th and 6th degree of the key – just as it was at the start of S1. The 12 bars solo piano work also includes the 3 step figure as indicated in theme S2b (i.e. 1-2-3 of the scale). Note its usage in Fig. 84 and Fig. 87, where it is inverted. This is an important idea which will later achieve further recognition at the beginning of the second movement.

TONALITY: Like S1, the second subject also begins pentatonically [the scale here being B-C#-E-F#-G#]. The overall tonality is that of E major.

HARMONY: The first chord of Fig. 7 is dissonant (with the A# /B semitone clash) – but the tonic of E is quickly established. Note the higher discords (e.g. bars 76 and 78), and also the diminished 8ve interval in the L.H. at bar 78. This was a favourite feature of Ravel’s musical style. The ‘fox-trot’ rhythm chords are heard above the same chords sustained and muted in strings, p. The static harmony of E major 7th is evident in bar 80, with appoggiatura leanings (i.e. the B# and D#) to the C# and E that appear in bar 843. The fox-trot rhythm idea is repeated above a sustained subdominant chord of A in the lower strings. (This harmonic idea is used again in bar 103). In the 12 bar piano solo, Ravel utilises appoggiatura leanings towards the harmony notes, and also includes some bare 5ths (bars 88 and 90, R.H. piano) as well as bare 4ths (bar 93). (This bare, organum type of movement has been used more extensively by Ravel in other compositions.) Harmony from Fig. 9 is based on that at Fig. 7 – but is a chromatic continuation of the previous bar’s dominant chord

(bar 95), which resolves onto the E major chord in bar 97. The Fx is not an enharmonic of Gª; rather, the Gª is an enharmonic (presumably just for notational purposes) of Fx, a chromatic passing note within the B7 harmony, which resolves in the string parts to G#, just like the A# resolves to the B – i.e., A-A#-B in minor 3rds with F#-Fx-G#. Something similar happened in bars 74-6, but the Fx and A# were appoggiaturas there. This could well be the basis for the staccato quaver appoggiatura figure in bars 99 (A#/C#) and 103 (B#/D#), though the first pair don’t resolve in the same parts; the second pair do – in the French Horns – after a bar’s rest!). The pizzicato bass reinforces the movement of dominant and tonic harmonies, and with jazzy overtones heard above, the piano then bursts into a virtuosic flourish which leans on Ravelian ‘arpeggios’ based on the underlying harmony – including the chromatic appoggiaturas. At the end of the section, the chord is F# 4/3 in preparation for the key change at the start of the Development section.

DEVELOPMENT Fig. 10

This section uses a number of earlier ideas:S1Fig zS1b

STRUCTURE: The development section falls into four identifiable subsections:

Fig. 10 – Fig. 12 Fig. 12 – Fig. 14 Fig. 14 – Fig. 17 Fig. 17 – Fig. 184 x 4 bar phrases 4 + 4; 4 + 4; 3 8 + 3 + 9 + 9 Piano cadenza 1

TEXTURE: This section is controlled by the piano, who leads the orchestra through the development of some earlier ideas. It is a very mechanical section, and the repetitive and sequential methods employed here are so typical of Ravel’s compositional style. It feels very much like a toccata in nature; and as a toccata is a type of display piece for keyboard which is fast moving and virtuosic - as a display piece to demonstrate the dexterity of the performer - the description is appropriate! The orchestral support is quite minimal to start with, but it does build up throughout the section. Things to note are: unison pizzicato and divisi in strings, alternating pizzicato and arco in strings, glissandi in strings and trombone, extended trills in strings. Monophonic texture at Fig. 17, as both hands of the piano move in parallel rhythm an octave apart.

THEMES: Fig. 10 – Fig. 12: (4 x 4 bar phrases). Here, the piano toccata feel is created upon the opening piano idea of S1, using chordal high jinks and repeated notes in its make-up. At the end of each 4 bar phrase, the woodwind intercede with a motif clearly reminiscent of fig z:

Fig. 12 – Fig 14: (4+ 4; 4 + 4; 3). The second phase of development involves 4 bars of similar chordal work for piano answered by development of Tb, the second transition idea. Note also the glissandi in violin 1; this is another idea taken from the very opening of the movement. The 2nd 8 bar phrase echoes the first, but it includes some figuration which is a 3rd higher.Fig. 14 – Fig. 17: (8 + 3 + 9 + 9). At Fig. 14, the piano part sinks to p in the low register (with both hands being scored in the bass clef). It works its way upward, increasing in dynamic, pitch and intensity, only briefly interrupted at Fig.15 by a short reminder of S1b. Note that the theme is played f by horns, as the piano takes the accompanying detached semiquaver pattern originally heard in horns and trombone (Fig. 2). At Fig. 16, the piano hammers out pitches 5-#4-3 from the E¨ chord, which morphs into figure z from (S1a) in bar 168 (Note that the accents highlight this motif). In bar 169, the flute and trumpet use repeated quavers to embellish:

Fig. 17 – Fig. 18: (Piano/cadenza 1) This long, chromatic, sequential and very dramatic ascent in the piano spans over four octaves as it concludes the development section.

