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StudiesinPianisticSonority,
NuanceandExpression:
FrenchPerformancePracticesinthe
PianoWorksofMauriceRavel
IwanLlewelyn-Jones
Submittedinpartialfulfillmentoftherequirementsforthedegree
DoctorofPhilosophySchoolofMusicCardiffUniversity
2016
Abstract
ThisthesistracesthedevelopmentofMauriceRavel’spianisminrelationtosonority,
nuanceandexpressionbyaddressingfourmainareasofresearchthathaveremained
largelyunexploredwithinRavelscholarship:theoriginsofRavel’spianismand
influencestowhichhewasexposedduringhisformativetraining;hisexplorationof
innovativepianistictechniqueswithparticularreferencetothumbdeployment;his
activitiesasperformerandteacher,androleindefiningaperformancetraditionforhis
pianoworks;hisplaceintheFrenchpianisticcanon.Identifyingthemainresearch
questionsaddressedinthisstudy,anIntroductionoutlinesthedissertationcontent,
explainsthecriteriaandobjectivesfortheperformancecomponent(PublicRecital)and
concludeswithaliteraturereview.Chapter1exploresthepianistictechniquesRavel
acquiredduringhisformativetraining,andconsidershowhisstudyofspecificworks
fromthenineteenth-centurypianorepertoryshapedandinfluencedhiscompositional
styleandpianism.Chapter2discussesRavel’simplementationofhisidiosyncratic
‘strangler’thumbsasarticulatorsofmelodic,harmonic,rhythmicandtexturalmaterial
inselectedpianoworks.Ravel’sroleindefiningaperformancetraditionforhispiano
worksasdisseminatedtosucceedinggenerationsofpianistsisaddressedinChapter3,
whileChapters4and5evaluateRavel’simpactupontwentieth-centuryFrenchpianism
throughconsideringhowleadingFrenchpianopedagoguesandperformersresponded
tohistrailblazingpianotechniques.Itwillbeshownthatthroughhisactivitiesas
teacherandperformer,aswellascomposer,Raveltookcontrolofeverydetail
pertainingtohispianoworkswithhismeticulouslynotatedscores,pianoroll
recordingsandinterpretiveguidanceimpartedtootherpianists,thuscatalysing
performancepracticesthatpromulgatedadistinctivelyFrenchtwentieth-century
pianistictradition.
StudiesinPianisticSonority,NuanceandExpression:
FrenchPerformancePracticesinthePianoWorksof
MauriceRavel
TableofContents
AbstractAcknowledgements p.iIntroduction p.1 ChapterOutline p.5 PerformanceComponent:PublicRecital p.7 LiteratureReview p.8Chapter1 TheOriginsofRavel’sPianism p.26 Chapter2 ‘Lesgrandspouces’: p.83 Ravel’s‘Strangler’ThumbsinhisSoloPianoWorks Chapter3 RavelasPianistandRecordingArtist(1895-1928) p.148 Chapter4 DisseminatingIdeasandDefiningFrenchPianism: p.193 LeTombeaudeCouperinasaCaseStudyChapter5 Ravel’sPlaceintheTwentieth-CenturyFrenchPianisticCanon p.241 Bibliography p.253
i
AcknowledgementsIamindebtedtotheSchoolofMusic,CardiffUniversityforawardingmea
PostgraduateScholarshiptoundertakethisdoctoralresearchandforproviding
additionalsubsidiarygrantsenablingmetoattendconferencesandsymposiaaswell
astopresentpapersandlecturerecitalsonRavel’spianismattheRoyalMusical
AssociationStudentconferencesof2013and2014,atthe‘CityofLight:Paris1900-
1950’InternationalConferenceattheInstitutfrançaisdeLondresin2015,andat
LiverpoolHopeUniversityin2016.FormyresearchintheUKIextendmysincere
thankstothestaffatCardiffUniversityMusicLibrary,theBritishLibrary
DepartmentofMusicandSoundArchive,theBodleianLibrary,BangorUniversity
Library,andtoDenisHallandRexLawsonatthePianolaInstitute.
MyresearchwasconsiderablyenrichedthroughtheEuropeanErasmus
ExchangeProgrammewhichgavemetheopportunitytospendtheacademicyear
2013-14attheUniversitéParis-Sorbonne(ParisIV).Gratefulthanksareextendedto
theadministratoroftheMaîtriseprogrammeAurélieDorvalforhergeneroushelp
withrefiningmyFrenchlanguageskills,andtothelibrarystaffattheBibliothèques
deClignancourtanddeSerpente.Additionally,Iextendmyappreciativethanksto
thestaffoftheDépartementdemusiqueattheBibliothèquenationaledeFrancefor
givingmeaccesstorarehistoricaldocumentsincludingmanuscripts,firsteditions
andworkingscores.IamimmenselygratefultothestaffattheMédiathèque
MusicaleMahler,inparticulartheirDirecteurHenry-LouisdelaGrange,andthe
librariansSoniaPopoff,AlenaParthonnaud,andChristianeDavidwhowentabove
andbeyondthecallofdutyindealingwithallmyrequestswhenexploringtheFonds
MargueriteLong,AlfredCortot,YvonneLefébure,SamsonFrançoisandÉmile
ii
Vuillermoz,andforpointingmeinthedirectionoftheircollectionofhistoric
recordingsandotherpricelesstreasureshousedintheirarchives.Iamespecially
gratefultoClaudeMoreau,curatoroftheMuséeMauriceRavelatLaBelvédèrein
Montfortl’Amaury,foralife-changingexperience:theopportunitytoplayRavel’s
pianoworksonhis1908Érardgrandpianoonmanyoccasions,andforsharingher
uniqueknowledgeofandpassionforthecomposer.
ToRoyHowatIoweahugedebtofgratitudeforbeingamineofinformation
onallthingsParisianandforhisinspiringscholarshipinthefieldofFrenchpianism.
MyinterestinFrenchpianismandspecificallythestudyofRavel’spianomusichas
beennurturedanddevelopedovermanyyearsunderthewatchfulinstructionofmy
pianoteachersCécileOusset,NorettaConci,PhyllisSellick,BerniceLehmann,E.
KendallTaylorandColinHorsley.TothemallIproffermyheartfeltthanks.
LastbutnotleastIthankmysupervisoratCardiff,DrCarolineRae,forher
tremendoussupport.Herextensiveknowledgeandexperienceasaresearchscholar
andperformerinthefieldoftwentieth-centuryFrenchmusic,constructive
criticisms,sageadvice,enthusiasmandgenerosityofspirithavecontributed
immeasurablytothepreparationofthisdoctoraldissertation.
Note:
TranslationsofFrenchtextsaremyownunlessotherwiseindicated.
1
Introduction
Atthebeginningofthetwentiethcentury,FrenchcomposerMauriceRavelcreateda
newpianisticlanguagebyexploringsonority,nuanceandexpressioninsubtle,
colourfulandimaginativeways.Eighteenth-andnineteenth-centurypianistic
practicesarereworkedandexpandedinRavel’shands,bringingafreshperspective
torepeatednotepassages,doublenoteglissandi,widestretches,rapidmovements
acrossthekeyboard,multi-layeredtexturesandextendedpedallingtechniques.In
thiswayRavel’spianisticsoundworldencompassesavastarrayoftouchesand
articulations,rangingfromtheBaroqueandClassicalkeyboardtechniquesemployed
intheSonatine(1903-5)andLeTombeaudeCouperin(1914-17)tothecolouristic
landscapesofJeuxd’eau(1901)andMiroirs(1904-5)andtheorchestrallyinspired
texturesofGasparddelanuit(1908).
ThatRavel’sknowledgeofthepiano’scapabilitieswassubstantialatthestart
ofhisprofessionalcareerisevidentfromtheextraordinaryimpacthemadewithhis
firstmajorpianowork,Jeuxd’eau,composedonlyayearafterhehadcompletedhis
compositionstudieswithGabrielFauréattheParisConservatoire.Theviolinist
HélèneJourdan-Morhangestatedthat‘thispieceopenednewhorizonsinpiano
technique’;Ravel’scompositionstudentandclosefriendAlexisRoland-Manuel
declaredittohave‘thehallmarkofmastery’,andRavelbiographerRogerNichols
calledit‘thekeyworkfortheImpressionistschoolofFrenchpianowriters’.1The
1VladoPerlemuterandHélèneJourdan-Morhange,Raveld’aprèsRavel(Lausanne:EditionsduCervin,1957;5/1970).Augmentedre-edition:Raveld’aprèsRavel,suividesRencontresavecVladoPerlemuter,ed.JeanRoy(Aix-en-Provence:Alinéa,1989).Englishedition(fromtheabove1970volume):RavelaccordingtoRavel.Englishtrans.FrancesTanner,ed.HaroldTaylor(London:Kahn&Averill,1990),p.5.AlexisRoland-Manuel:ÀlagloiredeRavel(Paris:NouvelleRevueCritique,1938).Englishedition:MauriceRavel,trans.CynthiaJolly(London:Dobson,1947),p.30.RogerNichols,Ravel(NewHavenandLondon:YaleUniversityPress,2011),p.40.
2
richprofusionoftechniquesRavelbroughttoJeuxd’eauandthesubsequentpiano
worksposethequestion:whatwerethecorecomponentsofhispianismthatledto
suchinnovation?
Thisdissertationaddressesthisbyconductingthefirstcomprehensivestudy
intoRavel’sformativepianistictrainingduringtheperiod1882-1897.Primary
researchquestionsincludethefollowing:HowdidRavel’searlymusicaleducation
leadhimtocomposepianoworksofsuchdiversityandstartlingoriginality?What
roledidhisphysicalconnectionwiththepianoplayinthecreativeprocess?Mostof
theexistingscholarlyliteratureonRavelgivesonlyabriefmentiontothisperiod
amountingtoalistofhisteachers,theworksheperformedandsomecritical
commentaryonhisperformancesinend-of-termexaminationsattheParis
Conservatoire.2
InordertogettothefoundationsofRavel’spianismthisstudyexploresthe
pedagogicalpracticesofRavel’spianoteachersbyscrutinizingtheirpublished
teachingmaterials,andanalysingthesoloandconcertantepianoworksRavelis
knowntohaveplayedinpublicduringtheseearlyyears,beginningwithIgnaz
Moscheles’PianoConcertoNo.3(1820)withwhichhegavehisdebutperformance
inJune1888attheageofthirteen.BycomparingthefindingswithRavel’ssolopiano
worksthestudyhasuncoveredcrucialnewevidencepointingtomajorinfluenceson
Ravel’scompositionalstyleforthepianothatincludetheStilebrillante,thepiano
worksofRobertSchumann,andthepianoconcertosofEdvardGriegandCamille
Saint-Saëns.
2ArbieOrenstein,RavelManandMusician(NewYork:ColumbiaUniversityPress,1975revised1991),pp.11-17.RogerNichols,Ravel(2011),pp.9-14.
3
Ravel’sconnectivitywiththekeyboardisseenashavingakeyroleinthe
materialisationofthematic,textural,andexpressivecomponentswithinhispiano
works.Hishabitualpracticeofworkingouthiscompositionalmaterialatthepiano
beforecommittingittomanuscriptimpliesthatthemajorityofRavel’s
compositionaloutputwasbornofthisintimatetactilecontactwiththekeyboard.
Thisthesisarguesthattheimpactofthisphysicalexperienceandtheoverriding
responsibilityRavelassignedtohishighlydevelopedthumbsplayasignificantrole
inshapingthecorebuilding-blockswithinthepianoworks.Practicaldemonstrations
tosupportthishypothesisareprovidedinalecture-recitalthatworksinconjunction
withtherecitalcomponentofthissubmission.
Ravel’sroleincreatingaperformancetraditionforhisownpianoworksis
centraltounderstandinghisviewsoninterpretation.Hisperformancesonthe
concertplatformandintherecordingstudio,coupledwithhisactivitiesascoachtoa
numberofsignificantFrenchpianistsandasacommentatoronhisworks,provide
anextensiveandwide-rangingcorpusofprimarysourcematerial.Ravelscholars,
includingRoyHowatandRonaldWoodley,haveexploredseveralaspectsof
performancepracticeintheearlyrecordingsofRavel’spianoworks,albeitwithin
thecontextofbroadersubjectmatter.3Thepresentresearchrepresentsamore
selectiveandconcentratedinvestigationintoRavel’spivotalroleindefininga
performancestyleforhissolopianoworks.Ravel’sconsistencyofapproachto
interpretivepracticesasperformerandteacherisputtothetestbyanalysinga
selectionofhisrollrecordingsfrom1913,1922and1928andcomparingthemwith
recordingsmadebytheselectgroupofpianistswhomheadvised,henceforth3RoyHowat,TheArtofFrenchPianoMusic(NewHavenandLondon:YaleUniversityPress,2009).RonaldWoodley,‘PerformingRavel:StyleandPracticeintheEarlyRecordings’,inDeborahMawer(ed.),TheCambridgeCompaniontoRavel(Cambridge:CambridgeUniversityPress2000),pp.214-237.
4
identifiedinthisstudyas‘Ravel’sdisciples’:RobertCasadesus,HenrietteFaure,
VladoPerlemuterandYvonneLefébure.Bycross-referencingtheserecordingswith
thepublishedperformanceeditions,thisstudyexaminesthefundamentalmodesof
expressiononwhichaperformingstylecanbebuilt,namelysonority,nuance,
rhythm,tempo,articulation,dislocation,arpeggiation,dynamiccolouring,pedalling
andaccuracy.
Ravel’simpactontwentieth-centuryFrenchpianismasawholeisassessed
withacomprehensiveanalysisofeighthistoricrecordingsofhislastsolopiano
work,LeTombeaudeCouperin.TherosterofpianistsincludesRavel’sdisciplesand
comprisesMarcelleMeyer,YvonneLefébure,MadeleinedeValmalète,Robert
Casadesus,JacquesFévrier,VladoPerlemuter,HenrietteFaureandSamsonFrançois.
AlleightpianistsstudiedeitherattheParisConservatoireortheÉcoleNormalede
Musiquewithfourofthemostinfluentialpedagoguesoftheearlytwentiethcentury:
LouisDiémer,MargueriteLong,AlfredCortotandIsidorPhilipp.Thecrucialroleof
theseteacher-pianistsininfluencingandshapingtheperformancepracticechoices
adoptedbytheirstudentsintheserecordingswillbeseenasvitaltoidentifyinga
historicallyinformedtraditionthroughwhichsuccessivegenerationsofpianists
haveapproachedRavel’spianoworks.
InanattempttoformacompletepictureofRavel’spianisticstylefromboth
compositionalandperformanceperspectivesallofRavel’ssolopianoworks,aswell
ashistwopianoconcertoshavebeenincorporatedintothebodyofthisdissertation,
althoughthestudybynecessityfocussesonparticularindividualworks.
Thisthesisaddressesfourmainresearchquestions.Firstly,howdidRavel’s
formativepianostudiesshapeandinformhiscompositionalstyleinthesolopiano
works?Secondly,whatpartdidRavel’sphysicalconnectivitywiththepiano,and
5
specificallyhisidiosyncraticthumbs,playintheconstructionofhisuniquebrandof
pianism?Thirdly,whatdothehistoricrecordingsofRavel’ssolopianoworksmade
bythecomposerhimselfandthepianistswhosoughthisinterpretiveadvicereveal
aboutaspectsofstyleandperformancepracticethatgobeyondthewritten
notation?Finally,whataretheessentialcharacteristicsthatdefineRavel’spianism
andisitpossibletoidentifyparticularFrenchpianiststhatembodythesalient
technicalandinterpretivequalitiesintheirrecordedperformances?4
ChapterOutline
Thedissertationcomprisesfivechapters.Chapter1investigatestheoriginsofRavel’s
pianism,theformativeinfluences,hispianistictrainingandcontactwithparticular
individuals,includingthepianistRicardoViñesandthecomposerEmmanuelChabrier.
Accordingtohiscontemporaries,Ravelalwayscomposedatthekeyboard,
experimentingwithideasbeforecommittingthemtopaper.Centraltothearguments
putforwardinChapter2isthewayinwhichRavel’sphysicality,hisdistinctivepiano
technique,andinparticulartheshapeandflexibilityofhisthumbsunderpinnedhis
compositionalchoiceswhencreatinghisthematicandtexturalmaterialinallthesolo
pianoworks.Chapter2setsouttheevidencewithaninvestigationthatincludesa
detailedanalysisof‘Scarbo’fromGasparddelanuit.
Ravelwasfastidiousregardingthedisseminationofhisviewsonhowto
performhissolopianoworks.Itisfortuitousthathewaspresentduringtheearly
daysoftherecordingindustryandhispianorollrecordingsaretestimonytohis
pioneeringspiritandforesight.Regrettablyscholarsandcriticshaveoftenbeen
dismissiveofRavel’spianisticabilitiesasevidencedbytheserecorded
4Thescopeofthepresentstudydoesnotextendtoincludenon-Frenchschoolpianists.
6
performances.InafreshappraisalofRavel’spianorollrecordings,Chapter3seeks
toredressthebalanceandshednewlightuponRavel’sground-breakingand
imaginativeapproachtopianisticcolourasaperformer,hiscontrolofthepianokeys
insubtletextures,theblendingofdelicatesonorities,andhisexplorationof
extendedpedallingtechniques.Ravel’sperformancesarecomparedalongside
recordingsmadebyhisdisciplesandcross-referencedagainstthepublished
performanceeditionstoascertainhowfaithfulhewastotheindicationsinhis
scores.Indoingso,thischapterpresentsevidencethatendorsesthevalidityof
Ravel’srollrecordingsasimportanthistoricaldocumentsofperformancepractice.
ThetwofinalchaptersaddressRavel’splaceinthepantheonoftwentieth-
centuryFrenchpianism.Chapter4presentsacomparativeanalysisofeightrecorded
interpretationsofhislastworkforsolopiano,LeTombeaudeCouperin(1914-1917),
madebypianistswhoseperformancestyleswereshapedbycontactwithRaveland
threeofhismostillustriouscontemporaries,MargueriteLong,AlfredCortotand
IsidorPhilipp.MargueriteLonggavethefirstperformanceofLeTombeaude
CouperinattheSalleGaveauon11April1919.AsRavel’sclosestcollaboratoratthis
juncture,hertechnicalandinterpretiveviewsaresignificant.Intheabsenceofa
recordingofthisworkbyLong,recordingsmadebyherstudents,includingYvonne
Lefébure,MarcelleMeyer,JacquesFévrier,andSamsonFrançoisareassessedto
identifythehallmarksofLong’spedagogicalstylethatwascharacterizedbythe‘jeu
perlé’technique,clarityoffingerwork,sparsepedalling,andmoderatedynamic
colouring.ExceptforJacquesFévrier,eachofLong’sstudentsmentionedabove,
continuedtheirpianostudieswithAlfredCortot.Animportantquestionaddressed
hereistheextenttowhichtheirrecordedperformancesofLeTombeaudeCouperin
fuseLong’sfinger-basedtechniquewithCortot’stechniqueinwhichthefingers,
7
wristsandextendedlimbsworktogethertocreatealegato-basedtouchthatreaches
thedepthofthepianokeyinordertoexploretonequalityandsonority.Theearliest
recordingofLeTombeaudeCouperinwasmadebyMadeleinedeValmalètein1929,
andwillbeincludedinthisinvestigationforitsindividualapproachstemmingfrom
theteachingmethodsofherteacher,IsidorPhilipp.Howeachpianistinfusesthe
musicwiththeirownviewsandpersonalitiesprovidesfurtherinsightintothe
pluralityofFrenchinterpretiveapproachesthatarisesfromtherecordings.
Chapter5focussesonRavel’scontinuedexplorationofpianisticsonorityin
thechamberandorchestralworkscomposedafterLeTombeaudeCouperin,and
concludeswithanappraisalofthecoretechniquesandinterpretiveideasthat
emergefromtheevidencepresentedinthisdissertationasthedefining
characteristicsofahistoricallyinformedperformancestyleforRavel’spianoworks.
PerformanceComponent:PublicRecital
Thissubmissionasawholecomprisestwoelements,thedissertationandpublic
recital.Itisthereforeappropriatethattheobjectivesofthelatterbeoutlinedhere.
Theperformancecomponentwhichaccompaniesthisthesisisdividedintotwomain
sections:PartA,lastingapproximatelythirtyminutesconsistsofalecture-recital
aimedatpresentingpracticalevidenceofthedecisiveroleplayedbyRavel’sthumbs
increatingandarticulatingthematicmaterialwithinhispianoworks.This
illustrateddiscussionrelatestothewrittenargumentsinChapter2ofthe
dissertation.PartB,lastingsixtyminutescomprisesaformalpublicrecital
incorporatingaselectionofpianoworksthattracethedevelopmentofRavel’s
pianismfromtechnicalandinterpretiveperspectives.ManyofRavel’spianistic
innovationscanbeheardforthefirsttimeinJeuxd’eau,includingmulti-layered
8
textures,polyphonicvoicing,andextendedthumbtechniques.In‘Noctuelles’,
‘Oiseauxtristes’and‘Alboradadelgracioso’fromMiroirs,Raveladoptsamore
sophisticatedharmoniclanguage,andagreatersenseofrhythmicfreedomcoupled
withconcisedynamiccolouringandakaleidoscopicrangeofarticulation.This
refinementofpianotechniquesreachesitsapotheosisinGasparddelanuit,where
Ravelputsvirtuositycompletelyattheserviceofinterpretation.Therecital
concludeswiththe‘Prélude’,‘Fugue’and‘Toccata’fromRavel’slastsoloworkfor
piano,LeTombeaudeCouperin,aworkthatunderlinesRavel’sallegiancetothepast,
toFrenchBaroquekeyboardtechniquesandpractices,andtothequalitiesthathave
definedFrenchpianismfromitsinception,namelyclarity,balance,colourand
sensibility.
Therecitalprogrammeisasfollows:
Jeuxd’eau(1901) 5
Miroirs(1904-5) 15 1.‘Noctuelles’, 2.‘Oiseauxtristes’ 4.‘Alboradadelgracioso’
Gasparddelanuit(1908) 23 ‘Ondine’ ‘LeGibet’ ‘Scarbo’LeTombeaudeCouperin(1914-1917) 12 ‘Prélude’ ‘Fugue’ ‘Toccata’
LiteratureReview
TheexistingRavelliterature,publishedduringthecomposer’slifetimeand
sincehisdeathisextensive.Consequentlytheobjectivesofthisreviewaretoassess
9
thesignificantscholarlypublicationsthatrelatespecificallytothetopicunder
investigation,Ravelandthepiano.DealingfirstlywithRavel’spianismwithinthe
contextofbiographyitisnecessarytoacknowledgetwomajorcontributorstothis
fieldofstudyintheEnglishlanguage,namelyArbieOrensteinandRogerNichols.5
InRavel:Man&Musician(1975)Orensteindrawsuponwrittentestimony
fromRavel’scolleaguesaccompaniedbyextractsfromRavel’sownwritingsand
correspondence.OneofOrenstein’smostperceptiveobservationsrelatestothe
centralrolethepianoplayedwithinRavel’sworkinglifeasacomposer:
ThepianoistheprivilegedinstrumentinRavel’sartnotonlybecausehewasapianistand composedatthekeyboard,butbecausevirtuallyallofthefreshtrendsinhisstylefirst appearedinthepianomusic.6Healsosuppliesinformationpertainingtothepianosoloandduorepertoirethat
Ravelperformedduringhisformativestudiesincludingdetailsofexaminationpieces
andprogressreportsfromRavel’steachersattheParisConservatoire.However,
archivalresearchconductedattheBibliothèquenationaledeFranceinpreparation
forthisdissertationhasuncoveredevidencethatcallsintoquestionsomeof
Orenstein’sdata,aswillbeevidencedinChapter1ofthisstudy.
ARavelReader(1990)complementsRavel:ManandMusicianinthat
Orensteinfocusesspecificallyonprimarysourcematerials,thatisRavelinhisown
words,bothwrittenandspoken.Orensteindoesnotprovideanycommentaryon
Ravel’strainingotherthanthefollowinggeneralobservation:‘AttheConservatoire,
hemethodicallyanalysedthestandardmasterworksoftheBaroque,Classicaland
5ArbieOrenstein,Ravel:ManandMusician(1975,rev.1991).ArbieOrenstein(ed.),MauriceRavel:Lettres,Ecrits,Entretiens(Paris:Flammarion,1989).Englishedition:ARavelReader,Correspondence,Articles,Interviews.TranslationbyDennisCollins,(NewYork:ColumbiaUniversityPress,1990).RogerNichols,Ravel(2011).RogerNichols(ed.),RavelRemembered(London:Faber&Faber,1987).6Orenstein,Ravel:ManandMusician,p.135.
10
Romanticperiodsandperformedawidevarietyofnineteenth-centurypianomusic’.7
ThisstudywilldemonstratethatRavel’schoicesregarding‘nineteenth-century
pianomusic’playedadecisiveroleinshapinghispianisticstyleofcomposition.
Notwithstanding,thiswide-rangingguideincludesRavel’scorrespondence(346out
ofanestimatedfigureof1500letters),hisbriefrecollectionsonthegenesisofeach
ofhiscompositionsin‘AnAutobiographicalSketchofMauriceRavel’,8aharmonic
analysisoftheworks,9publishedarticlesandinterviews,hisviewsasacritic,andhis
commentsoneditingthepianomusicofFelixMendelssohn.
OfparticularsignificancetothisstudyaretheappendicescompiledbyJean
TouzeletinbothofOrenstein’sbooksthatdetailRavel’srecordedperformancesof
hispianoworks,togetherwithacomprehensivelistofhistoricrecordingsbyother
pianists.Theperiodfrom1912to1939iscoveredinRavel:ManandMusicianwhile
thescopeofinvestigationisexpandedfrom1911to1988inARavelReader.Touzelet
providesdocumentedevidencethatunderlinesRavel’sunderstandingand
experienceoftherecordingprocessasperformer,producerandjurymemberon
variousadvisoryboards.Thediscographyisorganisedbyperformer,andTouzelet
suppliesbackgroundinformationthatplaceseachrecordingwithinitshistorical
context.Touzeletdoesnotattemptacriticalcommentaryonaspectsofperformance
styleandinterpretationintheserecordings.However,hislistingsprovidevaluable
corematerialfromwhichthisstudyexploresissuesrelatingtotheperformance
practicechoicesdemonstratedintherecordingsofRavel’ssolopianoworks.
RogerNichols’scomprehensivebiography,Ravel(2011)isacomplete
reworkingandinhisownwordsa‘threefoldexpansion’ofhis1977volumeforthe7Orenstein(ed.),ARavelReader,p.2.8AlexisRoland-Manuel,‘UneEsquisseautobiographiquedeMauriceRavel’,LaRevuemusicale(December1938).Englishtrans.ArbieOrenstein,ARavelReader,pp.29-37.9PublishedinRenéLenormand,Étudesurl’harmoniemoderne(Paris:Eschig,1913).
11
MasterMusiciansseries.10Thisisanimpressiveworkofscholarshipthatsetsout
Ravel’slifeandcareerwithinafluid,detailedchronology.Nicholsdoesnotattempt
anyin-depthanalysesofRavel’scompositions;neverthelesshiscommentsonthe
solopianoworksareinsightful.HemakesseveralreferencestoRavel’sactivitiesin
therecordingstudio,butinhisbriefassessmentsoftherecordedperformancesheis
somewhatdisparagingofRavel’spianisticabilities.HisverdictonRavel’s1913piano
rollrecordingsofSonatineandValsesnoblesetsentimentalesisdismissive:‘[...]
neitherperformanceistechnicallyimpeccable,butsomesenseoftheworks’spirit
nonethelesscomesthrough’.11Thisstudyseekstoredressthebalancebyidentifying
themanypositivequalitiesinRavel’srecordedperformanceswithadetailed
examinationoftherollrecordings.
Nichols’smonographRavelRemembered(1987)isacompendiumofshort
articlesandrecollectionsofRavelbyhiscontemporaries.ContributionsbyRavel’s
compositionstudents,AlexisRoland-Manuel,12ManuelRosenthal13andMaurice
Delage14providefirst-handinformationaboutRavel’sphysicalityandpostureatthe
piano.Delage’sobservationthat‘NatureendowedRavelwithknotted,tapering
handsandwiththumbsthatcouldmovefreelyroundthecentraljointandcovertwo
whitekeyssimultaneously’,isexploredwithinChapter2ofthisthesisthatdeals
withRavel’sphysicalconnectionwiththepianoandtheresultantimplicationsfor
hissolopianocompositions.
10London:Dent,1977.11Nichols,Ravel,p.161.12Roland-Manuel,[Àlagloirede]Ravel(Paris:1938).Englishedition:CynthiaJolly(ed.),Ravel,(1947).13MarcelMarnat(ed.),Ravel:SouvenirsdeManuelRosenthalrecueillisparMarcelMarnat(Paris:Hazan,1995).14MauriceDelage,MauriceRavel,incompletelecturescriptintheBNF(Rés.Vmb.Ms.44).
12
AsregardsFrench-languagepublicationsthejournalsoftheFondation
MauriceRavel,CahiersMauriceRavel(1985-present)haveprovidedasubstantial
corpusofprimaryandsecondarysourcematerialforthisstudy.Articlesrelatingto
Ravel’spianisminclude‘L’imagepubliquedeMauriceRavel1920-1937’byMarcel
Marnat;15‘MauriceRaveletsabibliothèquemusicale’byJean-MichelNectoux;16
‘QuandRavelconseillaitVladoPerlemuter’byJacquesGandoiun,VicePresidentofLa
FondationMauriceRavel;17‘WhereRavelendsandDebussybegins’byCharles
Rosen18and‘Ravel,Viñeslesannéesdesformation;goûtscroisés,curiosités
partagées’byRicardoViñes’sgreat-nieceNinaGubisch-Viñes.19
TurningtoFrenchpianismatlargeandRavel’splacewithinit,Charles
Timbrell’slandmarksurvey,FrenchPianism:AHistoricalPerspective(1999)paintsa
panoramicviewofFrenchpianopedagogyandperformancepracticesfromthe
beginningofthenineteenthcenturytothefinalyearsofthetwentiethcentury.20
TimbrellbeginsbyidentifyingthepivotalroleplayedbytheParisConservatoire,
Ravel’salmamater,asthevanguardoftechnicalandinterpretiveinnovationinpiano
performance.Hepresentsaconcisegenealogyofthenotedpedagoguesworkingin
Pariswithinallitsmusicinstitutions,includingforeignémigréswhosettledinthe
city,andidentifiesthemaincharacteristicsoftheirmethodsasoutlinedintheir
trainingmanualsandotherteachingmaterials.Aspectsoftechniqueand
musicianshiparediscussedinaseriesofinterviewsconductedwithnoted
interpretersofFrenchpianomusic.Ofparticularrelevancetothisstudyisthe
pedagogicaldocumentationrelatingtoRavel’slastpianoprofessoratthe
15IssueNo.3,1987,pp.27-52.16No.3,1987,pp.53-62.17Ibid.,pp.63-64.18No.5,1990-92,pp.34-35.19No.14,2011,pp.16-42.20CharlesTimbrell,FrenchPianism:AHistoricalPerspective(London:Kahn&Averill,1999).
13
Conservatoire,Charles-WilfriddeBériot(1833-1914),whopublishedmuchofhis
teachingmaterialaroundthetimewhenRavelwasstudyingwithhim(between
1891and1895).AninterviewconductedbyTimbrellin1986withPaulLoyonnet
(1889-1988),whoalsostudiedwithdeBériot,providesfirst-handinformationinto
thelatter’sworkingmethods.21GivenLoyonnet’sadvancedageatthetimethis
interviewwasrecordedcoupledwiththeanecdotalnatureofhisrecollections,the
currentstudysetsouttoverifyhiscommentsbyexaminingdeBériot’sexercise
treatisesandpianocompositionsforhardevidenceofdeBériot’spedagogical
practices.ByincorporatingadditionalanalysesofteachingmaterialsbyRavel’sother
pianoteachers,HenriGhys,ÉmileDescombes,EugèneAnthiômeandSantiagoRiera,
thisstudypresentsthefirstcompleteappraisalofRavel’spianistictrainingduring
thisvitalperiodinhisdevelopmentasapianist-composer.
InApril1939,Larevueinternationaledemusiquepublishedaspecialvolume
devotedto‘ThePiano-theinstrument,theworks,interpretation,pedagogy,
techniqueandcriticalcommentaries’withcontributionsfromleadingFrench
musiciansoftheday.22TheyincludearticlesbyJacquesFévrier(‘Lesexigencesde
Ravel’),AlfredCortot(‘Attitudesdel’interprète’),andAlfredoCasella,(‘Lesgrands
interprètesdupasséetduprésent’).CharlesKoechlin,whowasacontemporaryof
RavelinGabrielFauré’scompositionclass,evaluatesRavel’splaceintheevolutionof
pianowritinginasubstantialarticletitled‘L’évolutiondel’écriturepianistique’.He
acknowledgesRavel’sinnovativeapproachtopianisticfigurations,addingthatthis
newstyleofwritingdemandedfromitsinterpreters‘amasterfultechniquethat
benefitedfrombeingmorefluid,moresecure,moreincisiveandstrongerthanthe
21Ibid.,pp.183-192.22‘LePiano-l’instrument,lesoeuvres,l’interprétation,l’enseignement,latechniqueetdocumentationcritique’,LaRevueinternationaledemusique(Paris,1939).
14
techniqueoftheirpredecessors’.23HowthefirstgenerationofFrenchpianiststo
studyandperformRavel’spianoworksatthebeginningofthetwentiethcenturyset
aboutacquiringandperfectingthistechniqueisexploredinananalysisoftheir
recordedperformancesinChapters3and4ofthisstudy.
RoyHowat’sseminalbook,TheArtofFrenchPianoMusic(2009)compares
thepianisticstylesofClaudeDebussy,GabrielFauré,EmmanuelChabrierand
MauriceRavel.24Howatexploresaspectsofmusicalsemanticsinthepianoworks
andinRavel’scasehemakesthematic,harmonic,rhythmic,texturalandstructural
connectionstothekeyboardworksofeighteenth-andnineteenth-century
composersasdiverseasDomenicoScarlatti,FrédéricChopin,FranzLisztand
EmmanuelChabrier.ThusRavel’sassimilationoftheidiomsandpracticesofother
composersintohisbrandofpianisticcompositionunderpinsHowat’sanalytical
methodology.ThisstudybuildsuponHowat’sscholarshipbyfocusingspecificallyon
thepianoworksRavelactuallyperformedinpublicduringhisformativestudies,
includingthreevirtuosicmasterpiecesbyRobertSchumann,theFantasyOp.17,
SonatainGminorOp.22,andtheAndanteandVariationsOp.46(Ravelreceiveda
PremierprixforhisperformanceoftheOp.22Sonataattheageofsixteen).Howat
referstotheseworksbuthedoesnotexploretheminanydetail,optinginsteadto
flagupthematicconnectionsbetweenCarnavalOp.9andRavel’sValsesnobleset
sentimentales.25Thisstudywillshowthatmanyofthepianistictechniquesthat
appearinSchumann’sOp.17,Op.22andOp.46wereabsorbedandreworkedby
Ravelinhissolopianoworks.AdditionallythevirtuosicconcertanteworksbyIgnaz
23‘[...]unetechniquemagistraleavecd’avantagederapidité,desûreté,d’attaqueetdeforce,quepourlesmusiciensanciens’.CharlesKoechlin,‘L’évolutiondel’écriturepianistique’,LaRevueinternationaledemusique(1939),pp.822-852.24Howat,TheArtofFrenchPianoMusic(2009).25Ibid.,pp.161-2.
15
Moscheles,HenriHerz,FrédéricChopinandFelixMendelssohnthatfeatured
prominentlyinRavel’searlystudiesarenotmentionedbyHowat.Theirsignificant
impactonRavel’spianismishighlightedinChapter1ofthisdissertation.
RegardingmattersofperformancepracticeHowatarguesthatforDebussy,
Fauré,ChabrierandRaveloneshould‘readthemusic’snotationandstructureasthe
composersdidandwe’remorelikelytohearitastheyintended’.Hegoesontoadd:
Thecomposersdidalltheycouldtomakethemselvesclearonthepageand,asmuchasanymusic,thisrepertoiredemandsstraightforwardandunaffectedperformance,lettingitsemotionalfranknessandexpressivelogicspeakforthemselves.26
Howat’sstatementhasanairofliteralnessthatissomewhatdisconcertinginits
implicationthatbyreadingthescoreaninformedinterpretationwillemerge.The
currentstudychallengesthisassertionbycomparingthepublishedperforming
editionsofthesolopianoworkswithRavel’spianorollrecordingstoidentifythe
waysinwhichRavelmodifieshisinterpretationsinperformance.Ravel’sroll
recordingsareineffectcompleteuneditedtakes;thushisperformancescarry
elementsofspontaneityandunpredictabilitythatformanintegralpartoflive
performance.FurthercomparisonswithrecordedperformancesmadebyRavel’s
discipleslendweighttotheargumentthatRavel’swrittennotationisnottheendof
thematterandthatbycombininganalysisofthescoretogetherwiththesehistoric
recordingsitispossibletogainfurtherclarityonRavel’sthoughtsregarding
performancepracticesinhissolopianoworks.ThatRavel’sperformancestogether
withthoseofhisdisciplesleantowardbeingeloquentandemotionalasopposedto
frankandlogicalwillbearguedwithinthisdissertation.
HowatdoesdiscussRavel’srollrecordingsinanappendixandexplores
aspectsofpianisticperformancepracticesuchaspedalling,fingertechniques,and
26Ibid.,Introduction,p.xiv.
16
thesimulationoforchestralsonoritiesinconjunctionwithsolopianoworksthat
Ravelsubsequentlyorchestrated,suchasthe‘Prélude’,Forlane’,‘Rigaudon’and
‘Menuet’fromLeTombeaudeCouperin.Howeverheacknowledgesinhis
Introductionthathedoesnotattempttoplaytheroleofaninterpretiveguru:
Finallythebookventuressomepracticalinformationatthekeyboard.Withoutspoon-feedingtheaimistohelpthereadersfindtheirowninformedsolutions,addressingquestionsthatregularlyariseinlessonsandclasses.
Ravel’sroleincounsellingotherpianistsontheperformanceofhispiano
musichasbeenpreservedinseveralshortmonographs.Themostauthoritativeof
thesecomefromHenrietteFaureinMonMaîtreMauriceRavel(1978)27andVlado
PerlemuterinRaveld’aprèsRavel(1957).28BothpianistsstudiedRavel’spiano
workswiththecomposerduringthe1920s,andwereamongtheearliestpianiststo
performallthepianoworksinconcert.Faureisparticularlyperceptiveregarding
Ravel’smethodologyduringthesecoachingsessions:
[...]hewantedresultsimmediatelyandnotoneofthedetailswaslefttochance.Hewasquickandnervousinhismovementsandinhisplaying.Herarelywroteanythinginthescorebutheoftendemonstratedandprojectedhisthoughtsinamostpersuasivemanner.29
PianistPaulRobertsinhisrecentbookReflections:thePianoMusicofMaurice
Ravel(2012),30hailsFaure’smonographasthemostreliableprimarysourcefor
studyingperformancepracticesinRavel’spianomusicbutmakesaglaringerrorin
failingtoincorporateher1959recordingofMiroirsandLeTombeaudeCouperininto
hisdiscussionsonstyleandpractice.Therearecursoryreferencestokey
27HenrietteFaure,MonMaîtreMauriceRavel(Paris:A.T.P.,1978).
28PerlemuterandJourdan-Morhange,Raveld’aprèsRavel(1957;5/1970).Augmentedre-edition:Raveld’aprèsRavel,suividesrencontresavecVladoPerlemuter,ed.JeanRoy(1989).Englishedition:RavelaccordingtoRavel.Englishtrans.Tanner,ed.Taylor(1990).29‘Maisilvoulaitlaréalisationimmédiatejusquedanslesmoindresdétailsetpasundeces détailsn’étaitlaisséauhasard.Ilétaitnerveuxetrapidedanssesdéplacementsetdanssonjeu.Ilannotaitrarement,maisilmontraitbeaucoupetilparaitsamusiqued’unemanièretrèspersuasive’.Faure,MonMaîtreMauriceRavel,p.25.30PaulRoberts,Reflections:ThePianoMusicofMauriceRavel(Milwaukee:AmadeusPress,2012).
17
interpretersofRavel’spianomusicincludingVladoPerlemuter,RobertCasadesus,
JacquesFévrierandYvonneLeféburebutagainnomentionoftheirrecordings.
VladoPerlemuter’srecollectionsarepresentedinconversationformatwith
theviolinistandclosefriendofRavel,HélèneJourdan-Morhange.Heshedsmuch
lightonRavel’sexactingapproachtorhythm,tempo,voicing,dynamics,sonorityand
pianistic/orchestralcolourinhispianoworkswithspecificreferencetotheValses
noblesetsentimentales.ThecurrentstudyappraisesthevalidityofbothFaureand
Perlemuter’swrittencommentariesbycomparingthemwiththeirrecorded
performancesoftheValsesnoblesetsentimentalesinChapter3andLeTombeaude
CouperininChapter4.
DeanElder’scompendiumPianistsatPlay(1985)31andCarolaGrindea:Great
PianistsandPedagogues(2007)32containseveralinterviewswithRobertandGaby
CasadesuswhocollaboratedwithRavelontheconcertplatformandintherecording
studio.YvonneLefébure’sthoughtsoninterpretingRavel’spianomusicare
documentedinYvetteCarbou’sLaleçondemusique(1995)33andintelevised
masterclassesandperformanceswhereLefébure’sconsummategraspofRavel’s
pianisticlanguagecomesaliveinherdemonstrationsofvariouspianotechniques
includingarticulation,pedallingandtheevocationoforchestralsonorities.34
MargueriteLong,whogavethepremieresofLeTombeaudeCouperinin1919
andtheConcertoinGin1932,setdownherinterpretiveviewsonRavel’spiano
musicinamonographentitledAupianoavecMauriceRavel,35aslimvolume
31DeanElder,PianistsatPlay(London:Kahn&Averill,1986).32CaroleGrindea,GreatPianistsandPedagoguesinConversation(London:Kahn&Averill,2007).33YvetteCarbou,Laleçondemusiqued’YvonneLefébure(Paris:VanderVelde,1995).34YvonneLefébure,televisiondocumentary:‘YvonneLefébureteacheshowtoplayRavel’(StGermain,1974),www.youtube.com/watch?v=L06_enYnmBE.(Accessed22October2012).35MargueriteLong,AupianoavecMauriceRavel,editedbyPierreLaumonier(Paris:Julliard,1971).Englishedition:AtthepianowithMauriceRavel,trans.OliveSenior-Ellis(London:Dent,1973).
18
dismissedbyRonaldWoodleyinTheCambridgeCompaniontoRavelas‘acuriously
annoying,self-servingbookwhichdeliverssomuchlessthanitstitlepromises’.36It
ishardtodisagreewiththisstatementgiventhatLongoverstatesherrelationship
withRavelandherobservationslackfocuswhenanalysingthepianoworks.Despite
herreputationasasuperlativetechnicianLong’spedagogicalpublications,including
hertechnicaltreatise,LePiano(1959)37containfewpearlsofwisdomonhowto
approachRavel’sinnovativepianotechniques.Consequentlythisstudylooksnotto
Long’swrittencommentariesforevidenceofherpivotalroleindefiningearly
performancepracticetechniquesinRavel’sLeTombeaudeCouperinbuttothe
recordedperformancesofherstudents,includingMarcelleMeyer,YvonneLefébure,
HenrietteFaure,JacquesFévrierandSamsonFrançois.
JeanneThieffry’stranscriptsofAlfredCortot’smasterclassesattheÉcole
NormaledeMusique,reproducedinAlfredCortot:coursd’interprétationrecueilliet
rédigéparJeanneThieffry(1934),providedetailedcommentariesonCortot’s
interpretiveguidancewhencoachingRavel’spianoworks.38Cortothimselfalso
discussesthepianomusicofRavelinthesecondvolumeofafour-volumeseriesof
bookscalledFrenchPianoMusic(1930).39Hiscommentsarealmostpoeticin
nuance,clothedinalanguagethatinspiredandempoweredhisstudentstodiscover
themusicforthemselves,albeitcoupledwiththoroughanalyticalknowledgeofthe
pianopieceunderstudy.40TheheuristicqualitythatCortotencouragedthroughhis
teachingisaddressedinaninvestigationoftherecordedperformancesofRavel’sLe36Woodley,inMawer(ed.),TheCambridgeCompaniontoRavel,pp.213-39.37Paris:Salabert,1959.38JeanneThieffry(ed.):AlfredCortot:coursd’interprétationrecueillietrédigéparJeanneThieffry(Paris:Legouix,1934).Englishedition:AlfredCortot’sStudiesinMusicalInterpretation,trans.RobertJaques(London:Harrap,1937,reprinted1989). 39AlfredCortot,Lamusiquefrançaisedepiano(Paris:Rieder,1930).40KennethHamiltondescribesCortotasa‘Frenchlate-Romanticplayer’inKennethHamilton,AftertheGoldenAge:RomanticPianismandModernPerformance(Oxford:OxfordUniversityPress,2008),p.12.
19
TombeaudeCouperinbyseveralofhisstudents,includingVladoPerlemuter,
MarcelleMeyer,YvonneLefébureandSamsonFrançois.
Finally,theextenttowhichtheseopposingteachingmethodologies-Long’s
classicalobjectivityversusCortot’sromanticsubjectivity-underpintherecorded
performancesofLeTombeaudeCouperinbythepianistswhostudiedwithbothof
them,namelyMarcelleMeyer,YvonneLefébure,andSamsonFrançois,isassessed.
Supplementarydocumentationincludingletters,draftsofpedagogicalpapers,
concertprogrammes,articlesandreviewsfromjournalsandnewspapershavebeen
sourcedfromtheFondsLongandCortotattheMediathèqueMusicaleMahler.
RonaldWoodley’sthought-provokingchapterinTheCambridgeCompanionto
Ravel(2000)‘PerformingRavel:styleandpracticeintheearlyrecordings’,
investigatesRavel’suseofagogicstresses,dislocationandarpeggiationinhispiano
rollrecordingsoftheSonatineandValsesnoblesetsentimentales.41Woodley
comparesRavel’sstylisticpracticestothoseadoptedbytwoofthelatter’sdisciples,
RobertCasadesusandVladoPerlemuterintheirrecordedperformancesofa
selectionofRavel’spianoworks.However,thescopeofWoodley’sstudydoesnot
extendtopianisticissuessuchaswhattechniquestheyemploy,howtheyexplore
pianisticsonority,nuanceandexpressionandultimately,whatdotheirrecorded
interpretationstellusaboutstylisticpracticesthatgobeyondRavel’swritten
notation.Thesearequestionsthatthecurrentstudyaddressesbyexaminingone
workfromeachofRavel’spianorollrecordingsessions(Valsesnobleset
sentimentalesfrom1913,‘Oiseauxtristes’from1922,and‘Lavalléedescloches’
from1928),alongsiderecordingsbyCasadesus,Perlemuterandtwoother
beneficiariesofRavel’scounsel,HenrietteFaureandYvonneLefébure.
41Woodley,inMawer(ed.),TheCambridgeCompaniontoRavel,pp.213-37.
20
Withregardtoperformancepracticeliterature,RobertPhilip’sground-
breakingstudyEarlyRecordingsandMusicalStyle:ChangingTastesinInstrumental
Performance,1900-1950(1992)42focussesonfeaturesofperformancethathave
undergonethegreatestchangeduringthefirsthalfofthetwentiethcentury,orinhis
words‘thehabitswhichmaketheperformancesonearlyrecordingssoundmostold-
fashionedtoamodernlistener’.43Hisinvestigationsexploremodificationsintempo,
theapplicationofrubatoandtheuseofportamentoandvibratobyviolinistswithin
thecontextofnineteenth-centuryromanticrepertoire.Philipbroadenshisfieldof
explorationtoincludepianisticperformancepracticesinafollow-upvolume,
PerformingMusicintheAgeofRecording(2004).44Headdressesthetwentieth
centuryatlarge,includingthemovetowardsamoreliteralreadingofthe
composer’stextandanemphasisontechnicalaccuracythatsawareductioninthe
freedomofinterpretationthathadcharacterizedtheperformancesofthefirsthalfof
thecentury.PhilipcitesthepianismofArturRubinsteinandVladimirHorowitzas
casestudiesbuthedoesnotextendhisinvestigationstoearlytwentieth-century
Frenchpianomusic.
JohnRinkinThePracticeofPerformance:StudiesinMusicalInterpretation
(1995)andMusicalPerformance:AGuidetoUnderstanding(2002)45makesastrong
caseforthestudyofrecordedperformancesthat‘addfeaturesneverfullynotatedin
anyscore-myriadnuancesofarticulation,timbre,dynamics,vibrato,pitch,duration
42RobertPhilip,EarlyRecordingsandMusicalStyle:ChangingTastesinInstrumentalPerformance,1900-1950(Cambridge:CambridgeUniversityPress,1992).43Ibid.,p.2.44RobertPhilip,PerformingMusicintheAgeofRecording(NewHavenandLondon:YaleUniversityPress,2004).45JohnRink(ed.),ThePracticeofPerformance:StudiesinMusicalInterpretation(Cambridge:CambridgeUniversityPress,1995).JohnRink(ed.),MusicalPerformance:AGuidetoUnderstanding,(Cambridge:CambridgeUniversityPress,2002).