HARMONY:

Fig 10 – Fig 12: The previous bar (106) was a chord of F#, 4/3 inversion. This is the dominant of B major, and the key signature is changed at Fig. 10. The first chord in the piano is a continuation of the previous F#7 chord, now with the addition of a 9th – which already appears at the end of bar 106. The A#s are still there in bars 108 and 109. The music returns more obviously to this chord in bar 115 (with B# chromatic passing notes/appoggiaturas) and stays on that chord for the next 4 bars. Perhaps the simplest way of looking at (hearing) bars 106-22 is just as the alternation of F#9 and Bmaj7 chords over the F# pedal – which lasts until bar 141! – with appoggiaturas etc., of course. So harmonically, the start of the development “parallels” the start of the exposition with tonic/dominant chords over a dominant bass note, the F# and B harmonies in bars 106-22 being on dominant and tonic in the prevailing key of B major. Ravel’s penchant for repeated notes is noticed in the L.H. part with the repeated C#s, while the R.H. includes neighbour notes and 7ths. T

Fig 12 – Fig 14 : G major key signature. The D major chord on the first beat of the bar at Fig. 12 is the dominant chord within G. Once again, the harmony is quite static in this section – but note the ¨7 in the melody which again appears with the ‘blues’ feel to this theme. This is melodically driven – F# in the key signature, (and heard as a pedal in the bass since bar 111), but F naturals in the thematic material in the piano part. (Remember: the flattened 7th was a feature of Ravel’s style). Other flattened pitches are also linked with the ‘blues’ nature of the music at this point (e.g. E¨, bar 132; A¨, bar 135). The last 3 bars of the phrase involves a change of key signature to 4#s. The F# in the bass is still a pedal. Bars 123-141 are very simple harmonically – just three chords D, F and G# major i.e., moving up in “sequentially” in minor 3rds, all over the F# pedal, with a couple of attendant auxiliary notes – e.g., G and E¨ to F and A - in bar 132. It’s in bar 142 that things get a bit complicated!

Fig 14 – Fig 17 : This begins on the tonic of E – again, note augmented 5th harmonies above the octave motifs on the root of the chord in the bass. Alternatively, it could be argued that the piano still sticks to the same G# major chord as in the previous 3 bars – this would make more sense as far as the A#s are concerned, with them just

being lower auxiliary notes. The piano stays on the same G# major chord until bar 149 – at least the RH does. As for the LH and the orchestra ….. perhaps there are grounds for calling these few bars bitonal. At 4Fig. 15, the bass moves up to the subdominant note of A (still with octave jumps) against the continuing harmonies, which results in higher discords. (Note false relations in the piano part in bar 149 i.e. Dª in the left hand – D#s in the right). Despite the discords, the harmonic direction in the bass indicates a cycle of 5ths by the rising 4th intervals i.e. moving through A – D – G in the double bass and cello by Fig. 15. Therefore, perhaps as expected following a G, the key signature changes to C major at Fig. 15. With a short reminder of S1b2 in the horns, the G eventually takes us to C (bar 152) and F in bar 154. Above this (e.g. bars 1523 -156), note development of the figure z idea from S1a, heard as a chordal idea in the R.H. above a pedal note c in the L.H:

Note the use of accents here. Woodwind repeat this idea, harmonised bar 160 – bar 161. This is supported with the full chords in the R.H. piano, but the flattened additions in the left hand signal a harmonic change. Fig. 16 is initially rooted in E¨ (strings and piano) but dissonance soon creeps in: note the trill on C# in viola, bar 165; this is enharmonic for D¨ changed for notational convenience. It’s D¨ elsewhere, and is just the 7th of the prevailing E¨9 chord. Note also the trill and E naturals in violins, bar 168, and the added Cs and F#s in piano also from bar 168. The harmony does get very complicated in 168, but there is perhaps an explanation for this. Everything in these 3 bars fits neatly into the semitone-tone octatonic scale on E ¨- i.e., E¨-E-F#-G-A-B¨-C-D¨-(E¨). Ravel was aware of the scale and did use it occasionally. The little clusters formed by the notes of this scale in these bars (D¨-E¨ E-F#) are also slightly reminiscent of the “bitonal” clashes at the start of the movement. The piano cadenza could also be analysed as being based on the notes of this scale, this time with a couple of “chromatic” appoggiaturas (à la Stravinsky) – i.e., the D, A¨ and C¨.]