21
etc’.46FurtherpioneeringresearchconductedattheCentrefortheHistoryand
AnalysisofRecordedMusic(CHARM)andparticularlyDanielLeech-Wilkinson’s
onlinestudyTheChangingSoundofMusic:ApproachestoStudyingRecordedMusical
Performances(2012)underlinestheneedformusicologytoembracetheanalysisof
performancesthroughhistoricrecordingsandmakesthecasefor‘studyingmusic
fromperformancesratherthanfromthescores’.47Leech-Wilkinsonprovidesan
extensivehistoryofrecordingtechniquesfromtheiroriginstothepresentdayin
Chapter3‘UnderstandingtheSources:PerformanceandRecording’.InChapter6,
‘ChangingPerformanceStyles:PianoPlaying’,hetracesthedevelopmentof
expressivepracticesincludinglegatoplaying,theuseofrubatoandtheprojectionof
thematicmaterial(voicing)inthepianoworksofFrédéricChopin,RobertSchumann
andJohannesBrahms.Hiscasestudiesincorporateawideselectionofrecordings
fromacrossthetwentiethcentury,embracingseveralEuropeanschoolsofpianism
includingClaraSchumann’sstudents(FannyDavies,IlonaEibenschützandAdelina
deLara),BennoMoiseiwitsch,VladimirAshkenazy,AlfredCortot,VladoPerlemuter
andJean-MarcLuisada.Leech-Wilkinson’sfocuslieswith‘thesoundtheperformers
make’asopposedto‘whattheydowiththeirhandsandfeettomakethosesounds’.
Byhisownadmissionhedoesnotexploretechniqueassuch,whichheacknowledges
‘isperhapsthemostimportantelementinthewholeprocess,sinceitmakes
everythingelsepossible’.48Thecurrentstudytakesupthegauntletbyaddressing
thewaysinwhichRavel’sstartlinglyoriginalpianistictechniqueswereunderstood
46Rink,ThePracticeofPerformance:StudiesinMusicalInterpretation,p.199.47DanielLeech-Wilkinson,TheChangingSoundofMusic:ApproachestoStudyingRecordedMusicalPerformances(OnlineStudy:CentrefortheHistoryandAnalysisofRecordedMusic,2012).http://www.charm.kcl.ac.uk/studies/chapters/chap1.html.Section43.48Ibid.,section46.
22
andrealizedinthehistoricrecordedperformancesbyRavelhimself,hisdisciples
andotherFrenchpianists.
Theauthorofthisdissertationdrawsonextensiveexperienceofstudyingand
performingthecompletepianoworksofMauriceRavel.Hispedagogicalgenealogy
traceslinesofapostolicsuccessiontoCécileOusset(astudentofMarcelCiampiand
thusLouisDiémer),PhyllisSellick(astudentofIsidorPhilipp,andthusGeorges
MathiasandCamilleSaint-Saëns),NorettaConci(astudentofArturoBenedetti
MichelangeliandYvonneLefébure),andBerniceLehmann(astudentofBenno
Moiseiwitschwhowasoneoftheearliestnon-FrenchpianiststorecordRavel’sJeux
d’eauc.1919).During2013-2014theauthorwasgivenaccesstoRavel’s1908Érard
grandpianoattheMuséeMauriceRavel(LaBelvédère)atMontfortl’Amaury
allowinghimtoexploreaspectsofpianismsuchastouch,sonority,repetition,
voicinganddynamiccolourswithinRavel’ssolopianoworksasRavelhimselfwould
haveexperiencedthem.
Ravel’spianoworksexistinseveralpublishedperformanceeditions.This
studyhasbeenconductedusingthemostthoroughandscholarlyofthese,thecritical
UrtextEditionpreparedbyRogerNichols,49togetherwiththeearliestpublished
editionsbyDurand.50Ravel’sorchestrationsoftheValsesnoblesetsentimentalesand
the‘Prélude’,‘Forlane’,‘Rigaudon’and‘Menuet’fromLeTombeaudeCouperinhave
beencross-referencedwiththesolopianoversionsoftheseworks.51
OthersolopianoscoresthathavebeenconsultedincludeRavel’sownprinted
copieswithautographcorrectionsofthefirsteditionbyDurandheldatthe
49London:Peters,1991-2014.50MauriceRavel:Œuvrespourpiano,reprintoforiginaleditions(Paris:Durand,2014).51Valsesnoblesetsentimentales(Durand,1912)andLeTombeaudeCouperin(Paris:Durand,1919).Reprinted(NewYork:Dover2001).
23
DépartementdemusiqueoftheBibliothèqueNationaledeFrance.52Additionallythe
workingscoresofpianistswhostudiedwithRavel,namelyVladoPerlemuter53and
RobertCasadesus54(alsoaccessedthroughtheDépartementdemusiqueofthe
BibliothèquenationaledeFrance),havebeenscrutinizedalongsidethescoresof
notedpedagogueswhoworkedcloselywiththecomposerandhelpedtoshapea
performancetraditionforthesolopianoworks.MargueriteLong’sarchiveatthe
MediathèqueMusicaleMahler(MMM)containsherworkingscoresofLeTombeaude
CouperinandtheConcertoinG.55AlfredCortot’sarchive,alsoattheMMM,holdshis
scoresof‘Alboradadelgracioso’,‘Ondine’,‘Scarbo’,Valsesnoblesetsentimentalesand
LeTombeaudeCouperin.
Ravel’srollrecordingsoftheValsesnoblesetsentimentales,56‘Oiseauxtristes’
fromMiroirs,57and‘Lavalléedescloches’fromMiroirs58havebeeninvestigated
usingfourrealizations:anLPrecordingtitled‘MauriceRavelplaysRavel’,59twoCD
releases,theCondonCollection,60andtheCaswellCollectionvol.4,61andaprivate
CDproducedbyDenisHallandRexLawsonatthePianolaInstitute.62Therecordings
ofaselectionofRavel’ssolopianoworksbyMadeleinedeValamalète,63Robert
52PavanepouruneInfantedéfunte(Vm.Bob21893),Jeuxd’eau(manuscriptjottingsonly:Vm.Bob26628/IFN55006420),Sonatine(IFN8478966),‘Unebarquesurl’océan’(MS.13453/17328),‘Alboradadelgracioso’(Vm.Bob5902),‘Lavalléedescloches’(Vm.Bob-17682),Miroirs(Vma.2967),Miroirs(EditionbyE.Demets,1906,Vm.Bob-300001),Valsesnoblesetsentimentales(Vm.Bob21899)andGasparddelanuit(Vm.Bob-21897).53Miroirs(EditionDemets,1906,IFN-55000847),Gasparddelanuit(EditionDurand,1909,IFN55000856),Valsesnoblesetsentimentales(EditionDurand,1911,IFN55000846)andLeTombeaudeCouperin(EditionDurand,1919,IFN55000857).54Miroirs(NewYork:SchirmerGreatPerformanceEdition1586/3360(1985).55Paris:Durand,1932.56Welte,RollNo.C2888,1913.57Duo-Art,RollNo.082,1922.58Duo-Art,Rollno.72750,1928.59LP:Ember:GVC39,1975.CDreissue2009.60CD:DalSegnoDSPRCD004,1992.61CD:Pierian0013,2002.62TheauthoracquiredthisCDatthePianolaInstitute,Bromley,inFebruary282017.63CD:Arbiter144,2005[Originalrecording1928].
24
Casadesus,64MarcelleMeyer,65VladoPerlemuter,66HenrietteFaure,67Samson
François,68JacquesFévrier,69andYvonneLefébure70havebeenanalysedfor
evidenceoftheirperformancepractices.
Thisdiversebodyofprimaryandsecondaryliteraturehasprovidedmuch
insightfulscholarshiprelatingtoRavel’spianism.Neverthelessithasalso
highlightedareasofRavel’spianisticactivitythathavenotbeenaddressedbyRavel
scholarshiptodate.Ravel’searlyphysicalinvolvementwiththepiano,hispianistic
training,theteachersthatshapedhispianism,andmostimportantlyhowRavel’s
novelapproachtotechniqueandinnovativegraspofcolourandsonorityacquired
duringthoseearlyyearsmorphedintothescintillatingmulti-layeredtexturesthat
definehissolopianoworks,areaddressedforthefirsttimeinthisstudy.Thesolo
pianorepertoireRavelstudiedandperformediscross-referencedwithhisown
pianocompositions,revealingmanylinksthatwereunacknowledgedinprevious
Ravelscholarship.Ravel’s‘stranglerthumbs’havebeenreferencedbymany
musicologistsandperformersbutthisstudychartsnewterritorywithadetailed
analysisofaselectionofthesolopianoworkstorevealtheoverridingresponsibility
Ravelassignstohisthumbsinunderpinningfingeringpermutationsandarticulating
thematicmaterial.
Ravel’srollrecordingshavebeenthebuttofmanyjibesduechieflyto
imperfectionsinthetransferprocessfromtherollrecordingstoLPsanddiscs.
64LP:SonyMasterworksMH2K63316,December41951(issued1952),CDreissue,Sony,1998.65LP:EMIRéferences,2909633,1954.CDreissue,EMIFrance0946384699-2-6,2007.66LP:VoxLegendsVoxBoxCDX25507,1999[Originalrecording,1956].67LP:Pathé,XPTX71433DTX292,1959.CDreissue,BnFCollection[nocataloguenumber],2014.68LP:CVC2054-6IME-PathéMarconi,1957/58.LP,EMIFrance,1967.CD,EMI,2002.CDincludingthePianoConcerti,WarnerClassics5099967831,2012.69LP:L’oeuvreintégralepourpiano,Adès7041-4,recordedin1971,releasedin1987.70CD:FYCD018,recordedin1975,releasedin1986.
25
ThankstorecentimprovedremasteringsbyDenisCondon,KenCaswell,andDenis
HallitisnowpossibletoappreciatethemeritsofRavel’sperformancesand
particularlyhispersonalapproachtopianisticsonority,nuanceandexpression.
OncemorethespotlightisfocussedonRavel’sphysicalconnectionwiththepiano,
hismanipulationofthekeysandhismouldingoftexturesandsonorities.HowRavel
conveyedthesetechniquesandideastootherpianistsisexaminedinacomparative
analysisoftherollrecordingswithrecordingsmadebythepianistswhomRavel
coached.TheimpactofRavel’spianisticstyleofcompositiononFrenchpianism
duringthetwentiethcenturyisevaluatedinanextendedanalysisoftechnicaland
interpretivepracticesintherecordedperformancesofseveralrenownedFrench
pianists.
26
Chapter1
TheOriginsofRavel’sPianism
MauriceRavel’soriginalcompositionsforsolopianobarelyfilltwocompactdiscsand
yetthelong-termimpactofthisconcentratedandexquisitelyhonedcorpusofworks
upontwentieth-centurypianismwasimmeasurable.Thesheerscaleoftechnicaland
compositionalinnovationthatRavelbroughttoeachsuccessivepiecewasamarkof
hisprodigiousknowledgeofthepiano’scapabilities.HowRavelacquiredthis
informationisinvestigatedwithinthisopeningchapterwhichtakesitsstartingpoint
fromRavel’sownmethodologyasrecordedbyhisbiographerAlexisRoland-Manuel:
Chooseamodel;imitatehim.Ifyouhavenothingtosay,allyoucandoiscopy.Ifyouhavegotsomethingtosay,yourpersonalitywillappearatitsbestinyourunconsciousinfidelity.1
ThatRavel’spersonalityshonethroughfromanearlyageisevidentfromAlfred
Cortot’srecollectionsofhimattheParisConservatoire:
Ravel’sfirstessaysincompositionforthepianodatefromhisstudentdays.Hisfellowstudents,ofwhomIwasone,soondiscoveredthesignsofanuncommonlystronglymarkedmusicaltalentinthisslightlybantering,intellectualandsomewhatdistantyoungman,whoreadMallarméandvisitedErikSatie.Andifweallowedourselvessomereservationswithregardtohisabilitiesasavirtuoso,wewerealwaysdelighted,betweentwolessons,toplaytooneanotherafewmeasuresofhighlyaudaciousmusic,aboutwhichwealwaysagreedononepointatleast–theymusthavebeentakenfromoneofRavel’slatestcompositions.2
1Roland-Manuel,[Àlagloirede]Ravel(Paris:EditionsdelaNouvelleRevueCritique,1938).Englishtrans.CynthiaJolly(London:Dobson,1947),p.134.2‘SespremiersessaispianistiquesdatentdutempsdesesétudesauConservatoire.Sescondisciples,dontj’étais,n’avaientpastardéàdiscernerchezcejeunehommevolontiersnarquois,raisonneur,etquelquepeudistant,quilisaitMallarméetfréquentaitErikSatie,lessignesd’unepersonnalitémusicalesingulièrementaccentuée.Etsinousnouspermettionsquelquesréservessurlesaptitudesàlavirtuositéinstrumentale,nousnousdélectionsparcontre,entredeuxcours,ànouscommuniquerquelquesmesuresexceptionnellementaudacieusesdontilétaittoujoursconvenuqu’ellesprovenaientdeladernièrecompositiondeRavel’.AlfredCortot,Lamusiquefrançaisedupiano,DeuxièmeSérie(Paris:Rieder,1932),pp.22-23.
27
LikewisetheCatalanpianistRicardoViñes,whometRavelforthefirsttimein
October1888attheCoursSchaller,3alludestothemystiquethatRavelseemsto
havecultivatedbetweentheagesoffourteenandtwenty:
[…]hewasbynatureabeingofcomplexanddeepemotions,whoasheleftadolescence,trainedhimselftobemoresociable,simpleanddirect,andtohidethecomplexitiesofhischaracterbeneathanappearanceofwhimsicalgoodhumour.4
AtthistimeRavelwasafull-timestudentattheParisConservatoire,takingpiano
lessonsinitiallyinthepreparatorypianoclasswithEugène-Jean-BaptisteAnthîome
from1889to1891andsubsequentlyintheadvancedclasswithCharles-Wilfridde
Bériotfrom1891to1895.Hisfirstacknowledgedworkforsolopiano,theSérénade
grotesque,datesfrom1893(althoughitwasnotpublisheduntil1975),andreflects
Cortot’sdescriptionofhispianisticstyleofcompositionasbeing‘highlyaudacious’.
Viñes’referencetoRavelbeing‘athismostnatural’duringtheseyearswouldseemto
suggestthathewasalsoathismostreceptivetoallthemusicalinfluencesaroundhim.
ThusRavel’sopennessofspirit,hiswillingnesstoengagewiththemusicofothersand
tolearnbyexamplewithoutreplicatingexactlythecompositionalformulaeand
pianisticpracticesofcomposerspastandpresent,musthavebeeninformedtoalarge
degreethroughhisinteractionwiththepianoandspecificallytheworkshestudied
andperformedasastudent.
ThischapterconstitutesthefirstdetailedinvestigationofRavel’spianistic
studiesbeginningwithhisearliestlessonswithHenriGhysin1882fromtheageof
sevenandendingwithhislastrecordedlessonswithSantiagoRierain1897.The
diversebodyofmusicwhichinformedRavel’stechnicalandinterpretiveknowledgeof
3NinaGubisch-Viñes,thegreatnieceofRicardoViñes,statesthatViñeswenttotheCoursSchallerforthefirsttimewithEnriqueGranadoson18October1888andattendedhisfirstcourseonthe29October,whereheprobablymetRavel.Larencontre:lesprémicesd’uneamitié.CahiersMauriceRavel,No.14(Paris:Séguier,2011),pp.16-42.4RogerNichols,Ravel(NewHavenandLondon:YaleUniversityPress,2011),p.14.
28
thepianoduringthisperiod,rangingfromexercisemethods,teachingmanuals,solo
andconcertorepertoirewillbescrutinisedtoascertaintheinfluencestheybroughtto
bearuponRavel’scompositionalstyleinhissoloandconcertanteworks.Hisown
pianisticabilities,oftenderidedinthepublishedliteratureonRavel,areflaggedup
herewithanexaminationoftheadvancedtechnicalandinterpretiveskillsheacquired
throughthestudyofsubstantialnineteenth-centurypianorepertorytoshedfurther
lightonthescintillatingpianismthatemergesfromhissolopianoworks.
Pre-ConservatoirePianoStudies:HenriGhys(1882-88)
Ravel’searliestpianostudiesbeganattheageofsevenunderthetutelageofpianist-
composerHenriGhys(1839-1908)whowasaclosefriendofEmmanuelChabrier.
JudgingfromacommentrecordedbyGhysinhisdiaryfollowingRavel’sfirstlesson
on31May1882,itwasanauspiciousstart:‘TodayIbegantoteachayoungpupil
MauriceRavelwhoappearstobebright’.5ThreemonthslaterGhysrewardedRavel
bypresentinghimwithafour-handarrangementoftheAirduRoyLouisXIII
‘arrangedspeciallyforhisyoungpupilMauriceRavelbyhisteacherHenriGhys’.6
ThepiecetakestheformofadacapoairinCmajorwithacentraltriosectioninF
major.Teacherandpupilrolesareclearlydefinedinthatthesecondopartcarries
thelion’sshareofmaterialincludinginterpretiveinstructions(unacordaand
sustainingpedalmarks,spreadchords,variationsintheaccompanimentalpatterns)
whilstthesimplertreblepart,presumablyplayedbytheyoungRavel,carriesthe
melodiclinewithbothhandsinunisonforthemostpart.Addedacciaccaturasand
5‘Jecommenceaujourd’huiunpetitélèveMauriceRavelquimeparaîtintelligent’.JeanRoy,Chronologie,CahiersMauriceRavel,Volume1(1985),p.10.6‘[…]transcritexpressémentpoursonpetitélèveMauriceRavelparsonprofesseurHenriGhys’.ThemanuscriptscoreconsistsofninepagesandisdatedAugust301882.BibliothèquenationaledeFrance.ResVMAMS-1067.
29
changesinregisterprovidesometechnicalchallengesanddynamicgradationsrange
betweenppandf.
RavelkeptascoreoftheAirinhismusiclibraryathishome,LeBelvédère,in
Montfortl’Amaury,togetherwithtwoothercompositionsbyGhys,theRedowa
fantaisisteinFmajor7andtheDouzePréludes.8Theformerderivesitstitlefroma
Czechrounddancefeaturingwaltzsteps.Bothmelodyandharmonyaredominated
bychromaticinflexionsandsighingappoggiaturas.Ghysadoptsasimilarstyleinthe
DouzePréludes,whichoweagreatdealtothecharacterpiecesofRobertSchumann.
Ravel’scopiesofthesethreeworksbearlittleevidenceofuse,andthereisnorecord
ofRavel’sthoughtsregardinghisearlystudieswithGhys.However,whatisclearis
thatwithGhys’encouragementandguidance,Ravelbeganexploringawiderangeof
musicinpianoduetandtwo-pianoarrangementsfromtheageofsevenonwards,an
activitythatwouldremaincentraltohisworkasacomposer.Sevenyearson,in
November1889,Ravelwouldtakethispursuittoanotherlevelasamomentous
meetingwithRicardoViñes(bothboyswerefourteen)attheCoursSchallerpiano
classesallowedthemtoindulgetheirmutualpassionfornewmusicwithregular
pianoduetsessionsatwhichtheyplayedthroughworksbytheRussian‘Five’,and
non-EstablishmentfiguresincludingErikSatieandEmmanuelChabrier.Ghys’close
associationwithChabrier,whowouldlaterexertapowerfulinfluenceonRavel’s
composingstyleforthepiano,probablypavedthewayforRavelandViñestogivea
privateperformanceoftheTroisvalsesromantiquesforChabrierinFebruary1893.
Ghys’predilectionforthemusicofRobertSchumannseemsalsotohaveleft
itsmarkonRavel.OnFebruary151892,Ravel,agedseventeen,participatedinan
7Paris:Lemoine,1886.8Brussels:Breitkopf,1891.
30
all-SchumannprogrammeattheSalleÉrard,whenheperformedtheAndanteand
VariationsOp.46fortwopianoswithGhys.Thebreadthofcompositionaland
pianistictechniquesexploredbySchumannintheAndanteandVariationsprovideda
wealthofsourcematerialfortheyouthfulRavel.Boththemelodicandharmonic
languagesarecharacterizedbyappoggiaturasandsinuouschromaticisms,including
somedeliciousminorsecondclashes,whiletheensuingvariationsdevelopthe
themewithinavarietyofaccompanimentaltextures,moodsandarticulations.
Midwaythroughthework,Schumanncaststhethemeinapatternthatalternates
thumbsanddyads(Example1.1a),aconfigurationthatRavelalsoadoptsatthe
beginningof‘Noctuelles’fromMiroirs(Example1.1b).Thelatterisoftenlinkedtoa
similarlayoutemployedbyMiliBalakirevintheopeningsectionofhisOriental
fantasyIslamey(Example1.1c)9althoughthereisnoextantevidencetosuggestthat
Ravelplayedthispiecetoperformancestandard,unlikeSchumann’sOp.46.
Example1.1
a)Schumann:AndanteandVariationsOp.46,bars156-158
9RoyHowat,TheArtofFrenchPianoMusic(NewHavenandLondon:YaleUniversityPress,2009),p.131.
31
b)Ravel:Miroirs(1905),‘Noctuelles’,bars1-2
c)Balakirev:Islamey(1869),bars13-14(righthand)
Ravel’sphysicalconnectivitywithSchumann’spianismisunderlinedinthefollowing
observationbyhisformercompositionstudentManuelRosenthal:‘Ravelconstantly
returnedtotheprofoundhumanityofSchumann’smusicandparticularlytohis
innumerablepianisticinnovations’.10RoyHowatdescribesSchumann’seffectupon
Frenchmusicas‘immeasurable’citinghisinfluenceonDebussy,Fauré,Chabrier,and
RavelplushisaesthetickinshipwiththeFrenchclavecinistesinthetendernessofhis
language.11EquallyforthepianistYvonneLoriod(1924-2010)thetransferenceof
techniquesandinterpretiveideasbetweenSchumannandtwentieth-centuryFrench
pianismunderpinnedherpedagogicalphilosophy,whichshepassedonto
generationsofstudentsattheParisConservatoire:
Donotdepriveyourself.BecausewhenyouplaySchumannwell,youlearntoplayMozart,too.WhenyouplayBoulezwellyoufindfingeringstoplaySchumann.Everythingfits
10‘SanscesseRavelrevenaitsurlaprofondehumanitédelamusiquedeSchumannetpartoutlesinnombrablestrouvaillespianistiques’.MarcelMarnat(ed.),Ravel:SouvenirsdeManuelRosenthalrecueillisparMarcelMarnat(Paris:Hazan,1995),introduction.11Howat,TheArtofFrenchPianoMusic,p.159.
32
together.Theroleofaninterpreterisnottospecialize.Butyoumustdelivertheworkstothepublic.Thepublicchoosesafterwards.12
Pre-ConservatoirePianoStudies:ÉmileDescombes(1888-89)
Ravelseemstohaveshownconsiderabletalentandprogressduringhisstudieswith
Ghystotheextentthatplanswereputinplaceforhimtosittheentrance
examinationtotheParisConservatoire.ForthismorespecialisedpreparationGhys
passedhisyoungstudenttoÉmileDescombes(1829-1912),whotaughta
preparatorypianoclassattheParisConservatoireandwhosefameasateacher
restedprincipallyuponhisclaimtobeadiscipleofChopin.However,asJames
Methuen-CampbellstatesinTheCambridgeCompaniontoChopin(1992):‘[…]in
termsofactuallypassingon[Chopin’s]preceptsofinterpretationtofuture
generations,therewereonlytwo[…]pupilswhocanberegardedashavinganylong
termimpact:KarlMikuliandGeorgesMathias(Ravel’sstudiesofMathias’Allegro
Symphoniquein1895willbediscussedinduecoursewithinthischapter).13
Methuen-CampbellexercisesadegreeofcautioninreferringtoDescombesas
‘possiblyhavingpassedonaspectsoftheauthenticChopintradition’.14Nevertheless
Descombes’listofstudentsaroundthistimewasimpressiveincludingÉdouard
Risler(1873-1929),ReynaldoHahn(1874-1947),ErikSatie(1886-1925)and
arguablythemostnotableinterpreterofChopin’smusicduringthefirsthalfofthe
twentiethcentury,AlfredCortot(1877-1962).
12ChristopherDingle,‘YvonneLoriodasSourceandInfluence’,inChristopherDingleandRobertFallon(eds.),MessiaenPerspectives1:SourcesandInfluences,(Farnham:Ashgate,2013),pp.197-212.13JamesMethuen-Campbell,‘Chopininperformance’,inJimSamson(ed.),TheCambridgeCompaniontoChopin(Cambridge:CambridgeUniversityPress,1992),p.194.Surprisingly,Jean-JacquesEigeldinger’spioneeringsurveyofChopin’spianism,Chopinvuparsesélèves(Neuchâtel:Baconnière,1970)makesnoreferencetoDescombes.14Ibid.,p.195.
33
Ravel’sprogressasapianistbytheageofthirteencanbegaugedbyhis
participationinaconcertattheSalleÉrardon24June1888duringwhichtwenty-
fourofDescombes’pupilsperformedextractsfromdifferentpianoconcerti.For
Ravel,thiswashisfirstpublicperformance,andtheworkchosenforhimtoperform
wasIgnazMoscheles’PianoConcertoNo.3Op.58(1820).Itisnotknownwhich
movementorsectionoftheconcertoRavelactuallyplayed,althoughtheanswerto
thisconundrummaybefoundinDescombes’pedagogicalpublications,specifically
hiseditionsofconcertoextractsentitledtheÉcoledupiano:Premièressolos:extraits
desconcertosdesgrandsmaîtresrévusetdoigtésparE.D’.15Number49istakenfrom
Moscheles’Op.58wherethefirstmovementexpositionisreproducedexceptingthe
omissionofeightbarsofsoloandorchestralexchanges.Descombes’revisions
advocateleft-handadditionsandmanydynamicsuggestionsreflectingaromantic
approachtoperformancepracticethatseemsslightlyatoddswithMoscheles’
classicallyconceivedtexturesintheoriginalversion.Itishighlylikelythatitwasthis
extractthatRavelperformedinJune1888andaclearindicationoftheenormous
strideshehadmadeinacquiringafluidandsecurepianotechnique.