Fig 17 – Fig 18: The harmonic suggestion suddenly slips down a semitone. The chromatic scalic work here initially seems to be based on D, but possibly could also be based on the octatonic scale as outlined above. See especially the last two groups of 4 quavers - D¨-E¨-F#-G-A- B¨-D¨-G, which are all notes of this scale, and with no appoggiaturas either this time!

RECAPITULATION The recapitulation section reflects the exposition, but there are differences. The corresponding sections will therefore be given and any changes highlighted.

First Subject Fig. 18

S1a Fig. 18 – Fig. 19 = Fig. 2 – Fig 3. Some differences:

The first subject section is much abbreviated; in effect the beginning (i.e. from bar 1 – Fig. 2) has been omitted, so this is 12 bars long instead of 24 bars.

Now played ff. S1a is first heard in piano solo, fully harmonized. The trumpet does not play the theme this time, but the piccolo and then

flute, oboe and E¨ clarinet join in with the second half of the phrase (bars 175-179). Note the new repetitive figuration in piano which accompanies this.

Fig. 19 – Fig. 20 = Fig. 3 – Fig. 4. Some differences:

The first three bars are played by woodwind and brass (though no trombones).

Still a homophonic texture, but more lightly scored. Now heard p at the start of the phrase instead of ff. The key: in the exposition, the key was B minor. Now, the key signature is

one flat, but the phrase is in B¨ (note the E¨s in the melody). Also note the re-scoring in the final two bars of the phrase which is now in

piano and strings. Double bass and all other instruments rest until bar 1882. The final chord is a B¨ maj7 chord but note the dissonance this creates as the

parallel triadic syncopated ascent stops on a G major triad in the L.H. The chord in the following bar could be regarded as completing this parallel ascent (as in bars 41-2). It’s a 6/4 A minor chord (after the 6/4 G major chord) but it’s an octave lower than expected – as well as it being preceded by a crotchet rest. This sets up the E7 chord in bar 1904.

The final, quiet two bars of this section are heard in the solo oboe, instead of cor anglais, with the detached accompanying chords now in bassoon and horns, not strings as before.

Transition Passage.

Fig. 20

Ta, Tb, Tc Fig. 20 – Fig. 21 = Fig 4 – Fig 5. (Ta)Some differences:

In a different key than in the exposition, as this is firmly rooted in A major. In line with the key change, the melodic material is based a minor 3rd higher. The piano part has been developed and is more intricate. This time, the soloist is not entirely unaccompanied, as first we note the

double bass with a tonic pedal followed by the cello; also the tam-tam and cymbals punctuate the theme.

Fig. 21 – Fig. 22 = Fig. 5 – Fig 5 4 (Tb) Some differences:

This is slightly longer – 5 bars instead of 3. Heard ff, not p as in the exposition section. This section is in a different key (rooted in A – still with flattened degrees as

in ‘Blues’ style). Heard in solo piano – other instruments tacet. At Fig. 213, note that Tb is heard in diminution within a descending sequence

heard in the solo piano part.

Fig. 22 – Fig. 24 = Fig. 5 4 – Fig. 6. (Tc) Some differences:

Texture is much lighter and more ethereal. This is four bars longer. In 3/4 instead of 4/4 (until bar 215). Complete change of instrumentation – no piano solo here; the second

transition theme (Tb) is heard in the harp, accompanied by sustained 3 part cello chords, p. Note the instruction Quasi cadenza (in the style of a cadenza), the glissandi in the treble and harmonics in the bass of the harp. This is quite an unusual piece of scoring, criticized by Norman Demuth as being ‘out of the picture’ and sounding ‘far too much like a “fill-up”’.

The tempo is labelled Andante; last time there was no specific direction at this point.

Change of key – this time the tonality remains rooted in A (mainly major, but note minor inflections in the theme). Last time, the tonality was rooted in F# (also mainly major with minor inflections in the theme).

The pause chord at Fig. 233 is a new addition, which causes a momentary respite before the harp concludes its solo section.