Moscheles’Op.58belongstoastyleofpianismthatwasalltherageduringthe
earlynineteenthcentury,theStilebrillante,wherevirtuosopianistssoughttodazzle
theiraudienceswithperformancesoftheirlatestcompositionsthatexploreda
wealthofpyrotechnicalskills.AfterthedeclamatoryopeningchordsMoscheles
introducesalyricalthemesupportedbyabasslineandinneraccompanimentof
extendedarpeggios.Hepilesonthetechnicalchallengeswithbrisksemiquaver
passageworkinvolvingchangingnotepatterns,alternatingchromaticscalepatterns
15Paris:LouisAlleton,1909.Theseriescomprisesapproximatelyfiftyconcertiintotal,includingworksbyMozart,Beethoven,Hummel,Dussek,Mendelssohn,CramerandWeber.
34
andScottishsnapfigurationsthatwerefashionableduringthisera.Ornamented
melodiesindoublethirds,repeatednotepassages,andfast-movingtwo-part
contrapuntaltexturesbetweenthehandsinparallelthirds,sixthsandcontrary
motioncompletethisbusyexposition.
TherecollectionsofoneofMoscheles’pianostudents,WilliamFrederick
Pecher,togetherwithjournalarticlesdescribingMoscheles’playingstyle,are
sourcedinMarkKroll’srecentbookIgnazMoschelesandtheChangingWorldof
MusicalEurope.16PecherstatesthatMoscheles’primarygoalwastomakethepiano
sing,thathewasheavilyinfluencedbythebelcantotraditionandthathewasa
masterofcontrapuntal(andspecificallyfugal)techniques.17Furthermore,anarticle
fromtheQuarterlyMusicalMagazineReview(1827)notedthe‘equalityandevenness
oftouch,whichfromtheextremeneatnessandclarityofarticulationthatitbestows,
isamongstMrMoscheles’greatestbeauties’.18Thesestatementsresonatetellingly
withqualitiesattributedtothepianismofSigismondThalberg(1812-1871)thatwill
bediscussedlaterinthischapterinrelationtohismostimportantstudent,Charles-
WilfriddeBériotwithwhomRavelcompletedhispianostudiesattheParis
Conservatoirebetween1891and1895.
IgnazMoscheles(1794-1870)undertookhisearlystudiesinPragueand
subsequentlytaughtinLondon,ViennaandLeipzig,yethisplayingstylereflectsan
aesthetickinshipwiththosetraitsassociatedwiththeFrenchschoolofpianismas
disseminatedthroughoutthenineteenthcenturyinthepedagogicalpracticesofLouis
Adam,FriedrichKalkbrenner,AntoineFrançoisMarmontelandLouisDiémeratthe
ParisConservatoire.ThusMoscheles’pianismcouldbesaidtoembraceseveral16MarkKroll,IgnazMoschelesandtheChangingWorldofMusicalEurope(Woodbridge:Boydell&Brewer,2014).17Ibid.,p.161.18Ibid.,p.184.
35
Europeanschoolsofpianism,afactcorroboratedbyhisco-authorshipofa
comprehensivestudyofearlynineteenth-centurypedagogicalpracticesentitled
MéthodedesMéthodes(1840)withcriticandmusicologistFrançois-JosephFétis
(1784-1871).19
Moscheles’pianisticstyleofcompositionasdemonstratedinOp.58providesa
foretasteofthevirtuosotechniquesdevelopedbycomposer-pianistsFranzLisztand
CamilleSaint-Saënsintheirlaterconcerti(thelatter’sSecondandFifthConcertiin
particular,dated1868and1896respectively).Thattheyinturnwereacknowledged
asmajorinfluencesonRavel’sstyleofpianism,whichincorporatesbrillianceand
virtuosityateveryturn,createsasignificantgenealogicallinkthatwillbeexplored
duringthischapter.
OtherareasinwhichMoschelesandRavel’spianisticchoicesoverlapinclude
theirenthusiasmforthekeyboardworksofDomenicoScarlattiandtheirpreference
forthepianosmadebySebastianÉrard.MoschelesincludedaselectionofScarlatti’s
sonatasinhispioneeringseriesof“historicalsoirées”heldforthefirsttimeatthe
HanoverSquareRoomsinFebruaryandMarch1837.20Inthisrespecthewasahead
ofhistime,notonlyinchampioningBaroquekeyboardworksbutalsoasoneofthe
firstpeopletoperformpubliclyontheharpsichordinEnglandsincetheeighteenth
centuryandtheoriginatorofthesolopianorecital,predatingLiszt’stwosolo
concertsatthesamevenueinJune1840that‘gavebirthtotheterm“recital”within
19François-JosephFétis&IganzMoscheles,Méthodedesméthodesdepiano(Paris:Schlesinger,1840).Englishédition(London:Chappell,1840).ThetreatisecomparestheteachingmethodsofLouisAdam,JohannBaptisteCramer,JohannNepomukHummel,FriedrichKalkbrennerandHenriHerzalongsideMuzioClementi,CarlCzerny,CarlPhilipEmmanuelBachandJanLadislavDussek.AdditionallyitreferencestheperformancestylesofseveralcelebratedpianistsincludingChopin,AdamHenselt,Kalkbrenner,Liszt,andThalberg.20Kroll,‘LeConcertc’estMoscheles:HistoricalSoiréesandtheInventionoftheSoloPianoRecital’,IgnazMoschelesandtheChangingWorldofMusicalEurope,‘LeConcert,c’estMoscheles’,pp.284-285.
36
musicalvocabulary’.21WiththeencouragementofFétis,Moschelesbeganto
incorporatethekeyboardworksoftheFrenchclavecinistes(includingJacques-
ChampiondeChambonnières,FrançoisCouperinandJean-PhilippeRameau)intohis
concertprogrammesfrom1838onwards.22
ThesignificantinfluenceofDomenicoScarlattionRavel’scomposingstylefor
thepianoisgivenaddedweightbyRoland-Manuel’sobservationthatduringhis
visitstoRavel’shomein1911:‘theonlyscoreIsawonthemusicstandwasthe
BreitkopfeditionofSixtySonatasbyScarlatti’.23Ravel’sexplorationofvirtuosic
techniquesinthepianoworksowesmuchtoScarlatti’sinventivenessinhis
keyboardsonatasthatincorporateswideleaps,handcrossings,countless
configurationsofchangingnotes,andquickchangesofregisterforcoloristiceffect.
OneneedonlyglanceatRavel’senergeticpianowritinginthesecondmovementof
thePianoTrio(1914)andthe‘Toccata’fromLeTombeaudeCouperin(1914-17)to
seesuchproceduresatwork.RogerNicholsreferstoRavel‘followinginthestepsof
DomenicoScarlattiturningthekeyboardinstrumentintoahugeguitarin“Alborada
delgracioso”’(1905)withhisstrummedchordsandbriskrepeatednotes.24Roy
HowattracesRavel’scompressionofsonataformintoabinarystructureinthe
FinaleofhisPianoConcertoinG(1929-31)andtheintegrationofdissonantnotes
intoconsonantchords,forexample,attheoutsetof‘Valse2’fromtheValsesnobles
etsentimentales(1911)tocorrespondingtechniquesemployedbyScarlattiinhis
keyboardsonatas.
21JanetRittermanandWilliamWeber,‘OriginsofthePianoRecitalinEngland1830-1870’,inThereseEllsworthandSusanWollenberg(eds.),ThePianoinNineteenthCenturyBritishCulture,Instruments,PerformersandRepertoire(Aldershot:Ashgate,2007),p.179.SeealsoKroll,IgnazMoschelesandtheChangingWorldofMusicalEurope,pp.284-5.22Ibid.,p.292.23Roland-Manuel,MauriceRavelparquelques-unsdesesfamiliers(Paris:ÉditionsduTambourinaire,1939).QuotedinRogerNichols(ed.),RavelRemembered(London:Faber,1987),p.141.24Nichols,Ravel,p.74.
37
Moscheles,accordingtohiswifeCharlotte,hadnothingbutpraiseforthe
Érardgrandpiano:‘[…]ithasthepowerofanorganandthesoftnessofaflute[…]
withatouchlightenougheventosatisfyme[…]Icanslowlyspinoutthetoneason
astringedinstrument’.25HisemphasisupontheÉrard’spotentialforevokingother
instrumentalsonoritiesstrikesachordwithRavel’sreferencestoorchestral
instrumentsthroughouthissolopianoworks.VladoPerlemuterrecallsRavelstating
hisintentionsregarding‘Scarbo’fromGasparddelanuit:‘Iwantedtomakean
orchestraltranscriptionforthepiano!’26EquallytheÉrard’slightnessoftouchas
highlightedbyMoscheles,facilitatedbythedoubleescapementactiondevelopedby
SebastianÉrardinthe1820s,wasaqualitythatRavelwouldlatertapintowhen
exploringrapidglissandiandrepeatednotetechniquesinworkssuchas‘Alborada
delgracioso’fromMiroirs,andthe‘Toccata’fromLeTombeaudeCouperin.The
presentwriterwasgivenaccesstoRavel’s1908Érardgrandpiano,attheMusée
MauriceRavelinMontfortl’Amaury,affordinghimuniqueinsightsintothepianistic
sonoritiesandcoloursthecomposerhimselfwouldhaveexperiencedashegavelife
tohissolopianoworks.Thesestudiesservedtounderlinetheeasewithwhich
Ravel’spianisticsoundworldemergesnaturallyfromtheÉrard’sstraight-strung
mechanismallowingforclarityofdefinitionwithineachregisterwhichinturn
extendsthepossibilitieswithregardtopedallingtechniques,includinghalf-
pedallingandvibratopedalling.
FortheentranceexaminationtotheParisConservatoireinNovember1889,
25CharlotteMoschelesed.,AusMoscheles’Leben-nachBriefenundTagebüchen,HerausgebegenvonSeinerFrau(Leipzig:Duncker&Humblot,1872-3).Englishtrans.A.D.Coleridge(NewYork:Holt,1879),Chapter23(1853).
26‘J’aivoulufaireunetranscriptiond’orchestreaupiano!’.VladoPerlemuterandHélèneJourdan-Morhange,Raveld’aprèsRavel(Lausanne:ÉditionsduCervin,1957;5/1970).Augmentedre-edition:Raveld’aprèsRavel,suividesRencontresavecVladoPerlemuter,ed.JeanRoy(Aix-en-Provence:Alinéa,1989).Englishedition(fromtheabove1970volume):RavelaccordingtoRavel.Englishtrans.FrancesTanner,ed.HaroldTaylor(London:Kahn&Averill,1990),p.35.
38
RavelplayedanexcerptfromaChopinconcerto.WhichofChopin’stwoconcertos
(Op.21composedin1829orOp.11composedin1830)Ravelperformedisunclear,
althoughDescombesdidtranscribethefirstmovementexpositionsofbothworks.
Notwithstandingthis,eitherexpositionwouldhavebeenalogicalprogression,with
regardtoRavel’spianisticadvancementatthisstageinhisdevelopment,from
Moscheles’pianism,describedbyMarkKrollas‘alinkbetweentheclassicalstyleof
theeighteenthcenturyandthenewdirectionsofthenineteenth’.27Onfirstglance
manyofthetechniquesadoptedbyChopininhisconcertosadheretotheStile
brillantemodelwitnessedinMoscheles’PianoConcertoNo.3.Theyalsorecallthe
virtuosicpianowritingencounteredinthepianoconcertosofFriedrichKalbrenner
(1785-1849),towhomChopindedicatedhisPianoConcertoinEminorOp.11.
Theseincludeadramaticopeningstatementbythesoloist,followedbymelodyand
accompanimenttexturesandelaboratesequentialpassagework.However,the
harmonicandrhythmicfreedomthatChopininjectsintobothexpositions,coupled
withtheinnovativereworkingoftechnicalandinterpretiveelements,goesfar
beyondMoscheles’brilliantapproach.AsRavellatercommentedinanarticle
publishedinLeCourriermusical:
Chopinwasnotmerelysatisfiedtotransformpianistictechnique.Hisinspiredpassageworkmaybeobservedamidstbrilliant,exquisiteandprofoundharmonicprogressions.Thereisalwayshiddenmeaning,whichisoftenconveyedbyanintensepoemofdespair.28
InChopin’sconcertosthewealthofpolyrhythmicpatterns,accented
appoggiaturas,melodicornamentation,intricatepartwritinganddynamiccolouring
27Kroll,IgnazMoschelesandtheChangingWorldofMusicalEurope,p.3.28‘Chopinnesesatisfaitpasdebouleverserlatechniquepianistique.Lestraitssontinspirés.Àtraverscessuccessionsbrillantes,d’adorables,deprofondesharmoniesseperçoivent.Toujoursl’arrière-penséequisetraduitsouventparunpoèmeintensededésespoir’.MauriceRavel,‘LesPolonaises,lesNocturnes,lesImpromptus,laBarcarolle-Impressions’,LeCourriermusical,13(1January1910),pp.31-32.ReproducedinArbieOrenstein,MauriceRavel:lettres,écrits,entretiens(Paris:Flammarion,1989),pp.291-3.Englishtrans.byDennisCollins:‘ThePolonaises,Nocturnes,Impromptus,theBarcarolle-Impressions’,sourcedinArbieOrenstein(ed.),ARavelReader,Correspondence,Articles,Interviews(NewYork:ColumbiaUniversityPress,1990).pp.335-337.
39
underpinnedbymeticulousdetailsofpedallingcometogethertocreateasound
worldthatsomehowstillmanagestoconjuretheillusionofflexibilitywithinthe
frameworkofclassicalsonataform.Adaptingstructuraltemplatestoaccommodate
newcompositionaltechniquesandmodesofexpressionissomethingthatalso
preoccupiedRavelashelatergrappledwithsonataforminsuchdiversecontextsas
Jeuxd’eau,Sonatine,‘Ondine’,‘Scarbo’,andtheConcertoinG.
Chopin’stexturescallforatechniquethatembracestheindividualityand
independenceofeachfinger,alongsidethecultivationofaflexiblewristwithinboth
lateralandrotationalcontexts.Ofparamountimportancewastheexplorationof
touch;thefollowingdescriptionbyoneofChopin’sstudentsreflectsthelevelsof
concentratedlisteningandmuscularcontrolrequiredtoproducetheexactsound:
Inlegatoplayingoneshouldnotmerelyjointhenotesbutbindthemtogether,clingingtothekeys-practising(asMoschelesalsorecommends)obtainingeverycolourofsoundjustbymodifyingtheweightofthefingersfallingonthekeys.Asforthestaccatoitshouldbejustlikethedotoverani-likethebuzzofastringpluckedonaharportheguitar-likeaviolinpizzicato.29
SuchreferencesdrawimmediateparallelswithRavel’spracticeofexperimentingat
thekeyboardduringtheearlystagesofcompositionashesearchedfororchestral
sonorities.
AdvancedPianoStudiesattheParisConservatoire
TheinformationpresentedabovepointstoRavelhavingamassedaconsiderable
armouryoftechnicalskillsandinterpretiveknowledgebytheageoffourteen
throughhisstudiesofearlynineteenth-centurysoloandconcertantepianoworks
andthathewaswellpreparedfortheforthcomingentranceexaminationtocontinue
histrainingatFrance’smostprestigiousmusicalinstitution.InNovember1889,the29Jean-JacquesEigeldinger,Chopinvuparsesélèves(Neuchâtel:EditionsdelaBaconnière,1970).Chopin,PianistandTeacherasseenbyhispupils,ed.RoyHowat(Cambridge:CambridgeUniversityPress,1986),p.32.
40
DirectoroftheParisConservatoire,AmbroiseThomasandsixfacultymembers
auditionedforty-sixstudentsforthepianoclasses,acceptingnineteenintotal,of
whomtwelvewereadmittedtotheadvancedpianoclassandseventothe
preparatorypianodivision.Ravel’sperformanceoftheChopinconcertoearnedhim
aplaceinthelattergroupandspecificallytheclassofEugène-Jean-Baptiste
Anthîome(1836-1916).30AnexhibitionheldattheBibliothèqueNationaledeFrance
duringtheRavelcentennialyearin1975includedatableofsignificantdatesrelating
toRavel’spianostudiesattheConservatoire,whichisreproducedbelow(Table1.1).
Table1.1:CalendardetailingRavel’spianisticstudiesandcompetition historyattheParisConservatoire(1889-1895)31Date DetailsofRavel’sactivities4November1889 admittedtoEugèneAnthiôme’spreparatoryclass10July1890 wonsecondprize(deuxièmemédailledupiano)8July1891 wonfirstprize(premièremédailledupiano)9November1891 admittedtoCharlesdeBériot’sadvancedpianoclass1892 noparticipationininternalcompetitions
(neprésenteaucunconcours)[sic]1893-1895 notplacedincompetitionsforpianoorharmonyJuly1895 expelledfrompianoandharmonyclasses
(radiédesclasses)[sic]
StudieswithEugène-Jean-BaptisteAnthîome(1889-1891)
Ravel’stwoyearsofstudywiththepianist-composerEugèneAnthîomeare
particularlyimportantandrelevantwithinthecontextofthischapter.Itwasduring
thisperiodthatRavel,stillonlyinhismiddleteens,achievedhistwomajorsuccesses
ininternalpianocompetitionsattheConservatoire:asecondprizeinJuly1890and
thecovetedfirstprizebeatingfellowstudentAlfredCortotintosecondplaceinJuly30ArbieOrenstein,Ravel:ManandMusician(NewYork:ColumbiaUniversityPress,1975.Revised:NewYork:Dover,1991),pp.13-14.31FrançoisLesureandJean-MichelNectoux,‘Études:lecalendrierpréçis(etinédit)desonséjourauConservatoire’,MauriceRavel:Exposition(BibliothèquenationaledeFrance,1975),p.13.
41
1891.TheseaccoladessuggestthatRavel’sstarasavirtuosoplayershonebrightly,
thathistechniqueandmusicianshiphadadvancedsignificantly,andthathewas
capableofgivingsecureandconfidentperformancesunderpressure.
IronicallyitseemsthatofallRavel’spianoprofessors(includingCharles-
WilfriddeBériotandSantiagoRierawhowillbediscussedlaterinthischapter)
Anthîomewastheleastadventurous,judgingfromhispublishedpedagogicalworks
andnumeroussalonpiecesforsolopiano.Intheintroductiontohisoverlyacademic
technicaltreatise,L’Artdupiano-Méthodethéoriqueetpratiquepourles
commençants(1880),AnthîomenailshiscredentialstotheConservatoiremast,
citingfifteenyearsofteachingthesamemethodasanendorsementforitssuccess.32
Theadvicehedispensestoensureacorrecthandpositionandneatfingerwork
seemsdogmaticandinflexible,asthefollowingexamplesreveal:
Itisnecessarytoexaggerateeverythingwhenpractisinganddeconstructingthemovementsonemakeswiththefingers,handandforearm.Itisnecessarytoliftthefingersashighaspossibletogiveacertainflexibilitytothearticulation.Itisnecessarytoforce(overdo)thearticulationofthefourthfingertoagreaterdegree.33
FortheJanuaryandJuneexaminationsof1890,Ravel’schoicesremainedfirmly
rootedintheearlynineteenth-centuryrepertorywithperformancesofaChopin
PolonaiseandthefinaleofaMendelssohnconcerto(nofurtherinformationexists
regardingtheexactworksperformed).FelixMendelssohn’stwopianoconcertos,Op.
25andOp.40,composedin1832and1837respectively,adheretotheStilebrillante.
Bothfinalesexplorefast-movingarpeggiatedfigurationswithmanydoubleoctave
passagesincorporatingathoroughworkoutforthefourthfingerinOp.25,whereasa
three-parttextureofupperlinemelody,internalarpeggiossharedbetweenthe32Eugène-Jean-BaptisteAnthîome,L’ArtduPiano-Méthodethéoriqueetpratiquepourlescommençants(Paris:Lissarrague,1880).33‘Ilfauttoujoursexagérerquandonétudieetdécomposelesmouvementsquel’ondoiteffectueraveclamain,aveclesdoigtsouavecl’avant-bras’.Ilfautleverlesdoigtsaussihautquepossible,celadonnedelasouplesseauxarticulations.Ilfautforcerbeaucoupl’articulationduquatrièmedoigt’.Ibid.,p.10.
42
handsandpedalnotesprevailsinthefinaleofOp.40.Althoughthereisnoexact
informationtoconfirmwhichoftheseRavelplayed,theOp.40finaleseemstoshare
agreateraffinitywithRavel’spianisticstyle.AsCharlesRosenpointsout‘Ravelsat
verylow,andinhismusictherearenoexamplesofunisonoctavesfortissimoinboth
handswhicharethetrademarkofsomuchnineteenth-centuryvirtuosity.[…]
“Scarbo”containsoctavesalternatingbetweenthehandsthatdonotrequirearaised
positionofthearms’.34Rosendoesnotcitehissourcefortheseobservationsbut
theyprobablyoriginatewithcommmentsmadebyRavel’sstudentManuel
Rosenthal.35ThatRaveladoptedalowseatingpositionisgivensomecredencein
severalimagesofthecomposeratthepiano(seePlate1inChapter2)andin
particularashortsilentfilmofthecomposerinmid-performance(investigated
furtherinChapter2ofthisdissertation).36
OncemoretheevidencepointstoRaveldemonstratingakeenaptitudefor
StilebrillantetechniquesandinthiscasewithMendelssohn’sidiosyncraticpianism,
namelyhispearlycantilenas,theneedforevennessandclarityofarticulation,
delicatedynamicnuancesandcontroloffast-movingpassagework.ThatRavel’s
pianisticstylewouldlaterbedefinedbysimilarqualitiesinJeuxd’eau,Sonatineand
‘Ondine’fromGasparddelanuit,highlightsthecross-fertilizationoftechniquesthat
occurredbetweenthevariousEuropeanschoolsofpianismduringthenineteenth
century.
34CharlesRosen,PianoNotes(London:Penguin,2002),p.4.35ManuelRosenthalinMarcelMarnat(ed.),Ravel:SouvenirsdeManuelRosenthalrecueillisparMarcelMarnat(Paris:Hazan,1995),p.36.SeeChapter2ofthisthesis,p.84andn.4.36MauriceRavelplayingthepianoinJanuary1928(silentfilm).https://youtu.be/9SjD1m4fQUY[Accessed20August2016]
43
SpurredonbyhissecondprizeandwiththeencouragementofAnthiômewho
observedthatRavelwas‘rathergiftedandwouldprogresswellwithseriouseffort’,37
Ravelseemstohavemadeconsiderableheadwayduringtheyear1890-91andhis
performancesofRobertSchumann’sSonatainGminorOp.22(1831-38)anda
sonatabyHummelintheendoftermexaminationsresultedinaPremierPrix.
CoincidentallyClaudeDebussyhadalsosecuredhishighestpianisticaccolade,a
DeuxièmePrix,attheParisConservatoirein1877withaperformanceofthefirst
movementofSchumann’sOp.22.38TheexactdetailsofwhichofJohannNepomuk
Hummel’ssonatasRavelplayedandwhetherornotheperformedthecomplete
workisunclear.HoweveracloserexaminationofSchumann’scompositional
languageandthepianistictechniquesintheSonatainGminoruncoversmanydirect
linkstoRavel’spianoworks.
ThetitleSonataimpliessymmetryandorganisation,butfromtheveryoutset
themoodofSchumann’sOp.22isoneofhedonismandexuberance,reflectedinthe
tempomarkingoftheopeningmovement,‘asfastaspossible’,andadriving
rhythmicenergyrepletewithoffbeatphrases,tiednotes,andsyncopatedfigurations.
Schumannbeginswithtwocontrastingmotifs,aright-handmelodythatdescends
stepwiseacrossaperfectfourth,accompaniedbyextendedAlbertibasspatterns
akintostring-crossingfigurations(Example1.2a).Thefallingintervalofaperfect
fourthcarrieshugesignificanceforRavelinthataccordingtoJacquesFévrieritis
associatedwiththewordMa-manandisasubtlereferencetoRavel’smother.39Long
beforeitsappearanceinRavel’soperaL’enfantetlessortilèges(1925)hehadapplied
itwithinathematiccontextinmanyofhispianoworksincludingthesecondsection37Orenstein,Ravel:ManandMusician,p.14.38http://www.debussy.fr/cdfr/bio/bio1_62-82.php[accessed15July2016].39SourcedinNichols,Ravel,p.71.FévrieralsoimpartedthisinformationtoRoyHowatwhostudiedwithhim.
44
ofthetrioinMenuetAntique(1895)and‘Lavalléedescloches’(1904-5)from
Miroirs.InSonatine(1903-5),itassumesacyclicroleinthematicallylinkingallthree
movements(Examples1.2b-d).
Example1.2
a)Schumann:SonatainGminorop.22,1stmovement,bars1-5
b)Ravel:Sonatine(1903-5),‘Modéré’,bars1-3
c)Sonatine,‘MouvementdeMenuet’,bars1-2
45
d)Sonatine,‘Animé’bars1-4
FromatechnicalperspectiveSchumann’suseofwidelyspacedarpeggiosand
brokenchordpatternsinthisfirstmovementoftenhighlightsthethumbsinvarious
contexts.Inbars24-40theright-handthumbissingledouttoplaysyncopated
appoggiaturasthatresolvebyslidingfromblacktowhitenotes,adeviceusedby
Ravelduringtheopeningbarsof‘Noctuelles’fromMiroirs(Examples1.3aand1.3b).
Example1.3
a)Schumann,SonatainGminor,Op.22,1stmovement,bars24-28(righthand)
b)Ravel,Miroirs(1904-5),‘Noctuelles’,bar6
46
Theuniqueabilityofthethumbtoarticulatewithweightandpoweristappedin
severallefthandpassageswithinthefirstmovementexpositionofOp.22asoutlined
inTable1.2.
Table1.2:Left-handthumbtechniquesinthefirstmovementexpositionof Schumann’sSonatainGminorOp.22.Bars Roleassignedtoleft-handthumb
16-19 Offbeatdominantpedalagainstbassmelody
40-44 ChromaticcountermelodyagainstV(ofBflatmajor)pedal
44-56 Doublingtheoctavemelodyintherighthand
67-70 OffbeatcountermelodywithinextendedAlbertibasspatterns
Ravel’sidiosyncraticthumbswereagileandsupplewhichimpliesthathe
wouldhaverelishedthepianisticsensationofnegotiatingsuchpassages.Inthefinal
movementofOp.22(Rondo)theright-handthumbtakesontheroleofsoloistasit
playstheprincipalthemewithinabrokenoctavetexture(Example1.4).
Example1.4:Schumann:SonatainGminorOp.22,4thmovement,bars1-4
Ravel’sstudiesofthepianoworksofChopinwithDescombesandAnthîomewould
haveequippedhimwithaknowledgeoflateralandrotationalwristtechniques,both
ofwhichareindispensablefortheeaseofexecutionofthesewidely-spaced
47
figurations.WithsuchfirmfoundationsitiseasytoseehowRavelmadethe
transitiontothearpeggio-basedpatternsthatoftentranscendthewholekeyboardat
lighteningspeedinworkssuchasJeuxd’eau,‘Unebarquesurl’océan’,‘Ondine’and
‘Scarbo’.
AremarkablefeatureofSchumann’scompositionalstyleasseeninthefirst
movementoftheSonataOp.22ishisskilfulhandlingofstableandunstableelements
withinthesonataformframework.Theinstabilityarisesfromacontrapuntal
approachtovoicing,rhythmandharmonyaugmentedbymuchindependent
movementbetweenthehandsandadynamictrajectorythatisinconstantflux.To
balancethis,Schumannappliessimplerepetitionandsequencetechniquesto
delineateandclarifythestructure.Fortheperformer,maintainingtechnicaland
interpretivecontroloversuchdisparatecomponentsmustseemattimeslikeaknife-
edgebalancingact,butRavelwasabletocarryitoff(atleastintheeyesandearsof
theConservatoirejury).LikewiseRavelthecomposerwastodemonstrate
consummateskillwhenreworkingsonataformstructurewithintheImpressionist
andSymbolistcontextsofJeuxd’eauand‘Scarbo’respectively.
Schumann’scompositionalstyleintheSonataOp.22providedarichsource
ofideasforRaveltoexploreanddevelopinhispianowriting.Inthesecond
movement,‘Scherzo’,Schumannunderminesthetriplemetrebysinglingoutoffbeat
quaverswithsforzandi,usinghemiolaeffects,placingcrescendosacrossthebarto
emphasizethethirdbeat,andphrasingthemelodywithinirregularshapesacross
barlines.AllthesedevicesarereplicatedinRavel’sValsesnoblesetsentimentales
wherehisnotatedarticulationthreatenstounderminethestabilityoftheViennese
Waltzrhythm(Examples1:5aand1:5b).
48
Example1.5
a)Schumann:SonatainGminorOp.22,3rdmovement,bars3-7
b)Ravel,Valsesnoblesetsentimentales(1911),‘Valse1’,bars3-8
Schumann’sdeftmanipulationoftheharmonicpulsethroughthebriskmodulating
sequencesinthefinalmovement(bars60-92)findsitscounterpartincorresponding
passagesfromthe‘Prélude’(bars14-21),‘Rigaudon’(bars25-34)and‘Toccata’(bars
177-180)fromLeTombeaudeCouperin.Eventhesimplelefthanddyadsatthe
beginningofthethirdmovement,‘Andantino’,calltomindtheopeningbarsofÀla
manièredeChabrier.
However,whatemergesmostvividlyfromthisinvestigationofSchumann’s
SonataOp.22istheprominentroleheassignstothethumbsinbothouter
movementstoarticulatethethematicmaterial(melodiesandcountermelodies),
colourtheharmony(withappoggiaturasandchromaticslides)andaddpowerand
weightatcrucialmomentsinthestructure.HowRavelproceededtodevelopthese
49
featuresandtotakethumbtechniquesontoanotherlevelinhissolopianoworksis
exploredinChapter2.
JudgingbyRavel’spublicperformancesandcompetitionsuccessesuptoJuly
1891hehaddevelopedconsiderabletechnicalfacility,interpretiveunderstanding
andanaptitudefortheearlyRomanticpianorepertoire.However,vitalinformation
uncoveredduringthisinvestigationfromtheParisConservatoire’sarchivalrecords
revealsthatRavel’swinningperformanceswereaccomplishedwithother
concertanteworksthathavenotbeencitedinthepublishedliteratureonRavelto
date.FortheClassespréparatoiresdepianoin1890thesetpieceforthefinalround
ofthe‘ConcoursdePiano’wasHenriHerz’sPianoConcertoNo.3Op.87(1835)and
in1891,IgnazMoscheles’PianoConcertoNo.4Op.64(1823).40
Ravel’sfirstpublicperformancehadfeaturedMoscheles’PianoConcerto
No.3,soitissomewhatfittingthatheshouldachievehisgreatestpianisticsuccess
threeyearslaterwiththePianoConcertoNo.4,aworkthatcombinesthebrilliance
ofMozartwiththegravitasofBeethoven,whilstlookingforwardtothelyricismand
virtuosityofChopinandSchumann’sconcerti.Ravel’stechnicalcommandofthe
keyboardmusthavebeenevenmoreimpressiveforhimtohavedealtwiththehefty
challengesofHenriHerz’sConcertoNo.3,wherenotasinglenoteisleftunadorned
andthecomplexpolyphonictexturescallforeven,rapidfingerworkandhighly
developedwrists.ForRaveltosurmountsuchhurdleswasaconsiderable
achievementandfurthertestimonytothematurityofhisvirtuosotechniquebythe
ageofsixteen.Themercurialandsparklingpianismcoupledwithdelicateandwell-
balancedorchestralaccompanimentthatdefineHerz’sConcertoNo.3strikeachord
40LeConservatoireNationaldeMusiqueetdeDéclamation-documentshistoriquesetadministratifs.RecueillisoureconstituésparConstantPierre(Paris:ImprimerieNationale,1900),p.595.
50
withRavel’sownintentionswithhisPianoConcertoinGwhichhereferredtoasa
‘divertissement’.41AsRavelremarkedinaninterviewshortlyaftercompletingthe
PianoConcertoinGin1931:‘Myonlywishwastowriteagenuineconcerto,thatis,a
brilliantwork,clearlyhighlightingthesoloist’svirtuosity,withoutseekingtoshow
profundity’.42LikewiseJeremyNicholaswroteinhisbookletnotesforarecordingof
Herz’sConcertoNo.3in2006:‘Itremindsusthatgood,evengreatmusiccanpossess
thesimplefunctionofentertainingandliftingthespirit’.43
AdvancedPianoStudiesattheParisConservatoire:Charles-WilfriddeBériot(1891-1895)Ravel’ssuccessinthefinalcompetitioninthesummerof1891meantthathewas
admittedintotheseniorpianoclassofCharles-WilfriddeBériot(1833-1914)the
followingautumnwhereheremainedforthedurationofhispianostudiesatthe
Conservatoire.Unfortunatelyhisfailuretowinanyotherprizesoverthenextthree
andahalfyearsresultedinhisexpulsionfromtheConservatoireinJuly1895.
Nevertheless,Ravel’sworkingrelationshipwithdeBériotseemstohavebeen
cordialandproductiveinthathestudiedandperformedachallengingrepertoire
elicitingmanyfavourablecommentsfromhisteacher(seeTable1.3).44
AsCharlesTimbrellobservesinFrenchPianism:aHistoricalPerspective,de
Bériot’steachingcentredupon‘developingskillsincriticallistening,refinementof
touch,singingtone,slowpracticeandexactinguseofthepedals’.45Thisemphasison
41ArbieOrenstein(ed.),MauriceRavel:lettres,écrits,entretiens(Paris:Flammarion,1989).Englishedition:ARavelReader,Correspondence,Articles,Interviews.TranslationbyDennisCollins(NewYork:ColumbiaUniversityPress,1990),p.494.42InterviewconductedbyPierreLeroi,Excelsior,30October1931.ReproducedinOrenstein(ed.),ARavelReader,p.485.43TheRomanticPianoConcerto:HenriHerz(1803-1888).HowardShelley(pianistandconductor)withtheTasmanianSymphonyOrchestra,CD,HyperionCDA67537(2006).44Ravel’shighregardfordeBériotisreflectedinhisdedicationoftheRapsodieespagnole(1908)tohisformerteacher.45CharlesTimbrell,FrenchPianism:aHistoricalPerspective(London:Kahn&Averill,1999),p.46.
51
soundproductionandtheemulationofvocalsonoritiesatthepianocomesasno
surprisewhenoneconsidersdeBériot’sdistinguishedmusicalpedigree.Hismother
wasthemezzo-sopranoMariaMalibranfamedforherperformancesasRossini’s
operaticheroines,hisunclewasthebaritoneandvocalpedagogueManuelGarcia,
andhisauntwastheaccomplishedsinger,pianistandcomposerPaulineViardot,a
closefriendofFrédericChopinandClaraSchumannandthededicateeofSaintSaëns’
operaSamsonetDelilah.OfequalsignificanceisthefactthatdeBériotstudiedwith
thelegendarypianistSigismondThalberg(1812-1871)whoseground-breaking
contributionstothedevelopmentofpianotechniqueandespeciallythecultivationof
asingingtoneonthepianowerelaidoutinafour-volumeanthology,L’Artduchant
appliquéauPianocompiledbetween1853and1864andcomprising25virtuosic
transcriptionsofariasandpopularsongswithaccompanimentsforsolopiano.46
ItisworthpausingheretoexamineThalberg’sapproachtokeyboard
sonority,itsroleinshapingdeBériot’steachingpracticesandthesubsequentimpact
onRavel’spianism.Likehisteacher,IgnazMoscheles,Thalberghadbeengrippedby
thenewdevelopmentsinpianoconstructioninFranceduringtheearlynineteenth
century.SebastianÉrard’sdoubleescapementactionenabledastruckhammerto
remainclosetothestringuntilthefingerwasremovedfromthekey.Consequently
pianistshadmuchmorecontrolovertheattackandreleaseofthekey,therepetition
ofnotes,andmostimportantlygreatercontroloverdynamiccolouring.Thalbergset
hisprioritiesfirmlyonexploringtheseadvancestoextractnewsonoritiesfromthe
pianoforteandspecificallytocultivatethemostexquisitesingingtoneusingtheart
46SigismondThalberg:L’Artdechantappliquéaupiano,oeuvrescélèbresvocalesetorchestralesdesgrandsmaitres,transcrites,accentuéesetdoigtéespourlepiano,avecannotationsducélèbrepianistesurlestyleetl’exécutiondeceschefsd’oeuvre,ornéesduportraitdeSigismondThalberg(Mainz:Schott,1853-64).
52
ofbelcantoashismuse.Hisroleintheexpansionofpianisticsonoritymanifested
itselfinthewaysinwhichheredistributedmelodicandharmonicmaterialtocreate
newpianistictextures,oftenofconsiderableingenuityandcomplexity.Themelodies
areoftensharedbetweenthehandsandtheaccompanimentalfigurationsrange
fromtremolos,arpeggiatedchordsandfigurations,syncopatedchords,andglissandi.
Inasectiontitled‘RulesforModernPiano-FortePlaying’withinthePrefacetoL’Art
duchantappliquéauPiano,Thalbergprovidestechnicalguidanceontheartof
producingasingingmelodiclineonthepianousingphrasessuchas‘keysmustbe
feltratherthanstruck,pressedasthoughwithasofthandandfingersofvelvet;
articulatemelodieswithsubduedaccompaniments;heartheharmoniesasawhole
(notasseparatenotes),andavoidworkingtoomuchwiththefingersandtoolittle
withthemind’.47ThezealwithwhichThalbergpursuedhisquestforavocally-
inspiredpianisticsonorityisfurtheremphasizedwiththefollowingconcluding
statementtohissetofrules:‘Ihavepersonallystudiedduringfiveyearsunderthe
directionofoneofthefirstprofessorsofsinginginItaly’.48Theprofessorwasnone
otherthandeBériot’suncle,theaforementionedManuelGarcia.
InaninterviewwithCharlesTimbrellfortheJournaloftheAmericanLiszt
Societyin1986,pianistPaulLoyonnet(1889-1988),whostudiedwithdeBériot
from1899to1905givesanilluminatingfirst-handaccountofhisteachingstyle.49
HementionsdeBériot’sinsistenceuponthecultivationofasingingtoneandthe
explorationofnuancesincludingthehighlightingoftopnotesinchords,addingthat
47SigismondThalberg,‘RulesforModernPiano-FortePlaying(fromL’ArtduChantappliquéauPiano)’,inSigismondThalbergandHenriVieuxtemps,ThalbergandVieuxtempsGrandConcertBook(NewYork:unidentifiedpublisher,1857,pp.4-5.SourcedfromtheBritishLibrary(Digitized30August2016).SeealsoKennethHamilton,‘ThalbergandL’artduchant’,in‘ASingingTone’,in‘AftertheGoldenAge:RomanticPianismandModernPerformance’(Oxford:OxfordUniversityPress,2008),pp.155-163.48ThalbergandVieuxtemps,ThalbergandVieuxtempsGrandConcertBook,p.5.49ReproducedinTimbrell,FrenchPianism,pp.183-192.
53
hismaintexturalideawasthatthefingersshouldbeweddedtothekeystomakean
impressiononthemratherthanstrikethem.InalltheserecommendationsdeBériot
canbeseenasafaithfuladvocateforThalberg’sbrandofpianism.ThatdeBériotin
turnpassedonThalberg’spianisticstyletoRavelthroughhisteachingismost
evidentin‘Ondine’fromGasparddelanuit,Ravel’smostremarkablestudyin
balancingmelodicandaccompanimentaltexturesandcontrollingthepianokeys
withinthemostsubtledynamicshades.
LoyonnetrecallsdeBériotmentioningThalbergononlyoneoccasionwhen
heassignedthelatter’sÉtudeinAminor(theThèmeetÉtudeOp.45)tooneofhis
studentswhowashavingdifficultieswithrepeatednotes.50DeBériotadded:‘each
timeThalbergplayedthisÉtude,onewantedtogohomeandpractiseit
immediately’.51InthefinalsectionoftheÉtudethemainthemeappearsastriplet
semiquaverrepeatednotefigurationsintherighthandatthecentreofthetexture,
whilethelefthandleapsacrossfrombasstotrebleprovidingalightchordal
accompaniment,givingtheillusionofthreepartsplayedbythreehands(Example
1.6a).Thalberg’sÉtudeappearedin1837,theyearinwhichhewentheadtohead
withhismainrivalFranzLisztinthenowlegendarypianisticduelheldatthesalon
ofPrincessCristinaBelgiojoso.Thefollowingyear,Lisztcomposedthefirstversion
ofhisÉtudesd'exécutiontranscendanted'aprèsPaganini,S.140,whichincludesthe
spectacularstudyinrepeatednotetechniques,‘LaCampanella’.UnlikeThalberg,
Lisztavoidshand-crossingin‘LaCampanella’,maintainingtexturalindependence
betweenthehands,althoughasKennethHamiltonpointsout‘Thalberg’strademark
50Paris:Troupenas,[1842-3].51Ibid.,p.189.
54
‘three-handed’arpeggioeffectsturnupinLiszt’smusicafter1837’.52Howeveritis
Thalberg’smodelthatRavelfollowsinhisexplorationofrepeatednoteandhand-
crossingtechniquesin‘Alboradadelgracioso’and‘Scarbo’(Examples1.6bandc).
Example1.6a)Thalberg:ThêmeetÉtudeOp.45,bar68
b)Ravel:Miroirs,‘Alboradadelgracioso’,bars52-53
c)Ravel:Gasparddelanuit(1908),‘Scarbo’,bars256-259
SignificantlyRavel’speriodofstudywithdeBériotcoincidedwiththe
publicationofseveralvolumesofpianoexercisesandstudiesbythelatterthat
provideacomprehensivepictureofhisteachingmethods.TheseincludeMécanisme
52KennethHamilton,‘Liszt’searlyandWeimarpianoworks’,inKennethHamilton(ed.),TheCambridgeCompaniontoLiszt(Cambridge:CambridgeUniversityPress,2005),p.82.
55
etstyleOp.66,Levade-mecumduPianiste,53Trente-SixÉtudesdeDifficulté
transcendante(ConcourshebdomadairesduConservatoire)pourpiano,54andLa
SonoritéduPiano-Étudepratiqueetexercicesspeciauxpouracquérirunebonne
sonorité.55
InMécanismeetstyle,deBériotseparatesthepurelydigitaltechniquesof
pianoplayingfromissuesofstyleandinterpretation.PartOnecomprisesa
handbookofdailygymnasticexercisesthatexplorethefivefingersintwenty-four
fingerpermutationswithoutpassingthethumb,scalesinoctaves,thirds,sixths,and
arpeggios,alldesignedtoacquirewhatdeBériotterms‘unegrandeégalitéetune
indépendanceparfaite’.56DespitedeBériot’sadherencetothestereotypicalvade-
mecumformatinMécanismeetstyle(adoptedbythemajorityofthenineteenth-
centurypianoprofessorsattheConservatoireintheirpublishedtreatises,including
EugèneAnthîome),heavoidstheuseoftermssuchasexaggeratedmovements,high
fingers,agilityandspeed,preferringtoconcentrateupontoneproduction,andslow
methodicalpractice.InPartTwo,devotedtoStyle,deBériot’sfocusisupon‘clarity
ofexecutionasbeingtheessentialqualityfromwhichaccuracyarisesasamatterof
course’.57Heuseswordslikecolours,shadesandtints,andconnectstheriseandfall
ofamusicalphrasetocalligraphicshapes,curvesandnuances.58Suchalikeness
wouldsurelyhavestruckachordwithRavel,bearinginmindhisdistinctive
handwritingandacutefeelfordesignascapturedonthefrontcoverofthefirst
editionofLeTombeaudeCouperin.Inasectiondevotedtoexpressionand
53Paris:Hamelle,1889.54Paris:Leduc,1890.55Dated1894.BibliothèquenationaledeFrance,CatalogueNo.VM851036.56Charles-WilfriddeBériot,MécanismeetstyleOp.66(Paris:Hamelle,1889).PremièrePartie:Mécanisme,Avant-propos/Préface.57[…]c’estlenettetéunieàlamesurequiestlaqualitéprimordiale,lajustesseétantunequestiond’accord’.‘Exposé’,MécanismeetStyle,DeuxiemePartie:Style,p.2.58‘Desnuancesengénéral’,MécanismeetStyle,DeuxiemePartie:Style,p.2.
56
punctuationdeBérioturgesthepianisttobreatheandfollowthenatural
accentuationofthemelodicphraselikeasinger.59Asubsequentvolumeontone
production,LaSonoritédupianoOp.67,addresseslegatoplayingusingfinger
substitutionandthesmoothpassageofthethumbinvolvingaslidingaction,
proceduresthatRavelwouldexploreingreatdetailinhispianoworks,aswillbe
demonstratedinChapter2.
TheThirty-SixStudiesofTranscendentalDifficultywerecomposedtoaddress
specifictechnicalproblemsexperiencedbydeBériot’sConservatoirestudents.They
compriseaseriesofshortexerciseswithtitlesdenotingeachtechnicalhurdletobe
surmounted.ManyofdeBériot’sconfigurationsbearastrikingresemblanceto
patternslateradoptedbyRavelinthepianoworks,includingthearabesque-like
shapesofNo.6(Traitssautés)reworkedin‘Oiseauxtristes’;widestretcheswithin
irregularpatternsinNo.18(Égalitédanslestraitsirréguliers)attheclimaxof
‘Ondine’(bar66);amixofdiverseintervalswithexceptionalleapsinNo.25
(Mélangedesdiversintervallesauxécartsexceptionnels)anddoublethirdsmixedin
withsinglenotesinNo.26(Tiercesmêléesdenotessimples)throughoutMiroirs,and
Gasparddelanuit.
AccordingtoLoyonnet,deBériotalsoencouragedhisstudentstomasterthe
studiesofanotherofhisteachers,HubertFerdinandKufferath(1818-1896),a
formerdiscipleofFelixMendelssohn.Kufferath’sSixConcertStudiesOp.8put
pianisticpyrotechnicswellandtrulyunderthespotlight,testingnotonlythe
pianist’svoicingskillsindifferentiatingbetweenthemelodyandseveral
accompanimentalstrands(allaThalberg)butalsointensifyingthedigitaldemands
toaherculeandegreewitheachsuccessivestudy.Athree-parttextureofmelody,
59Ibid.,p.6.
57
brokenchordandarpeggiatedaccompanimentandbassline(reminiscentofthose
adoptedbyMendelssohninmanyofhisSongswithoutwords)undergoesextreme
developmentinvolvingtheredistributionoffast-movingfigurationsbetweenthe
hands,complexornamentationagainstthemelody,doublingofallthreevoicesin
octavessimultaneously,andfillingthoseoctavesinfortheclimacticSixthStudy.
DespitetheturbulentandsomewhatcumbersomenatureofKufferath’spartwriting
thereisatangibleconnectionwithRavel’sskilfulandvirtuosichandlingofsimilar
texturesin‘Scarbo’.
ClasseswithdeBériot,asrecalledbyLoyonnet,eitherfocussedupon
techniqueorinterpretation.Fortheweeklytechniqueclassstudentswererequired
tolearnanewPreludeandFugue,anewChopinStudyandoneofdeBériot’s
TranscendentalStudies.HoweverLoyonnet’soverridingmemoryofdeBériot’s
teachingprioritiesisoflessonsthatconcentratedonmattersofinterpretationatthe
expenseoftechnicalconsiderations:
Asidefromworkingonnuance,hegavelittleattentiontotechniqueperse,thinking,likesomeotherprofessors,thattechniquewoulddevelopitselfthroughthepiecesstudied.Thisinitselfisallrightifonehasgoodworkhabitsandpreliminaryformationsofmuscles.UnfortunatelyhenevertaughtmetoorganisemypracticeandoftenifIplayedbadlyhewouldsay‘playitagain’-sometimeswritinginafingering.60
AnarticlebyJean-MichelNectouxdetailingthecontentsofRavel’smusiclibraryat
hishomeinMontfortl’AmauryreferstoseveralscoresusedbyRavelduringhis
studieswithAnthîomeanddeBériot,includingstudiesandsalonpiecesbythem:
Thetechnicalmanualsandcharacterpiecesofhistwopianoprofessorsfeaturedprominentlyinhisrepertoire,butonealsofindsnotatedfingeringsintheWell-TemperedClavier,GradusadParnassum,thestudiesofRubinstein,VieuxtempsandtheworksofSaint-Saëns.61
60PaulLoyonnet,interviewwithCharlesTimbrell,FrenchPianism,p.185.61‘Lesœuvrestechniquesoupittoresquesdesesdeuxprofesseursdupianoformentunebonnepartiedesonrépertoire,maisonrelèveaussilesdoigtéssurleWellTemperedClavier,GradusadParnassum,desétudesdeRubinstein,Vieuxtemps,etdesœuvresdeSaint-Saëns’.Jean-MichelNectoux.MauriceRaveletsabibliothèquemusicale.CahiersMauriceRavelNo.3(1987),pp.53-62.
58
LittleisknownaboutRavel’spractisinghabitsattheConservatoirebutthepresence
ofannotatedscoresofJohannSebastianBach’sWell-TemperedClavierandMuzio
Clementi’swell-knownstudiesGradusadParnassumimpliesthathewaspreparedto
putinthehourswherenecessary,afactbackedupbydeBériot’spositivecomments
onhisperformanceofMendelssohn’sCapriccioinBminorattheendofyear
assessmentsin1892(seeTable1.3).