Fig. 24 – Fig. 26 = Fig 6. – Fig. 7.Some differences:

This is two bars longer than the corresponding section in the exposition. Different key here, as this material remains in A – the melodic lines are a 3rd

higher. The glissandi previously delivered by the harp are now played (with the

exception of the double bass) by the string section. The sustained string sound is now heard in the double bass – as a tonic pedal.

The scoring has been expanded; full woodwind, brass, strings and solo piano – though no harp or percussion.

The three solo lines playing Ta remain the same, but the performance direction is now f, instead of p, and they are played with a rasping ‘Trrr’ (i.e.,

flutter tonguing) in true Jazz style! Fig. 25 corresponds with bar 67 – and this is the main difference in this

section. The short semiquaver run up to Tb initially heard in the piano at the end of bar 544 is now heard again in piano, but doubles with the trombone.

The time signature changes to 3/4 at Fig. 25. Tb is played this time in the first horn part, and heard p, espressivo. The glissandi idea is now transferred to the woodwind (this is particularly

high and technically demanding for bassoons!). The material (from Fig. 15) is all heard over a sustained tonic chord of A

major in the string section (again minus the double bass). There are octatonic “overtones” here, too. See especially the flute and piccolo figures. The scale could be on A (semitone-tone) – i.e. A- B¨-C-D¨-E¨-E-F#-G-[A] – which are the same collection as before. The Fs and Ds are appoggiaturas. This “breaks down” at bar 226 with the D in the bass etc.

The section also concludes rather differently, as Tb ends with a falling interval of a perfect 5th. The A# and C#, like before, are appoggiaturas onto the following B and D (they could also have fallen to A and C naturals, making the chord in bar 229 just a V7 in G). The piano takes them over and resolves them at the end of bar 230. They are the counterparts to the Fx and A# in bar 75.

Second Subject Fig.

26:4/4

S2a, S2b

PIANO CADENZA

NOTE: In the Classical solo concerto, the cadenza reached its height as a medium for spontaneous improvisation. Though there are many varied examples, it is probably fair to say

Fig. 26 – Fig. 29 = Fig. 7 – Fig. 10 Some differences:

The chord of D in the strings at Fig. 26 now is realised as the dominant chord of the home key of G major. (It was usual for the orchestra to have a dominant chord as the forerunner of the cadenza).

S2, the more gentle of the exposition themes, is now incorporated into the solo piano cadenza.

Before, 32 bars – now, 25 bars. The theme has been developed and embellished beneath a continuous trill

(much in the nature of Chopin’s nocturne op.62 no.1). From Fig. 269 the

that a composer such as Mozart ensured that the cadenza was an indispensable component of the first movement structure. Usually, he wrote concertos that began by using one of the themes of the concerto, there was usually some kind of sequential development of a theme, and finally there would be opportunity for some virtuosic work such as scalic ideas, arpeggios, extended sequences and figuration which closed on a trill – the signal for the re-entry of the orchestra, and the closing section of the movement.

theme is actually embedded in the trills of the right hand part, while the left hand continues its increasingly expansive arpeggio work.

At Fig. 27 the strings join in with the theme, corresponding with Fig. 9 of the exposition (where the theme was heard in the first bassoon). The piano writing at this point is noteworthy – virtuosic and chordal, with the theme in both hands. At Fig.328, the piccolo and flute join in with S2, followed by the rest of the woodwind and brass at Fig.128; and accompanying this, the solo piano part becomes increasingly active. At Fig. 28 the orchestra finally comes to rest on an A9th chord – with the 5th of the chord (E) in the bass. The piano has three additional bars of descending triadic figuration, spanning across the register. Interestingly, it may seem as if the R.H. part is based on F# maj and the L.H., E min –but there is probably no “bitonality” here. The LH notes are all part of the A9 chord; perhaps the F# was intended as a 13th and the A# as an appoggiatura that finally resolves, by octave descent, to the B in bar 255. Above the sustained chords of A9 in the strings, the A# in the treble clef makes for an interesting dissonance and false relation within the harmony.

CODA

Tempo primo

Fig. 29:2/2

This returns to the style of the development section.

STRUCTURE: The Coda may be seen as falling into four subsections, some of which are based on earlier material. It is almost as if the coda continues with a recapitulation of the development section!

C1 C2 C3 C4Fig. 29 /20 bars Fig. 31 / 30 bars Fig. 35 /8 bars Fig. 36 /11 bars

TEXTURE: This final section begins with what feels like another piano cadenza, rising from the lowest register of the piano. The orchestra builds up to full strength just after Fig. 34. The importance of chords and motivic, motoric patterns are the mainstay of the texture as the music thunders on to its conclusion.