TherepertoireofpianoworksstudiedbyRavelunderdeBériot’sinstruction
reflectedthecurrenttastesandrequirementsattheParisConservatoirewiththe
curriculumforallpianistsfocussingupontheworksofBach,Cramer,Beethoven,
Chopin,LisztandSchumann.ThemusicofCamilleSaint-Saëns,aselderstatesmanof
theFrenchmusicalestablishmentwasalsoendorsedalongsidenewlycomposed
worksbyaselectgroupofConservatoireprofessorsincludingThéodoreDubois,de
BériotandLouisDiémer(whotaughtRavel’scontemporariesAlfredCortotand
ÉdouardRisler).62
AsthelistofworksperformedbyRavelforthebiennialexaminationsatthe
ConservatoiredemonstratesinTable1.3Ravelseemsnottohavestrayedbeyond
theboundsofnineteenth-centuryEuropeanrepertoire(withintheConservatoireat
least),althoughtheemotionalbreadthoftheworkscoversabroadspectrum,from
thecrispsparklingfingerworkrequiredforMendelssohn’sCapriccioinBminor(yet
moreStilebrillante)totheexpansiveimprovisatorylandscapeofSchumann’s
FantasyOp.17.Takencollectively,deBériot’sobservationsregarding
62ElaineBrody,Paris,TheMusicalKaleidoscope,1870-1925(London:Robson,1984),p.171.
59
Table1.3:WorksperformedbyRavelforthebiennialexaminationsof 1892-189563Work Ravel’sage/date CritiquefromdeBeriotMendelssohn:CapriccioinBminor
16 Verygoodmusicalorganization.Healsoseemstobeagoodworker,whichonlythefuturewillindicate.
Grieg:PianoConcerto64
January189365
SaintSaëns:PianoConcerto(numbernotspecified)
Chopin:BalladeNo.4Op.52
18(June1893) Agoodpupil,playswithfeelingandwarmthbutnotalwayswithfullcontrol.
Schumann:FantasyOp.17
18(January1894) Agreatdealoftemperamentbutatendencytopursuebigeffects.Needstobeheldincheck.
Weber:Scherzo 19 Talent,warmth,overlyenamouredofviolence.Intermittentwork.
Chopin:Étude
19 Aspiritedperformance,communicative,oncondition[occasion?]itdoeslapseintoexaggeration.Workswithoutexcess.
Mathias:Allegrosymphonique
20(June1895)66 Verygoodprogress.Spiritedtemperament.
Ravel’sperformancespaintapositivepicture,anddespitearecurrentthemewith
regardtotheneedforrestraintattimesRavelcomesoverasapowerfulcommitted
performerwithanindividualvoice.
1893wasaseminalyearinRavel’smusicallifefromseveralperspectives.The
challengingrepertoirehestudiedandperformedfortheinternalexaminationsatthe
ConservatoireincludedGrieg’sPianoConcertoOp.16(January),aSaint-Saënspiano
concerto(unspecified),andChopin’sBalladeNo.4Op.52(June).Towardstheendof
thatyearhewouldalsohavebeenpreparingtheSchumannFantasyop.17forthe
January1894examination.OutsidetheConservatoire,hecontinuedhisexploration
ofothermusicalgenresinpianoduetandtwopianosarrangementswithRicardo63ListofworksperformedbyRavel(withcommentsbydeBériot)forthebiennialkeyboardexaminationssuppliedbyArbieOrenstein,Ravel:ManandMusician,p.15.64InformationregardingtheconcertosbyGriegandSaintSaënssuppliedinachronologicallistofworks.Ibid.,p.1565ThedatesforRavel’sperformancesoftheGriegPianoConcertoOp.16,ChopinBalladeNo.4,Op.52andSchumannOp.17aresuppliedbyNichols,Ravel,p.13.66Addedbyauthor.Ravelturnedtwentyon7March1895,thereforetheAllegroSymphoniquebyMathiasmusthavebeenperformedattheJuneexaminationthatyear-hislastinternalassessmentbeforehisexpulsionfromtheConservatoire.SeealsoNichols,ibid.,p.14.
60
Viñes.InJanuary1893theywerebusyrehearsingEmmanuelChabrier’sTroisvalses
romantiquesthattheyplayedthroughtothecomposeron8February,thedaybefore
theyperformedtheworkataconcertinParis.67Ofevengreatersignificancewasthe
factthatRavelcomposedhisfirstacknowledgedpianowork,theSérénadegrotesque
atsomepointduring1893.68Thisshortwork,lastinglessthanfourminutes,has
receivedlittleattentionfromscholarstodatebutwhencomparedalongsideGrieg’s
PianoConcerto,whichRavelwasstudyingwithdeBériotatthistime,some
noteworthyconnectionsemergerelatingtothematicstructureandnationalistic
styles.
Grieg’sprincipalthematicmotifintheConcerto,announcedbythesolopiano
atthefirstentry,consistsofthreenotesthatdescendaperfectfourththrougha
minorsecondfollowedbyamajorthird.Ravel’srecurrentuseoftheperfectfourthin
variousguiseswithinhispianoworks,anditssymbolicassociationtotheword
‘Maman’hasbeenmentionedaboveinrelationtoSchumann’sSonatainGminorOp.
22.However,Ravelusestheexactsameintervallicarrangementofthefallingfourth
asGriegforhisfirstextendedthemeintheSérénadegrotesque(bars14-21)and
hammersthepointhomeinbars19-20bydoublingthenotevaluesandadding
tenutomarksandaccents(Example1.7aand1.7b).Eventhesecondthemeatthe
‘Pocopiùlento(bar57)beginswiththesamethreenotesininversion,aminor
secondanda(minor)third(Example1.7c).Thispatternalsoappearsinthecentral
sectionoftheMenuetAntique(1895)witheachnotemarkedtenuto(Example1.7d).
Grieg’srecyclingofthethree-notemotifinvariousguiseswithinallthree
67Nichols,Ravel,p.14.68DiscoveredintheRavelmanuscriptarchivesbyArbieOrensteinintheearly1970sandeventuallypublishedin1975bySalabert.
61
movementsofhisconcertoisatechniqueadoptedlaterbyRavelinseveralworks
includingSonatineandtheConcertoinG.
Example1.7a)Grieg:PianoConcertoinAminor,Op.16,firstmovement,bars1-2
b)Ravel:Sérénadegrotesque(1893),bars10-20
c)Ravel:Sérénadegrotesque,bar57
62
d)Ravel:MenuetAntique(1895),bars46-50
NorwegianfolkdancerhythmsandthetimbreoftheHardangerfiddle
permeatethefabricofthefinalmovementofGrieg’sConcerto.Inmuchthesameway
RavellookstohisBasqueheritageandimbuestheSérénadegrotesquewithSpanish
colourfromtheoutsetusingdryarpeggiatedsonorities(marked‘pizzicatissimo’and
‘trèsrude’)toevokethesoundsoffingernailspluckingthegutstringsofanacoustic
guitar.Ravelwentontoexploreotheridiomaticpossibilitiesincludinghabañeraand
flamencorhythmsandmodalscalesinthe‘Habanera’from‘Sitesauriculaires’
(1895),‘Alboradadelgracioso’fromMiroirs(1905-6),andtheConcertoinG(1929-
31).
TheanswertowhichofSaint-Saëns’spianoconcertiRavelstudiedand
performedduring1893maylieinhislibraryatMontfortl’Amaurythatcontained
scoresoftheSecondConcertoinGminorOp.22andtheFifthConcertoinFmajorOp.
103.Thelatterwascomposedin1896andcanthereforeberuledoutforthis
investigation.No.2inGminorOp.22,composedin1868(thesameyearastheGrieg
PianoConcerto)encapsulatesSaint-Saëns’spianismandisbroughttolifebythe
composerinapianorollrecordingdatingfrom1904.69Saint-Saëns’performanceof
anabridgedarrangementofthefirstmovementconfirmshimasaconsummate
exponentoftheso-calledstylesévèreschoolofplayingthatissprightly,clean,clear,
lightandeventhroughout.HiscompositionallanguageowesmuchtotheStile69ThreeFrenchPianists,remasteredonCD,Symposium1305(2006).
63
brillantethatwasextremelyfamiliartoRavelby1893fromhispreviousstudiesof
theMoscheles,ChopinandMendelssohnconcerti.SignificantlybothSaint-Saënsand
RavelcouldtracetheirpianisticlineagesbacktothepedagogueandpianistFrederick
Kalkbrenner.Saint-Saëns‘teacher,CamilleStamatyhadbeenKalkbrenner’sstar
pupil,andallthreewerefamedfortheirhighlydevelopeddigitaltechniquesacquired
withtheaidofKalbrenner’smechanicaldevice,theguide-mains.Ravel’spianistic
grandfatherThalbergalsostudiedbrieflywithKalkbrennerbutthereisnorecordof
himhavingusedtheguide-mainstoacquirehisvocallyinspiredkeyboardfacility.
Thefallingperfectfourthfeaturesprominentlyasasignificantmotifinthe
SecondConcerto,principallyastheheadofthefirstsubjectthemeintheopening
movement(Fig.1).Italsoreappearsasarhythmicostinatoplayedbythetimpaniat
thebeginningoftheScherzo.InthefinalPrestomovementthetarantellatheme
beginswithalternatingminorsecondsandmajorsevenths(bar5),intervalsthat
formtheverycornerstonesofRavel’smelodicandharmoniclanguage.
IntermsofpianistictechniqueSaint-Saëns’styleaswitnessedinthisConcerto
combinesLisztianbravuratemperedbyFrenchclassicalrestraint.Thecontrapuntal
passageworkoftheBachianintroductorycadenzagiveswaytomelodicand
accompanimentaltexturesbrimmingwithintricateembellishments.Thepiano’s
decorativedoublenotefigurationsatthebeginningofthedevelopmentsectionpoint
toanimportantgenealogicalchainextendingbacktoFranzLiszt’s‘FeuxFollets’from
theÉtudesd’exécutiontranscendante(1851),andforwardtoRavel’s‘Ondine’from
Gasparddelanuit(1908)(Ex.1.8a,bandc).70
70KennethHamiltonreferstoRavelusing‘theTranscendentalStudiesasareferenceguidetopianisticpossibilitieswhencomposingGasparddelanuit’.‘GreatTradition,GrandMannerGoldenAge’inK.Hamilton,AftertheGoldenAge,RomanticPianisminModernPerformance(2008),p.10.
64
Example1.8
a)Liszt:Étudesd’exécutiontranscendante(1851),‘Feuxfollets’,bar69
b)Saint-Saëns:ConcertoinGminor,Op.22(1868),1stmovement,bars41-42
c)Ravel:Gasparddelanuit(1908),‘Ondine’,bar57
Ofevenmoresignificanceistheextendedarpeggiowritingthatunderpins
Saint-Saëns’multi-layeredtexturesatthebeginningoftherecapitulationinthefirst
movementoftheSecondConcerto(Example1.9b).Saint-Saënsinheritedsuch
techniquesfromLiszt,asdemonstratedinthelatter’sTroisièmeétudedeconcert,‘Un
sospiro’wherethetexturalconfigurationcomprisesaninternalmelodyplayedby
alternatingthumbssurroundedbyrapidarpeggios(Example1.9a).InturnLiszt
65
borrowedthisdevice,the‘three-handedtechnique’fromhispianisticnemesisand
Ravel’spedagogicalgrandfather,Thalberg.ThatRavelcontinuedthisapostoliclineis
evidentintheclosingpagesofJeuxd’eau(Example1.9c)andinthefirstmovement
cadenzaoftheConcertoinG(Figure26),whereaninternalmelodyplayedbytheleft
handthumbisaccompaniedbyextendedarpeggiosinthelefthandandtrillsinthe
righthand.
Example1.9a)Liszt:Troisétudesdeconcert,S.144,‘Unsospiro’(1857),bars53-55
b)Saint-Saëns:PianoConcertoOp.22,firstmovement,bars65-66
66
c)Ravel:Jeuxd’eau(1901),bars79-81
BymakingadirectcomparisonbetweenSaint-Saëns’SecondConcertoand
Ravel’sConcertoinG,furtherconnectionsemerge.TechniquesemployedbySaint-
SaënssuchastheLisztianalternatedouble-octavechromaticascenttodrivetowards
therecapitulationofthefirstmovement(fourbarspriortoFig.E)arereplicatedby
Ravelinexactlythesameplace(Fig.17),althoughRavel’sversionisinsinglenotes,
playedinbothhandsthatcoverthewholesevenoctaverange(thereareseveral
instancesofRavelusingalternatedoubleoctavestoeffecthislightningcrescendiin
67
‘Scarbo’andthe‘Toccata’).However,itisinthemoredelicateandcapriciouswriting
thatthespiritofSaint-SaënsloomslargestinRavel’spianism,bindingboth
composerstotheidiosyncraticFrenchsensibilitiesofplayfulness,balanceand
elegance.ThecentralscherzomovementofOp.22,thefinalmovementofRavel’s
ConcertoinG,andalsothecentralAllegrosectionoftheConcertofortheLeftHand
(Fig.14onwards)bearwitnesstothissenseofjoyfulness,whilethedecorative
filigreeofSaint-Saëns’texturesfindsaddedexpressionandpathosinRavel’shands
atfigures8-14oftheConcertofortheLeftHand,andtherecapitulationofthecentral
Adagio(Fig.6)intheConcertoinG.71
WiththeGriegandSaint-Saënsconcertidulydispatched,Ravelturnedhis
attentiontotwoearlyRomanticmasterpieces,Chopin’sBalladeNo.4Op.52and
Schumann’sFantasyOp.17,whichheperformedfortheinternalcompetitioninJune
1893andJanuary1894respectively.TheveryfactthatRavelwasabletotackle
thesedemandingworks,whosephysicalandemotionalchallengesrequirea
completepianistictechnique,isfurthertestimonytohisconsiderableprogressasa
pianistandinterpreterbytheageofnineteen.RoyHowatreferstoChopinashaving
‘effectivelyinventedthesymphonicpoematthekeyboard,devisingformsthat
coherewhiledefyingconventionalanalysis,inwaysthatinterestedbothDebussy
andRavel’.72TheBalladeNo.4illustratesChopin’scompositionalingenuityatits
mostadvanced,fusingelementsofsonataformandvariationtechniqueswithina
myriadcombinationoftextures.Thefirstsubjecttheme(bar8)undergoesmelodic,
harmonicandtexturalmodificationateveryappearance,fromdelicate
71MichaelJ.PuriexplorestheaffinitybetweenSaint-Saëns’andRavel’sreworkingofsonataformstructuresintheirconcertiin‘Saint-Saëns,RavelandtheirPianoConcerti:Soundingoutalegacy’,CamilleSaint-SaënsandhisWorld,ed.JannPasler(Princeton:PrincetonUniversityPress,2012),pp.334-357.72Howat,TheArtofFrenchPianoMusic,p.64.
68
ornamentationaccompaniedbychords(bar23),addingadoublenote
countermelody(bar58)withfurtherenrichmentoftheaccompaniment,incanon
(bar135)toitsmostexpansivestatement,alongcantilenamelodywithwide
sweepingarpeggioaccompaniment(bar152).Thisspectraltransformationofthe
samebasicthematicandmelodicmaterialissomethingthatmusthavegripped
Ravel’simaginationanditwasatechniqueheexploredlaterin‘Ondine’,‘LeGibet’
andJeuxd’eau.
HowatpinpointsmanycogentsimilaritiesbetweenChopinandRavel’s
pianism,andintheparticularcaseoftheBalladeNo.4,arguablythemostground-
breakingandvirtuosicoftheFourBallades,hehighlightsafewinstanceswhere
Chopin’sfigurations,pianistictechniquesandtexturesfindtheirwayintoRavel’s
pianoworks.Theseincludeoctatonicprogressionscombinedwithdiminished
chords,thesurgingleft-handpassageworkthatrecallssimilarpassagesin‘Scarbo’
andanemotionalbreadthandintensitythatlooksforwardtoGasparddelanuitand
LaValse.Additionallythearabesque-likepatternsthatcharacterisemuchofChopin’s
pianism,forexamplebars76-80inBalladeNo.4(Example1.10a),evolveintothe
voluptuousexpansivepatternsofJeuxd’eauand‘Unebarquesurl’océan’,thehushed
contrapuntaldialogueinthecadenzaof‘Oiseauxtristes’(Example1.10b)andeven
theeloquentandintimateopeningphraseofthePrélude(Example1.10c).
Example1.10
a)Chopin:BalladeNo.4Op.52,bars76-79
69
b)Ravel:Miroirs(1905),‘Oiseauxtristes’,extractfromthecadenza(bar25)
c)Ravel:Prélude(1913),bars1-3
AnycomparisonbetweenBalladeNo.4andtheSérénadegrotesquemayat
firstseemodd,consideringtheyinhabitdifferingemotionalworlds.However,the
openingsectionsofbothworksmeritclosescrutinyasChopinandRavelavoidany
referencetothetonickeyandusesimilarmethodstoreachthisobjective.The
BalladeNo.4opensinCmajor,withtheprominentEnaturalannouncedbytheleft
handfunctioningmoreasthethirdofaCmajorchordthantheleadingnoteofthe
tonicFminor.Whenthefirstsubjectthemeentersatbar8withthebassline
providinganFpedal,Chopinunderminesthetonicbyplayingitoffagainstthe
leadingnote,Enatural.EventuallytheEnaturalslipsdowntoanEflatheraldinga
modulationtoAflatmajor(bars10-12).IntheSérénadegrotesque,Ravelgoesone
stepfurther.Hisopeningchordsarebuiltfromupfromaversionofthewholetone
scalethatomitsthetonic,Fsharp,altogether.Thisfirstchord,aV7inthird
inversion,whichcontainstheleadingnote,Esharp,avoidsresolutionthrough
parallelmovementandwhenaprominentbassnotedoesappearsinbar4itisthe
70
flattenedsupertonic,G.ThetonicFsharpfinallyarrivesinbar11,butisimmediately
destabilisedbybeingpairedwiththeGinasemitonaltremolo.Intheensuing
‘Presto’sectionanyattempttoestablishthetonicchordonthefirstbeatisaverted
withedgychromaticisms.Ravel’sparallelseventhchordscalltomindasimilar
techniqueadoptedbyChopininbars72-73oftheBalladeNo.4tocreateabridge
betweenthefirstandsecondsubjectmaterial.
Throughouthispianisticstudies,Ravelconstantlyreturnedtothemusicof
RobertSchumann;evenhisearliestforaysintocomposingincludeasetofvariations
onathemebySchumann.RavelverbalisedhisfondnessforSchumann’spianismina
commentrelatedtoManuelRosenthal:
Yes,I’mwellawarethereareawkward,evenclumsyturns,butevenso,Schumanninventedmuchofourpianisticwriting…ofourharmonicfeeling….Wemustplacevery,veryhighly-perhapshighereventhanalltheothers-amusicianwho,withthesevenwretchednotesofthescale,somehowexpressessofullywhatlivesinthehumanheart.73
AtfirstitmayseemhardtoimaginethereservedandmodestRaveltackling
Schumann’sFantasyOp.17withitsextrovertandunrestrainedromanticism,
althoughatsomepointin1893,deBériothadexpressedaviewthatRavel’splaying
hadbecome‘tooromantic’.74AsSchumannhimselfwroteinalettertohissoon-to-be
wifeClarainMarch1838:‘Thefirstmovementoftheworkisperhapsthemost
passionateofallIhaveevercomposed-adeepyearningforyou’.Furthercomments
bydeBériot’sregardingRavel’sperformanceoftheFantasyinJanuary1894attestto
Ravel’seagernesstogettogripswiththeenthrallingmusicalnarrativeofOp.17:‘[…]
agreatdealoftemperamentbutatendencytopursuebigeffects.Needstobeheldin
check’.75
73RosenthalinMarnat(ed.),SouvenirsdeManuelRosenthal(1995),pp.8-9.74Nichols,Ravel,p.13.75SeeTable1.3.
71
IntheFantasy,Schumannbreathesnewlifeintothethree-movementclassical
sonatastructuretappingintoafreedomofexpressionthatchallengestheverycore
ofsonataform.Theimpassionedmelodyunderpinnedbyanextraordinaryharmonic
colourattheopening(aVpedalbeneathswirlingscalicfigurationsthattraceaii7
chord)conjuresanimmediatesenseofexpectationandwonderment.Schumann
avoidscadencesinfavourofrestsandpausesthatsuspendthemusicalflowwhere
dissonancesresolveontootherdissonances.Hedoublesmelodiclinesinoctavesand
doubleoctaves,andjuxtaposescontrastingemotionsfromthecontemplativeand
poignanttotheplayfulandpassionate.Theseareonlyafewexamplesofthe
techniquesandgesturesthatresurfaceinRavel’smostexuberantpianowork,
Gasparddelanuit.Ravel’scommenttoVladoPerlemuterregardinghisoverall
conceptfor‘Scarbo’isparticularlyappositeatthisjuncture:‘Iwantedtowritea
caricatureofromanticism-perhapsitgotthebetterofme.’76Raveldidperformthe
Fantasyonmorethanoneoccasion,afactverifiedinacommentmadeby
musicologistandcriticPaulLandormyin1894,inwhichhestatesthatSchumann’s
FantasyOp.17andEmmanuelChabrier’sBourréefantasquewereRavel’sonlytwo
partypiecesatthistime,adding‘heplayedwithverystrangeideasinmind,butwith
atechniquethatwasratherroughandstiff.77
AstheinformationpresentedinTable1.3implies,Ravel’spianisticstudies
during1894and1895seemtohavelostadegreeofmomentum,afactreflectedin
thecomparativelyshortworkshesubmittedforthehalf-yearlyexaminations,a
Chopinstudy,ascherzobyCarlMariavonWeber(bothunspecified)andforhisthird
andfinalattempttowinaprizeattheConservatoireinJune1895theAllegro
76Perlemuter,RavelaccordingtoRavel,p.35.AlsoNichols,Ravel,p.103.77PaulLandormy,LamusiquefrançaisedepianoaprèsDebussy.Nichols,Ravel(2011),p.16.
72
symphonique78byGeorgesMathias.ItisnotknownwhichofChopin’sÉtudesRavel
performed,butasPaulLoyonnetrecalled‘allofdeBériot’sstudentshadtolearna
newChopinstudyfortheFridaytechniqueclass’,addingthat‘deBériotwastolerant
ofourslowandoftenimperfectChopinétudes’.79Ravel’sperformancesofthe
BalladeNo.4andSchumann’sFantasysuggestthathispianisticprowessbytheage
ofnineteenwasunderpinnedbyanimpressiverangeoftechnicalskillsandthathe
wouldhavebeencapableofmeetingthechallengesofanyofChopin’sOp.10andOp.
25Études.OneneedonlycompareRavel’sright-handdouble-noteconfigurationsin
bars57-61of‘Ondine’withsimilarpatternsinbars15-16ofChopin’sOp.25No.6,
orthewideleapingtexturesinbars66-67of‘Ondine’withthedrivingarpeggiosof
Op.25No.12tosensetheimpactofChopin’spianismuponRavel.Equallysothe
exhilaratingpassageworkcoupledwiththedramaandhumourthatcharacterizes
Weber’spianismwouldhavebeenanaturalchoiceforRavelwithhisaccumulated
performingexperienceoftheStilebrillanterepertoire.
GeorgesMathias,asaformerpupilofFrédéricChopinandamuch-respected
teacherattheConservatoirefrom1862to1893,playedakeyroleinthe
disseminationofthelatter’steachingmethodstothesucceedinggenerationsof
pianists.OfparticularsignificancewashisadviceasreceivedfromChopinon
mattersrelatingtotouchandtheappropriateapplicationofrubatodemonstratedin
thefollowingremarks:
Mouldthekeywithavelvethandandfeelthekeyratherthanstrikingit.80
[…]thelefthandplayingtheaccompanimentshouldmaintainstricttimewhilethemelodiclineshouldenjoyfreedomofexpressionwithfluctuationsofspeed.81
78Paris:G.Hartmann,1870.BibliothèqueNationaledeFrance,Cat.No.VM12-19592.79Timbrell,FrenchPianism,p.186.80Eigeldinger,Chopin,pianistandteacher,ed.RoyHowat,p.31.81Ibid.,p.49.
73
Mathias’stwenty-fourÉtudesspécialesdestyleetdemécanisme(1862)reflecthis
Conservatoireaffiliationswitheachstudybearingagenerictitleincluding‘les
arpèges’,‘lelegato’and‘lecinqdoigts’.Thetechnicalandmusicaldemandsfallfar
shortofChopintrailblazingÉtudes,anddeBériot’sThirty-SixStudiesof
TranscendentalDifficulty.AsJamesMethuen-Campbellobserved,‘Mathiashadbeena
pupilofFriedrichKalkbrennerbeforehecametoChopin,andthepianostudies
composedbyhimreflectthistrainingratherthanChopin’s’.82Regrettablythe
Allegrosymphoniqueisverymuchinthemouldofamanneredsalonpiecewhere
cantilenamelodiesareclothedinclichédaccompanimentaltexturesofarpeggiosand
brokenchords,withwell-troddenharmonicprogressions.
AfinalglanceatthepianoworksRavelstudiedwithdeBériotoverthisfour-
yearperiodrevealsadistinctlackofcontemporaryrepertoire,despiteRavel’s
voraciousappetitefornewmusicoutsidetheConservatoirewalls.Whatwasde
Bériot’sopinionofRavel’spianoworksanddidRavelperformtheSérénade
grotesqueforhispianoprofessor?PaulLoyonnetwasabletoshedsomelightonde
Bériot’sresponsetocontemporaryFrenchmusic:
DeBériotheldmonthlypublicclassesthatconcludedwithaperformancefromoneofhisexstudents,oftenViñes.Alwaysheplayedtheso-calledultra-moderns,DebussyandRavel,andIrememberhowdeBériotwouldlistentothismusicwiththesameindulgentsmilethatonewouldshowwhenachildmisbehaved!Hedidn’treallyunderstandthismusic,andneverunderhimdidweplayasinglereallymodernwork.83
ThisapparentlackofempathyandintransigenceondeBériot’sparttowardsnew
musicaldevelopmentsaswitnessedinthemusicofRavelandDebussyisconfirmed
toadegreebyhisharmonictreatise,Gymnastiqueharmoniqueetlectureaupiano
thatdatesfrom1899inwhichheexploresseventhchordsandaugmentedsixth
82JamesMethuen-Campbell,‘ChopininPerformance’,inJimSamson(ed.),TheCambridgeCompaniontoChopin,(Cambridge:CambridgeUniversityPress,1992),p.195.83ReproducedinTimbrell,FrenchPianism,p.187.
74
chordsthatinvariablyyieldtooutmodedtonalprogressionsandcadences.84Such
harmonicconfigurationshadalreadylosttheirallureforRavelandhis
contemporaries,asisreflectedinRicardoViñes’diaryentryfrom15August1892
wherehestatesthatheandRavelspentvirtuallytheentiredayatthekeyboard,
‘experimentingwithnewchords’.85Ayearlater,withhisfirstsolopianoworkthe
Sérénadegrotesque,Ravelhadembracedunresolvedseventhchordsandbythetime
hewrotethePavanein1899hisextendedchordshadachievedanindependenceand
stabilitythatthreatenedtheveryexistenceoftonalharmony.
ThereisnorecordofRavelhavingstudiedChabrier’sBourréefantasque
(1891)withdeBériot,butLandormy’sreferencetoitasRavel’smusicalcallingcard
in1894meansthatitmeritsexplorationatthispoint.Itisimpossibleto
underestimatethelastingimpactEmmanuelChabrierhadonRavel’smusic,andfor
FrancisPoulenc‘thewholeofChabrieristobefoundintheBourréefantasque’.86In
this,hisfinalpianowork,Chabrierwentbacktohisnativeroots,andinhiswords
theBourrée‘ringswiththestampofmyAuvergnatclogs’.87RogerNicholsnotesthat
the‘wholetonechords,consecutiveseventhsandostinatofigurationsthatpermeate
Ravel’sSérénadegrotesqueowemuchtotheBourréeFantasque’.88Chabrier’sscoreis
fullofvibrantpianisticsonorities,briskrepeatednotepatterns,glissandi,cross
rhythmsaplenty,hand-crossingpassages,andadynamicrangethatpushesthe
boundariesatbothends,fromppptofff.Theabundanceandprecisionofthe
notationevenexceedsthatofChabrier’smostsubstantialcollectionofpianopieces,
84Paris:Rouhier,1899.85SourcedinOrenstein,Ravel:ManandMusician,p.16.86FrancisPoulenc,EmmanuelChabrier(Geneva:LaPalatine,1961).Englishtrans.CynthiaJolly(London:Dobson,1981),p.64.87‘Jerythmemamusiqueavecmessabotsd’auvergnat’.RogerDelage,EmmanuelChabrier,p.12.ForacomprehensiveandoutstandingstudyofChabrier’spianoworks,seeRoyHowat,TheArtofFrenchPianoMusic(2009),pp.83-109andpp.187-97.88Nichols,Ravel,p.15.
75
thePiècesPittoresques(1880-1),thatforPoulencwere‘asimportantforFrench
musicasDebussy’sPreludes’,addingthat‘atthistime,neitherSaint-SaënsnorFauré
hadgonesofarintheirsearchfornewsoundtextures’.89
ChabrierhimselfdescribestheBourréewithcharacteristichumourinaletter
tothededicatéeÉdouardRisler,whogavethefirstperformance(attendedbyRavel
andViñes)attheSociétéNationaledeMusiqueon7January1893:‘Ihavewrittena
shortpianopieceforyouthatIthinkyouwillfindamusingandinwhichIhave
countedasmanyas113differentsounds’.90TheparallelswithRavel’sarguablymost
flamboyantandcolourfulpianowork,‘Alboradadelgracioso’fromMiroirsare
unmistakableanditisinterestingtonotethatbothcomposerstranscribedthese
piecesfororchestra(Chabrier’sorchestrationoftheBourréewasleftincompleteat
hisdeathin1894),althoughforRislerorchestralsoundspermeatedtheverycoreof
Chabrier’ssolopianoversion:‘c’estl’orchestreàrendreparlepiano!’91
InconversationswithAlfredCortot,ÉdouardRislerconfirmsChabrier’s
obsessivelydetailedapproachtodynamicsandtempochangesintheBourrée
fantasque:forexample,heinsistedthatthesforzandistandoutwhatevertheir
contextandurgedRislertodifferentiatebetweenarallentandoandaritardando.92
Vincentd’IndyrecountsanamusinganecdoteregardingarehearsaloftheTrois
valsesromantiqueswithChabrier,wherehewaschidedforplayingasifhewas:
[…]amemberoftheInstitut.TherethenfollowedalessoninplayingallaChabrierwithcontraryaccents,pianissimithatevaporatetonothing,suddendetonationsinthemiddleofthemostexquisitetenderness,accompaniedbysomeobbligatomiming,lendingthewholebodytothemusicalinterpretation.93
89Poulenc,EmmanuelChabrier,p.37.
90‘Jevousaifabriquéunpetitmorceaudepianoquejecroisassezamusantetdanslequelj’aicomptéprèsde113sonoritésdifférentes’.LetterfromChabriertoRisler,12thMay1891,reproducedinRogerDelage,EmmanuelChabrier(Paris:Fayard,1999),p.583.91Ibid.,p.584.92AlfredCortot,Lamusiquefrançaisedepiano,Vol.1,p.202.93RogerDelage,EmmanuelChabrier,pp.267-8,translationbyRoyHowat,TheArtofFrenchPianoMusic,pp.319-320.
76
SuchmeticulousattentiontodetailstrikesachordimmediatelywithRavel’s
instinctivefeelforkeyboardsonorityandoneneedlooknofurthertoseethesourceof
inspirationforthekaleidoscopicpaletteofcoloursinallhispianoworksthantheTrois
valsesromantiqueswhichRavelandViñesperformedforChabrierinFebruary1893
andtheBourréefantasquethatPoulenchailedas‘fullofpianisticinnovationsas
Ravel’sGasparddelanuit.94
Ravel’sdepthofunderstandingandaffectionforthemusicofhisfellow
countrymancanbefeltandheardinhisshortpianopiece,Àlamanièred’Emmanuel
Chabrier,describedbyRogerNicholsasa‘pasticheofChabriermakingapasticheof
Siebel’saria‘Faites-luimesaveux’fromGounod’sFaust.95WhereasGounod’sardent
youngloverconveyshismessagewithanairofurgencyabouthim,Ravelrecaststhe
melodywithalingeringmelancholy,markedRubatoandaveccharmeonitsfirst
appearanceinbar10.Intextureandshapeboththemelodyandaccompaniment
bearastrikingresemblancetotheopeningmaterialofthecentralsectionofthe
Bourrée(frombar74onwards).SnippetsofChabrier’sthemesappeardeftly
disguisedthroughoutÀlamanièred’EmmanuelChabrierasdomanyofhis
trademarktexturaldevices,includingthegrowlingostinatobasslinescharacterised
byleapsandsemitonalshifts(Examples1.11aandb)andmelodiesplayedanoctave
ortwooctavesapart(Example1.12aandb).
94Poulenc,EmmanuelChabrier,p.63.95PrefacetoNichols’editionofÀlamanièred’EmmanuelChabrier,Peters,No.7372.
77
Example1.11
a) Chabrier:Bourréefantasque,bars335-338
b)Ravel:Àlamanièred’EmmanuelChabrier,bars31-32
Example1.12a)Chabrier:Bourréefantasque,bars272-274
b)Ravel:Àlamanièred’EmmanuelChabrier,bars22-24
78
AccordingtoPoulenc,RaveloftenremarkedthatthepremiereofChabrier’s
operaLeroimalgrélui(1887)hadchangedthedirectionofharmonyinFrance.96In
bars15-22ofÀlamanièred’EmmanuelChabrierRavelcapturesthisexquisitely
nuancedharmoniclanguageinanutshell.Thesuspendedarpeggiatedninths,D9in
bar15andE9inbar17arerelaxedandimprovisatoryinfeel,untilRavelintroduces
anascendingcountermelodyinthetenorregisterattheFsharpsecondinversion
chord(bar19).ThisresolvesontoaCsharp7chord(bar20)whoseEsharpis
enharmonicallychangedintoanFnaturalthatwithaGinthebass(bar21)directs
theharmonybacktothetonicwithadeceptivelysimpleperfectcadence(V9/V7-I).
Post-ConservatoirePianoStudies:SantiagoRiera(1895-97)
Ravel’sfailuretowinfurtherprizesattheConservatoireafterhisthirdattemptspelt
automaticdismissalfromdeBériot’spianoclassandanendtohisformalpianistic
studies.FromJuly1895onwardslittleisknownaboutRavel’spianostudiesother
thanthisbriefreferencebyArbieOrenstein:
ItwaspossibleatthisjuncturethatpianolessonswerecontinuedprivatelywithSantiagoRiera.InanunpublisheddiaryRicardoViñesnotedthatRierahadtaughtseveralgoodstudentsamongstthemMauriceRavelandLemaire.Althoughthediaryisundated,itisknownthatthelessonsextendedoveraperiodoftwoyears,andtheyundoubtedlyincludedawidevarietyofSpanishmusic.97
TheCatalanpianist,SantiagoRiera(1867-1959),aformerstudentofGeorges
Mathias,latertaughtanadvancedpianoclassattheConservatoirefrom1913to
1937.AreviewpublishedinLeMenestrelofarecitalhegavein1904describes
Riera’sperformanceofChopin’sTwelveÉtudesOp.25asdemonstrating‘an
96Poulenc,EmmanuelChabrier,p.54.97ArbieOrenstein,Ravel:ManandMusician,pp.15-16.
79
incrediblevarietyoftouches’98(hisprogrammereflectedadegreeofeclecticism,
withadditionalworksbyBeethoven,Liszt,Schumann,Alkan,Dubois,Fauréand
Tchaikovsky).Orenstein’smentionofSpanishmusicplayingaprominentrolein
Ravel’slessonswithRierasitsverywellwithadescriptionofRiera’steachingstyle
byhisstudentDanielEricourt:
Hisemphasiswasverymuchoninterpretation-colour,emotion,dash,andtheoveralleffectofthework.HehadahotLatintemperandnopatiencewithunpreparedstudents.99
ThereisnorecordoftheworksthatRavelstudiedorperformedduringthis
period,andexceptinghisexplorationofChabrier’sorchestralmasterpiece,Españain
apianoreductionformat(accordingtoJean-MichelNectouxthescorepreservedin
Ravel’slibraryatMontfortl’Amaurycontainedmanyfingerings),100nomentionof
anySpanishsolopianoworksinRavel’sperformingrepertoire.Likewisetheabsence
ofanyofFranzLiszt’spianoworksisastonishingconsideringRavel’s
acknowledgementofLiszt’sinfluenceonhispianisticstyleofcomposition(tobe
addressedfurtherinChapter2).RierawasakeenadvocateofLiszt’smusic,afact
corroboratedbyGermaineMounier,whostudiedwithhiminthe1930s:
HetaughtalotofLisztandgaveusfingeringsthathehadreceivedfromEmilevonSauer.Thisrepertoirewasgoodformylargehands,butImustsaythatIdidn’tfeelmuchrapportwithRiera.101
HealsoeditedseveralvolumesofLiszt’spianoworksforDurandthatwere
publishedbetween1917and1920.Ravel’slibrarycontainedmanyimportantworks
byLisztinFrench(possiblytheRieraedition),GermanandItalianeditionsalthough
thereisnoreferencetoanyannotationsinthesescores.102Itishardtoimagine,
98‘[…]uneincroyablevariétédemoyens’.HenriHeugel,LeMenestrel,May11904,p.144.99DanielEricourt,interviewwithCharlesTimbrell,reproducedinFrenchPianism,p.44.100Nectoux,‘MauriceRaveletsabibliothèquemusicale’,CahiersMauriceRavel,No.3(1987)pp.53-62.101GermaineMounier,interviewwithCharlesTimbrell,reproducedinFrenchPianism,p.208.102InformationsuppliedbyJean-MichelNectoux,MauriceRaveletsabibliothèquemusicale.CahiersMauriceRavel,No.3,pp.53-62.
80
givenRavel’sstudiesofsomeofthemostdemandingworksoftheRomanticperiod
(byChopin,Schumann,andMendelssohn),thatLiszt’spianismwasbeyondhis
technicalandinterpretivegrasp,exceptthathemighthavefelthishandsweretoo
smalltonegotiateLiszt’sbravuratextures(seeMounier’scommentaboveregarding
herlargehands).NeverthelessintheabsenceofanyreferencetoLiszt’svastoutput
inhisrepertoireatthistime,onemustassumethatRavelassimilatedhisinfluence
throughadetailedstudyofthetextsaccompaniedbymuchtinkeringatthepiano,
ratherthanthroughtheactofconcertedtechnicalandinterpretivestudywithaview
topublicperformance.
Ravel’ssupposedperiodofstudywithSantiagoRieraisthrownintofurther
confusionbyinformationsuppliedbythegreatnieceofRicardoViñes,NinaGubisch-
Viñes,inanarticlepublishedintheCahiersMauriceRavelin2011.103Shecomments
uponViñesandRavel’sfirstmeetingattheCoursSchalleron29October1888,and
goesontostatethat:
SantiagoRierataughtRavelherebetween1888-91,not1895-97aspreviouslythought.RierawasdeBériot’sassistantattheCoursSchallerandsubsequentlysucceededdeBériotattheParisConservatoirein1914.
TheperiodmentionedbyNinaGubisch-ViñescoincideswithRavel’slessonswith
ÉmileDécombesandEugèneAnthîomethatculminatedinhiscompetitionsuccesses
in1890-91andhissubsequentacceptanceintodeBériot’sadvancedpianoclassin
July1891.ThusitisconceivablethatRavel’sstudieswithRieradatebacktothis
periodandthatthelatter’steachingphilosophyasoutlinedabovebyDanielEricourt
(theemphasisoninterpretation,colour,emotion,dash,andtheoveralleffect)
contributedtoRavel’sprizewinningperformances.
103‘Ravel,Viñes,lesannéesdesformations:goûtscroisés,curiositéspartagées’.CahiersRavel,IssueNo.14(2011),pp.16-42.
81
Conclusion:RavelandPianisticGenealogies
Thepicturethatemergesfromtheinformationexploredinthischapterconfirms
Ravel’spianismashavingevolvedfromarichpedagogicalgenepoolextendingback
toeighteenth-andnineteenth-centuryFrenchkeyboardpractices.The
preponderanceofsoloandconcertanteworksbyclassicallyorientatedearly
Romanticcomposers(Moscheles,Mendelssohn,ChopinandHerz)inRavel’s
repertoirepointstothefoundationsofhispianismbeingrootedintheStilebrillante
withsecure,evenfingertechniquepromotingclarityoftouch(ofteninfasttempi),
thecultivationofasingingtone,andanacutesensitivitytopedalling.Ravel’s
accumulationofpianisticknowledgewasinformeddirectlybythepedagogical
practicesofChopin(throughhisstudentsDescombesandMathias),Thalberg
(throughhisstudentdeBériot),andMendelssohn(viaKufferathanddeBériot).
RobertSchumann’spianismpavedthewayforRaveltoexplorethematic,harmonic,
rhythmicandtexturalpossibilitieswithinclassicalformsandincorporateelements
ofSchumann’spianotechniquesinhispianocompositions.ThatRavel’sadvanced
pianoteachers-Descombes,AnthiômeanddeBériot-weresteepedinthe
somewhatrestrictivepedagogicaltraditionsandpracticesoftheParisConservatoire
doesn’tseemtohavepreventedhimfromexploringamoreprogressiverepertoirein
hissparetimeinthecompanyofRicardoViñes.Theliberatinginfluencesof
EmmanuelChabrier(andSantiagoRiera)openedRavel’searstonewharmonic,
texturalandcoloristiccombinationsonthepiano,asdidtheelegant,coruscating
pianismofCamilleSaint-Saëns.Finally,Charles-WilfriddeBériot’scritiquesof
Ravel’sperformancesgivecredencetohisabilitiestoengagewiththeRomantic
82
spirit,andRavel’ssubsequentinterestinthepioneeringpianismofFranzLiszt
playedacentralroleinshapinghisconceptofcompositionalandpianisticvirtuosity
inhisworksforpiano.HowRavelimplementedthesetechniquesandcraftedhis
idiosyncraticpianisticstyleascomposer,performerandteacherwillbecomeevident
intheensuingchapters.
83
CHAPTER2
‘Lesgrandspouces’:Ravel’s‘Strangler’ThumbsinhisSoloPianoWorks
Ravelwasonceaskedhowhewentaboutcomposing,howhesketchedhisworks,
howideascametohimandhowheputthemtogooduse.Herespondedasfollows:‘I
don’thaveideas.Tobeginwithnothingforcesitselfuponme.’1
Undeterred,hisquestionerpursuedthepoint:‘Butifthere’snobeginninghowdo
youfollowitup?Whatdoyouwritedownfirstofall?’Ravelreplied:
Anoteatrandom,thenasecondoneand,sometimes,athird.IthenseewhatresultsIgetbycontrasting,combiningandseparatingthem.Fromthesevariousexperimentstherearealwaysconclusionstobedrawn;Iexplorethecontentsanddevelopmentsofthese.Thesehalf-formedideasarebuiltupautomatically;Ithenrangeandorderthemlikeamasonbuildingawall.Asyousee,there’snothingmysteriousorsecretinallthis.2
Thislaststatementseemscontradictorywhencomparedwithcommentsmadeby
AlexisRoland-Manuel,oneofRavel’scompositionstudentsandhisamanuensis,inÀ
lagloiredeRavel:
Hecomposedinthegreatestsecrecy.Everythinghadtobedone–orseemtobedone–byamiracle.Hispianoandhisstudyborenotraceofhisworkandgavenoevidenceofpreliminarydrafts.Nothinginthehandsorthepockets:theconjurorjuggledawayeventheapparatusofhistricks.Thingswereaccomplishedasthoughthepianokeysmanipulatedtheprinter’sdiesatadistance.3
Roland-Manuel,togetherwithManuelRosenthalandMauriceDelage,formed
thenucleusofRavel’scompositionclass,anexclusivegroupofyoungFrench
composersinformallyreferredtoastheÉcoledeMontfort,thatmetandworkedwith
RavelathishomeinMontfortl’Amauryduringthe1920s.AccordingtoRosenthal,
Ravelalwayscomposedatthepiano,whichseemsperfectlynaturalwhenone
1RavelinconversationwithMmeAndreBloch,reproducedbyEdmondMauratinSouvenirsmusicauxetlittéraires(Saint-Etienne,1977).EnglishtranslationbyRogerNichols,RavelRemembered(London:Faber&Faber,1987),p.55.2Ibid.3AlexisRoland-Manuel:ÀlagloiredeRavel(Paris:NouvelleRevueCritique,1938).Englishedition:MauriceRavel,trans.CynthiaJolly(London:Dobson,1947),p.133.
84
considersthatthepianohadbeencentraltohismusicallifefromtheageofseven.
RosenthalprovidesanilluminatingcommentaryonRavel’srelationshipwiththe
pianoandspecificallyhisphysicalconnectionwiththeinstrument:
Ashenolongerpractisedhehadbecomeaccustomedtoaratherunconventionalpostureatthepiano:hesatverylow,withhishandsheldflatandclosetothekeys.Oneconsequenceofthisunorthodoxpostureistherelativeabsenceofoctavepassagesinhispianomusic.OntheotherhandhemadegreatuseofhisthumbswhichRoland-Manuel,MauriceDelageandIusedtocallthestrangler’sthumbs.Hehadinfact,knottedtaperingfingers–notatallthehandsofapianist–withpowerfulthickthumbs,connectedveryhighonthepalmandatsomedistancefromtheotherfingers.Thisanatomicalpeculiarityimpartedarareagilitytohisthumbsandonecanseethisinactioninthepianoworksasthethumbspassfreelyundertheotherfingerstoplayamelody(thusseenin‘Ondine’fromGasparddelanuit.4
Plate1.MauriceRavelatthekeyboardc.1928
4‘Commeilnelepratiquaitplus,ilétaitalorsgênéparunemauvaisepositiondontilavaitprisl’habitude:ilsetenaitunpeuau-dessousduclaviersibienquesesmainssetrouvaientàplatetnonpointau-dessusdestouches.Uneconséquencedecettepositionvicieuseestqu’iln’yapourainsidirepasdestraitsenoctavesdanssamusiquepianistique.Parcontre,ilseservaitbeaucoupdesonpouce,cepoucequeMauriceDelage,Roland-Manueletmoiappelionsson«pouced’étrangleur».Ilavait,eneffet,desdoigtstrèsnoueux-pasdutoutdes«mainsdepianiste»-,[sic]avecdespoucestrèspuissants,trèsgros,attachéstrèshautsurlapaumeettrèséloignésdesautresdoigts.Cetteparticularitéanatomiqueconféraitunerareagilitéàsespouces,qui,danssesœuvrespianistiques,glissentvolontierssouslesautresdoigtspourcréerlamélodie(ainsidansOndinedeGasparddelanuit)’.MarcelMarnat(ed.),Ravel,SouvenirsdeManuelRosenthal,recuellisparMarcelMarnat(Paris:Hazan,1995),p.36.
85
Delagemadethefollowingobservation:‘Ofparticularsignificanceisthefactthat
Ravel’sthumbscouldmovefreelyaroundthecentraljointandcovertwokeys
simultaneously’.5
Rosenthal’scommentsregardingRavel’spostureatthekeyboardare
reflectedinseveralstillimagesofthecomposeratthepiano(forexample,seePlate
1),butofmoresignificantvalueisashortfilmofRavel,datingfromJanuary1928,in
whichthecomposerperformsafifteensecondextractfromanunknownwork.6
Despitetheabsenceofsound,thistantalizinglybriefviewofRavelthepianistinmid-
performancerevealsaremarkableconfidenceanddexterity.Ravelmaintainsastill
upperbodyposture,andhiseyesarefocussedonthescorewithonlybriefglancesat
thekeyboard.FromthiscentredpositionRavel’sarmsmoveinsmootharcs,hislong
thumbstraversethekeyboardwitheaseandhedemonstratesconsiderable
flexibilityandelasticityinthecontrolleddeploymentofhisfingerjointsandwrists.
Ravelisseentoemployavarietyofattacks,sometimesstrikingthekeysfromclose-
by,usingsupplewristmovementstodrawthefingersdowntothekey-bed,andat
othertimesreleasingthekeysbyslidingthefingerstowardshisupperbody.Ina
briefclose-uponegetsahintofconcisearticulatefingerwork.However,theseare
onlyvisualobservationsandthusitisnotpossibletodrawanyfirmconclusions
regardingtheactualsoundscreatednorwhatRavelisplaying.
TheremarksmadebyRoland-Manuel,RosenthalandDelage,coupledwith
thisshortfilmfootageposethequestionhowmightRavel’sphysicalityatthe
keyboard,andspecificallyhisidiosyncraticthumbs,influencethewayinwhichhe
5RogerNichols(ed.),RavelRemembered(London:Faber,1987),p.89.Frenchoriginal:MauriceDelage,MauriceRavel,incompletelecturescriptintheBibliothèqueNationaledeFrance(Rés.Vmb.Ms.44).6MauriceRavelplayingthepianoinJanuary1928(silentfilm).https://youtu.be/9SjD1m4fQUY[Accessed20August2016]
86
setsouttocomposeforthepiano?WhatpartdidthesethumbsplayinwhatÉmile
VuillermozdescribedasRavel’s‘longsolitaryconversationswiththeinstrument,
collectingsonorousharmonieslikebutterflies’,7andtowhatextentisthispurelya
questionofdigitaltechniquesandtricksasopposedtoamorefundamentalone
wherethethumbsassumeacentralroleincreatingthecorebuildingblocksof
Ravel’ssolopianoworks.