C1: Fig. 29/ cf Development, Fig. 10 (20 bars: 4+4+4+4+4). This section opens with the same pianistic idea as begins the development section at Fig. 10 i.e. the figure derived from S1b, answered by the outline of an arpeggio in the R.H. over a pedal note. For example, if we look at the first quaver of each beat, in bars 257 and 261, the notes of the arpeggio are:

This reflects the way that fig z was heard in the first phase of the development section (cf Fig. 103, and elsewhere in that phase.) The piano begins by continuing the A9 chord within its figuration, over a pedal of A very low in the L.H. Note the chordal interjections (e.g. on the first beat of bar 259) which adds an alternative colouring (i.e. the chord is F# major, and we hear an A# against the Aª in the bass). The chord has stayed essentially the same since bar 252, but transposed down a few octaves. The A# and C# reappear in bar 249, this time resolving to the A and C naturals in bar 263.At bar 263, the pattern moves up a tone to Fmaj7 harmony (the flattened leading note in the home key of G major). At Fig. 30, the sequential movement continues over the pedal of A, though the chord is that of D9th. At Fig. 302, the semitone rise in the bass to a pedal of B¨ supports the chord of G minor, a logical resolution from the previous chord; the Fª and C are heard as decoration here, with the C as passing note between the B¨ and D, the F (appoggiatura) as part of the reference to first subject material (– see musical example below.) Note that the quavers from S1b have been changed very subtly in the left hand part of the piano, bar 270:

Compare with the original in bar 11:

From bar 273, the direction of the bass line moves upwards. In bar 274, note another derivative of S1b2, heard crescendo in the right hand of the piano part:

C2: Fig. 31/ cf, Development, Fig. 15 (14+6+10)Figs. 31 – 33 (14 bars) is closely based on ideas from Figs. 15 - 16 (12 bars) of the development section, with the S1b2 motif now heard p in the trumpet (not f in the horn), and similar utilization of fig z in the piano material. With the implication of a perfect cadence into D in the L.H. (Fig. 323-4) – the direction of the cycle of 5ths in the bass of the piano from bar 286 propels us towards E¨ at Fig. 33:

Note that the flute (in harmony - 3rds - with the end of this phrase) is actually repeating the material from bars 160/1 (an earlier resolution into E¨).

Figs. 33 - 35 (16 bars) is based on Figs. 16 - 17 (9 bars) of the development section. Obviously the content has been extended. The first 6 bar phrase is very similar to that corresponding section in the development, with slight changes in orchestration.

Fig. 34 - 35 is based on material from bar 168 – Fig. 17, and this includes further extended derivatives of S1b such as:

and

Note that this first motif is imitated by the flute and B¨ clarinet one and a half bars after its first entry at Fig. 34, giving some textural variety. The motoric rhythms continue in the piano, now reverting to the 3-2-1 motif – though from Fig. 34 onwards, this is heard as a 7-6-5 motif in both hands of the piano part, over a pedal of C also in the L.H. Harp chords and percussion are added 4 bars before Fig. 35, while the harmony in all parts (including the piano) alternates between E minor and B minor triads. Note that, in the harp part, the B pitches are written enharmonically as C¨s. (The reason for this is technical – two Bs sounding immediately after each other produces a slight glissando effect on the harp).

C3: Fig. 35 (8 bars /4+4) While woodwind and brass reiterate the second of the S1b derivatives noted above, the piano plays more simple arpeggio shapes. The bass drum roll at Fig. 35, followed by timps and cymbals 4 bars later add to the momentum. In the same way, held notes in the strings build up the texture from low to high. The first four bar phrase is heard over a pedal of A, the second over D. This material is clearly cadential preparation for the return to the home key of G.

C4: Fig. 36 Apart from some woodwind and brass adding colour and dissonance, the tonic chord is repeated until 3 bars before the end of the movement. The ending is incisive - eight tremendous descending chords played by the full orchestra, outlining the scale of G but not utilising the conventional chords within that scale: note the ¨3 and ¨2 on the way down to the final tonic. In Ravel, use of triads in this way is directional rather than functional; sometimes this type of ‘block harmonization’ suggests timbre rather than tonality.i.e.

G↓

Tonic

F#↓

Leading note major

E↓

Submediant major

D Dominant major

↓Cm↓

Subdominant minor

B¨↓

Flattened mediant major

A¨↓

Flattened supertonic major

G Tonic.