FewRavelscholarsrefertothestrangler’sthumbsintheirpublished
research.Themostsignificantcontributiontothisdiscussioncomesfrompianistand
musicologistRoyHowatinTheArtofFrenchPianoMusic(2009),acomparative
studyoffourofFrance’smostinnovativepianist-composers,EmmanuelChabrier,
GabrielFauré,ClaudeDebussyandRavel.Withinachaptertitled‘BodyLanguageand
thePiano’Howatdevotesasubsectionto‘ThePrehensileHandandThumb’,where
hediscussesRavel’sstranglerthumbsandidentifiesinstancesofRavelplayingwhat
heterms‘thumbgames’inthesolopianoworks.8Hepinpointsanupbeat
appoggiaturafigurationinbar8ofthePavanepouruneInfantedéfunte(1899)as
encapsulatingRavel’squintessentialhandlayout:‘anaturallyfallingthumb,lateral
wristflexibilityand(inthisparticularcontext)animblyaccentedfourthfingerto
markthetheme’.9Howatalsohighlightsselectedexampleswithinspecificsolopiano
workswhereRavelutilisesthethumbtoeffectparticularsonorities,includingthe
evocationofbellsinthefinalthreebassnotesof‘Lavalléedescloches’fromMiroirs
(1904-5),andthespicingupofthematicandharmonicmaterialusing‘thumb
7‘Ilaimaitleslongsentretienssolitairesavecl’instrument,collectionantcommedespapillonslesharmoniessonores’.QuotedinYvesMilonetal.,MauriceRavelàMontfortl’Amaury,p.30.8RoyHowat,‘BodyLanguageandthePiano:ThePrehensileHandandThumb’inTheArtofFrenchPianoMusic(NewHavenandLondon:YaleUniversityPress,2009),pp.297-299.9Ibid.,p.298.
87
dyads’10wherethethumbisextendedacrosstwoadjacentnotes,asin‘Scarbo’
(beginningatBar448)fromGasparddelanuit(1908),‘Alboradadelgracioso’from
MiroirsandthefirstandfifthoftheValsesnoblesetsentimentales(1911).
ThischapterexpandsonHowat’sfindingswiththefirstcomprehensive
investigationintothedeploymentandevolutionofthumbtechniquesinaselection
ofRavel’smajorpianoworks,namelyJeuxd’eau(1901),Sonatine(1903-5),Miroirs
(1904-5)andGasparddelanuit(1908).Byconductingthisresearchchronologically
ithasbeenpossibletofollowthecontinuousdevelopmentinRavel’suseofhis
thumbsnotonlytocreatenovelsonoritiesandcolourtheharmonieswithchromatic
shiftsandslides,the‘slitheringseconds’asobservedbyHowat,11butalsoto
articulatethematicmotifs,harmonictexturesandrhythmicmovement.Thethumb’s
roleasinitiatorofparticularhandshapes,fingeringpatternsandmotiviccellsthat
recurthroughoutRavel’spianowritingwillbeexamined.Ravel’sobservations
regardinghispianoworksassetdowninthe‘AutobiographicalSketch’12havebeen
referencedtounderlinehiscompositionalintentionswitheachsuccessivework,
togetherwiththeinterpretiveadviceheprofferedtoagroupofyoungFrench
pianistsduringthe1920s,includingHenrietteFaure,RobertandGabyCasadesus,
VladoPerlemuter,JacquesFévrierandYvonneLefébure.Aswillbedemonstrated,
theextenttowhichRavelplacedhisthumbsinthedrivingseatwhenwritingforthe
pianohadamuchgreaterimpactonhiscompositionalstylethanhasbeen
previouslyacknowledged.
10TermcoinedbyHowat.Ibid.,p.298.11Ibid.,p.298.12AlexisRoland-Manuel,‘UneEsquisseautobiographiquedeMauriceRavel’,LaRevuemusicale(December1938),pp.17-23.Englishtrans.DennisCollins,‘AnAutobiographicalSketchofMauriceRavel’,inOrenstein(ed.),ARavelReader,pp.29-33.
88
Jeuxd’eau(1901)
InaconversationrecordedbyRoland-ManuelinOctober1928,Raveldescribedhis
firstmajorsolopianocomposition,Jeuxd’eau,as‘markingthebeginningofallthe
pianisticinnovationswhichhavebeennotedinmypianoworks’.13Fromtheoutset
thumbactivityismuchinevidenceandonecanpictureRavelatthekeyboardtrying
outvariousfigurationsforhisopeningright-handmotifwiththethumbactingasa
pivot.Despitehavingasmallhand,thewidespanbetweenRavel’sthumbandfirst
fingerseemstohavebeenastartingpointforhimtoexploreextensionsbetweenthe
remainingfingers,usinglateralwristmovementstonegotiatethestretcheswith
fluidity.Consequentlythemajorityoftheright-handpatternsinthefirstsectionof
Jeuxd’eauexceedtheintervalofanoctave,asintheopeningright-handsequencean
ascendingtenthandadescendingeleventh(Example2.1).
Example2.1.Jeuxd’eau,bars1-4
13ArbieOrenstein(ed.),MauriceRavel:lettres,écrits,entretiens(Paris:Flammarion,1989).Englishedition:ARavelReader,Correspondence,Articles,Interviews,translationbyDennisCollins(NewYork:ColumbiaUniversityPress,1990),p.30.
89
Bybar9thepatternsarephrasedacrossatwo-octavespanwithfurther
extensionsinbar11introducingtheintervalofatwelfthinalternating
configurationsofdyadsandarpeggios(bothfingered1-2-3-5).Whenthe
arpeggiatedmovementistransferredtothelefthandinbars21-25,Raveltakes
furtheradvantageofthewidestretchbetweenhisthumbandfirstfingerand
distancesthethumbatanintervalofafifthfromtherestofthehand(bars24-25,
Example2.2a),bringingaddedbreadthtotheharmoniccolouring.Thisthumbnote
togetherwiththeprecedingtwonotesformanascendingpatternconsistingoftwo
intervals,a(major)secondfollowedbya(diminished)fifth,amotifofgreat
significancefromastructuralperspectiveasitappearsatpivotalmomentsinallthe
subsequentpianoworks.Itsmostprominentappearancecomesinthefirstbarof
‘Scarbo’fromGasparddelanuitasa(major)secondand(perfect)fifthandits
ensuingtransformationintoa(minor)secondand(major)seventhatbar32
promptedRaveltoassigntoitthetrisyllabicphrase‘Quellehorreur!’(Ex.2.2b).14
Example2.2.
a) Jeuxd’eau,bars24-25
14HenriGil-Marchex,‘LesConcertosdeRavel’,Larevuemusicale,19,no.187,(Paris:1938),[p.89].
90
b)‘Scarbo’,bars1and32
TheconstantinteractionbetweenblackandwhitenotepatternsinJeuxd’eau
addstothegymnastichurdlesfacingthethumb.Notonlyisitoftenplayingacrucial
roleasananchorfromwhichtheremainingfingersnegotiatethevariousstretches
butintheabsenceofamelodiclineitalsoprovidesafocusfortheharmonic
movement.Acloseinspectionofthefirstfourbarsrevealsthatiftheright-hand
thumbnotesarepickedout,acountermelodyemerges,anditispossibletoreadthis
openingsectionasathree-parttextureconsistingofleft-handchords(inquaver
movement),right-handthumbmelody,andflowingarpeggiatedfigurationsplayed
bytheright-handfingers(Example2.3).TherecordingofJeuxd’eaubyBach
specialist,YvonneLefébure,demonstratesthispolyphonicapproachperfectly.15
Example2.3.Jeuxd’eau,bars1-4(righthand,edited)
15YvonneLefébure,Ravel,rec.1975,CD,SolsticeFYCD018(1986).
91
OnerareinstanceofRavelnotatingaspecificfingeringintheautographscoreto
highlightthethumbappearsinbar4.Asthelefthandmovesdownthroughaseries
ofharmonicseventhsRavelmarksthetopnoteofeachseventhtobeplayedwiththe
thumbtherebyenablingthesmoothexecutionofthebasslineusing4-5-5-4
fingering(Example2.1).
Evidenceofmelodicandtexturalinterplaybetweenthethumbscanbeseen
atbar19(Example2.4)whereRavelintroducestwonewmotifs:anoctavemelody
confinedtotheblacknotesofthekeyboardwhichisplayedbythelefthandwiththe
thumbactingastheleadingvoice.Underneaththis,therighthandplaysan
undulatingostinatoconsistingofmajorsecondsplayedusingthefingering5-4and
2-3withthethumbextendedacrosstwoadjacentnotes,atechniquedevelopedby
Ravelinthelaterpianoworks(henceforthreferredtoasthethumbdyadtechnique).
Thenotesofthedominantchord,BandFsharp(theDsharpisabsent)arecombined
withAandE,andtogetherwiththeCsharpfromtheleft-handmelody,producethe
seventh,ninthandeleventhharmoniesthatarecentraltoRavel’slanguage.Inthe
closingbarsofJeuxd’eauthisfigurationisextendedtocovertwooctaves(see
Example1.9c)andinbars53-54,57-58and77thumbextensionsareaddedtospice
upthediatonicchordswithsevenths.
Example2.4.Jeuxd’eau,bar19
TherearetwomomentsinJeuxd’eauwherethedynamiclevelreachesfffand
onbothoccasionsthethumbisharnessedforitspower,albeitintwoverydifferent
92
contexts.Atbar48,theclimaxofthedevelopmentsection,Ravelinsertsatremolo
followedbyafive-octavedescendingglissando,directedbytheright-handthumb
withtheweightofthehandbehindit(Example2.5a).Inbar72,theheartofthe
cadenzaRavelcallsforamassivecrescendofromppptofffinthespaceoffive
rapidlymovingseptupletgroupsplayedbetweenthehands.Thebitonalharmonyat
thispoint(theblacknotetriadofFsharpmajorpittedagainstthewhitenotetriadof
Cmajor)seesthealternatingthumbsarticulatingthesemitonalconflictbetweenC
sharpandCnaturalasthemusichurtlestowardstheFsharpmajortriad,marked‘fff’
midwaythroughbar72(Example2.5b).
TheabsenceofanyofFranzLiszt’spianoworksinRavel’sperforming
repertoirefromhisformativepianisticstudiesattheParisConservatoirewasnoted
inChapter1,andyetthepianotechniquesandtexturesfoundinJeuxd’eaurecall
Liszt’sinnovativepianowritingandinparticularhiswater-inspiredcreations.In‘Au
bordd’unesource’fromthefirstcycleofAnnéesdePèlerinageS.160,Lisztexplores
theupperregistersofthepianoandhisharmoniclanguageisinfusedwith
Example2.5
a)Jeuxd’eau,bar48
93
b) Jeuxd’eau,bar72(extract)
suspendedsecondsandappogiaturas.Hismusicalportrayaloffountains,‘Lesjeux
d’eauàlavillad’Este’fromthethirdcycleofAnnéesdePèlerinageS.163,openswith
cascadesofunresolvedarpeggiatedseventhandninthchordsandthepianowriting
takesonanorchestraldimensionwithtremolos,glissandi,andmulti-layered
texturesthatrequireadditionalstaves.ThesignificanceofsuchtechniquesforRavel
canbeclearlyfeltthroughoutJeuxd’eaubutwhatsetshimapartfromLisztisthe
wayinwhichhebeginstheactofcompositionbyaddressinghisownphysical
contactwiththekeyboard.Ravel’sthumbsplayavitalroleinthisprocess,with
analysisandexperimentationhavingelicitedaprofusionoftouchesandarticulations
thatcombinetocreatetexturesofradiantluminosity.InRoland-Manuel’swords:
‘ThecomposerofJeuxd’eautakesup,extendsandsurpassesLiszt’sexperiments,
givingthemsomethingofthelightandfluentclarityofaspiritualsonofDomenico
Scarlatti’.16ThatthiswasonlythebeginningofRavel’sexplorationofthumb
techniquesinhispianowritingbecomesclearinduecourse.
16Roland-Manuel,MauriceRavel,trans.CynthiaJolly,p.118.
94
Sonatine(1903-5)
Ravel’snextpianowork,Sonatine,composedoverathree-yearperiod,inhabitsa
verydifferentsoundworldfromthatofJeuxd’eau.Withitsrootsinthethree-
movementclassicalsonatinathescopeofthewritingismoreconciseand
consequentlytheapplicationofthethumbsislessphysicallydemonstrative.
Neverthelessthumbarticulationplaysakeyrolewithregardtothedelineationand
nuancingofthematicmaterialinallthreemovements.
Atthebeginningofthefirstmovement,‘Modéré’,thefirstsubjectispresented
inoctavesbytheouterfingersofbothhandswithaninneraccompaniment,a
tremolofigurationplayedprincipallybyalternatingthumbs,givingclarityandacuity
tothetexture(Example1.2b).17Thisconfigurationrecallssimilartechniquesusedby
MendelssohninhisPianoConcertoinDminorOp.40andSchumannintheouter
movementsoftheSonatainGminorOp.22,worksthatRavelknewintimately
havingstudiedandperformedtheminhisstudentdays(discussedinChapter1).
Ravel’sdeploymentofthefirstsubjectmaterialasmelodyandbassintheopening
barsimpliesequalweightingtobothvoicesbutatitssubsequentappearances
duringthedevelopmentsectionandatthestartoftherecapitulationhemakes
subtleadjustmentsthatfocustheattentionontothelowervoice,usingtheleft-hand
thumbtoarticulatetheentries.InbothcasesRaveladjuststheshapeofthefirst
subjectbyinsertinganexpressiveappoggiaturabeforethefirstnote.Inthe
developmentRavelprecedesthisappoggiaturawithagracenoteflourishthat
17 The technique of doubling up thematic material as melody and bass simultaneously was usedextensivelybyGiaccamoPuccini(1858-1924)inhisoperas.SinceLabohème(1895-6)hadreacheditshundredthperfomanceattheOpéra-comiqueinMarch1903andasArbieOrensteinmentions‘Raveland Les Apâches actively participated in the Parisian musical scene at this time’ (Ravel: Man andMusician, p. 30) it is possible that Ravel copied Puccini’s model, for example to effect a sense ofbreadthandnostalgiatothesecondsubjectmaterial inthefirstmovement(bar55onwards)oftheStringQuartet(1903-4)andinbars57-69ofthe‘Toccata’fromLeTombeaudeCouperin(1914-17).
95
launchesthefirstsubjectonaCsharpplayedbythelefthandthumb(Example2.6a).
Converselythereturnofthefirstsubjectattherecapitulationisprecededbya
chromaticascentoversevenbarsexecutedbytheleft-handthumbfromFnaturalto
Gsharpoverapedal‘E’withoffbeataccents,apowerfuldynamicsurgeanda
reductionintempobeforetheleft-handthumbreachestheGsharpappoggiaturain
bar59(Example2.6b).
Inbothcasesthishighlightingofthelowervoicemakesaneffectivecontrast
innuancewiththepassagesthatfollow.Frombar37onwardsRavelgoesonto
exploretheupperregistersofthekeyboardwherethefirstsubjectmaterial,marked
‘f’isallocatedtothetrebleline,andatbar61,heretainstheexpressivemarkingasin
theexposition,‘ppsubito’,againfavouringthetrebleline.Themajorityofrecorded
performancesbyRavel’spianisticdisciplesdemonstrateapreferencetoemphasize
theupperlineofthefirstsubjectthroughouttheirinterpretations.ItisSamson
François,apupilofAlfredCortot,YvonneLefébureandMargueriteLong,inhis1967
recordingofSonatine,whotapsintothismulti-layeredconceptiontherebycapturing
thesetexturalsubtleties.18
Example2.6.Sonatine:‘Modéré
a)bars34-35
18SamsonFrançois,Ravel,l’oeuvrepourpianoseul,rec.1967.CD,WarnerClassics5099967831(2012).
96
b)bars51-60
Inthefinalmovement,‘Animé’,Ravelharnessesthethumb’senergyandpowerof
attacktocreatetheappropriatesonorityfortheoffbeatsemiquaver(accentedand
marked‘f’and‘trèsmarqué’)inthemaintheme(Example2.7).
Example2.7.‘Animé’,bars4-10(righthand)
However,Ravelreserveshismostsubtleapplicationofthethumbsin
Sonatineforapivotalmomentinthework,thecentralsectionofthe‘Mouvementde
Menuet’.Hesetsasidetherhythmsandnuancesofthe‘Menuet’exploredinthe
openingsectionandreachesbackintothefirstmovement,‘Modéré’,torecallthefirst
subjectmaterial(bars1-3,Example1.2b).Atbar39(Example2.8)therighthand
introducesthethemeintheupperregisterofthepiano(playingquaversand
97
Example2.8.‘Mouvementdemenuet’,bars39-46
semiquavers);thelefthandthumbbeginsaquaverbeatlater,twooctavesbelow,and
playsthesamematerialathalfspeed(crotchetsandquavers)atopaseriesof
arpeggiatedchords.Ravelunderpinsthistwo-parttexturewithasustainedpedal‘E’
inthebass.Bysuperimposingtwoindependentpulsesontothesamethematic
materialoverastaticbasslinecoupledwithacompletechangeoftessitura,dynamic
shadingandpedallingfromtheprecedingpassage,Raveltapsintothepotentability
ofcyclictechniquestoconjurewhatMichaelJ.Puridescribedas‘astateofreverieand
nostalgia’.19Thefeelingofreminiscenceispreservedintheensuingbarsthatforma
bridgetothereturnofthe‘Menuet’,expressedeloquentlybyPuri:
Underscoringthepullofmemory,therecollectionlingersafteritsmomenthaspassed,witha versionofitsheadmotive[ledbytheleft-handthumb]continuingtoflowinan undercurrentbeneaththerepriseoftheopeningtheme.20
AswithJeuxd’eau,Ravel’sharmonicprogressionsinSonatineareoften
directedfromthethumbsatkeymomentsinthestructure.Thefinalcadencesof19MichaelJ.Puri,RaveltheDecadent-Memory,SublimationandDesire(NewYork:OxfordUniversityPress,2011),p.26.20Ibid.,p.27.
98
bothoutermovementshingeuponsemitonalshiftsimplementedbythethumbs:the
slidefromAtoAsharpbytheright-handthumbinthemodalcadenceiii-I9atthe
endof‘Modéré’andtheuseofboththumbsinsuccessiontohighlightthe
major/minorambiguity(Anatural/Asharp)inthefinalflourishof‘Animé’
(Examples2.9aandb).Itisinthecentralmovement,the‘Mouvementdemenuet’,
Example2.9.
a)‘Modéré’,bars86-87
b)‘Animé,bars171-72
thatRavelusesthumbdyadstospiceuptheseventhandninthharmoniccolouring
withexamplesoccurringinbar8wherethethumbisextendedacrossablackand
whiteminorsecondandatbars45-52whereboththumbscombinetoformathree
notecluster,Csharpinthelefthandagainsttheright-handDandEnaturaldyad,
99
withinthecentreofthetexture(seebars45-46,Example2.8).Delagereferredto
theseasthe‘extraordinaryappoggiaturasthatfellnaturallyunder[Ravel’s]hands’.21
KennethHamiltonhassuggestedthattheSonatineinAminorOp.61bythe
composerandvirtuosopianistCharles-ValentinAlkan(1813-1888)couldhavebeen
amodelforRavel’sSonatine,inparticularcitingtheadoptionoflightpianistic
texturesbybothcomposers.22Whilstthe‘Scherzo-Minuet’fromAlkan’sSonatineand
thefinalmovementofRavel’sSonatinebothexplorefastmovingmotoperpetuo
passageworkwiththeprincipalthematicmaterialbeingpassedfromhandtohand,
thequestionofAlkan’sinfluenceonRavelmustremainspeculativeasitisnotknown
whetherornotRavelplayedorstudiedanyofAlkan’sworks.23
Miroirs(1904-5)
RavelcompletedthelasttwomovementsofSonatineinAugust1905,atatimewhen
hewasalsoengageduponanothercompositionforsolopiano,thefive-movement
suiteMiroirs.Asthetitleimplies,Ravelwasbackintheworldofimageryand
suggestion,somethingheconfirmedinanunpublishedaddendumtohis
AutobiographicalSketch:
ThetitleMiroirs,fivepiecesforpianocomposedin1905,hasauthorisedmycriticstoconsiderthiscollectionasbeingamongstthoseworkswhichbelongtotheImpressionistmovement.Idonotcontradictthisatall,ifoneunderstandsthetermbyanalogy.Arather
21Nichols(ed.),RavelRemembered(1987),p.89.22KennethHamiltoninconversationwiththepresentauthor,Cardiff,January282017.23RonaldSmithinAlkan:TheMan/TheMusic(London:Kahn&Averill,2000)identifiespossiblecompositionallinksbetweenthetwocomposers.TheseincludeanextraordinarymomentinthefirstofAlkan’sRecueildeChantsOp.38whichtakesasitsmodelthefirstoftheSongswithoutWordsOp.19byMendelssohn,acomposerwhoselinkstoRavelhavebeenexploredinChapter1ofthisdissertationandearlieroninthischapter.InOp.38No.1,Alkaninterruptsthesoaringlyricalmelodyandarpeggiatedsemiquaveraccompanimentbeforethefinalstatement,usheringinashortmodulatorypassage(bars76-78)whichSmithdescribesasa‘pedalbell-effectabovechromaticshifts’,andlikenstoasimilarsequenceinRavel’s‘LeGibet’from‘Gasparddelanuit’(bars21-22andalso24-25).However,Smithendswiththefollowingobservation:‘Itseemsfascinatingthattwosuchsimilarpassages,[…]should,accordingtotheircontexts,conveysuchdissimilarmoods’.Smith,Alkan:TheMan/TheMusic,p.53.
100
fleetinganalogy,what’smore,sinceImpressionismdoesnotseemtohaveanyprecisemeaningoutsidethedomainofpainting.Inanycasetheword‘mirror’shouldnotleadonetoassumethatIwanttoaffirmasubjectivisttheoryofart.AsentencebyShakespearehelpedmetoformulateacompletelyoppositeposition....’theeyeseesnotitselfButbyreflection,bysomeotherthings’(JuliusCaesarAct1Scene2).24
Inanessaytitled‘CityofLight:TheFrenchMusicalMilieu’,CarolineRaeandCaroline
PotterhighlighttheuneasefeltbyFrenchcomposers,includingClaudeDebussyand
MauriceRavelduringthelatenineteenthandearlytwentiethcenturiesatbeing
linkedwithImpressionism:
Theword‘impressionism’wasassociatedwithnegativeconnotationsofthevagueandblurry;composersandpainterslabelledinthiswaywereinfactconcernedwiththeopposite–precision–albeitadifferentkindofprecisionfromtheirpredecessors.[…]Debussy’smusic,likethatofRavel,isanythingbutvague,alldetailsofharmony,melody,rhythmandformbeingpreciselyconstructed.25
ThislastsentenceencapsulatestheveryessenceofRavel’sapproachtocomposition
aswitnessedinJeuxd’eauandisreflectedinthecomposer’sownwordsinhis
AutobiographicalSketch:
Thispiece,inspiredbythesoundofwaterandthemusicalsoundsmadebyfountains,cascadesandstreams,isbasedontwothemes,likethefirstmovementofasonata,withouthoweversubmittingtotheclassicaltonalscheme.
MarcelMarnatinhisbiographyofRavelreflectsuponthechangeinthelatter’s
musicalpersonaaswitnessedinMiroirs:
Atthispointbeginsamaturitythatislucid,consistentanddeliberatelyaggressive,despiteitsstillsomewhatprecioussurfacereflectingthedistantstanceRavelusestoisolatehimselffromthemob.26
RogerNicholsreferstoMarnat’sassessmentinthePrefacetohis1995
performanceeditionofMiroirs,addingthat‘thereisnoabruptbreakonthetechnical
24ArbieOrenstein(ed.),ARavelReader(1990),p.35,n.17.25See‘CityofLight:‘TheFrenchMusicalMilieu’,CarolineRaeandCarolinePotter,(2015).www.philharmonia.co.uk/paris/essays/8/city_of_light.ForfurtherinformationontheImpressionist/SymbolistrootsofClaudeDebussy’smusicalaesthetic,seeStefanJarocinski,Debussy:ImpressionismandSymbolism,translatedbyRolloMyers,(Mainz:Eulenberg,1976).26‘Commenceiciunematuritélucide,étale,volontiersconquérante,malgrédesdehorsencorelégèrementprécieux,refletsducaractèredistantparlequelRavelcontinuedes’isolerdesfoules’.MarcelMarnat,MauriceRavel(Paris:Fayard,1986),p.174.
101
front’,27andgoesontoquoteBurnettJames:‘thelinearclassicismoftheSonatineis
inMiroirsappliedtodifferentends:itisunderlyingratherthanpredominant,
implicitmorethanexplicit’.28Nichols’sreferencetotechnicalprocessesisinteresting
whenplacedalongsideRavel’sviewsonhisroleasanartist:‘Myobjectiveis
technicalperfection.Icanstriveunceasinglytothisend,sinceIamcertainofnever
beingabletoattainit.Theimportantthingistogetnearertoitallthetime’.29The
exoticandintriguingmixofcharactersandscenesinMiroirsthatincludesmoths,
birds,aboatontheocean,aSpanishserenadeandbells,gaveRaveltheopportunity
toexploretextureandsonorityonanorchestralscale,givingrisetoaprofusionof
novelcoloursandnuanceswiththosethumbsfirmlyatthehelm.
The‘mirrors’inthetitlearebroughtintofocusattheveryoutsetof
‘Noctuelles’.Thebitonalclashesevoking‘nocturnalmoths,launchingthemselves
clumsilyintoflightastheycirclearoundthebeams’30arecreatedfromtwodistinct
patterns,bothinitiatedfromthethumb,theintervalbetweenthethumbsforming
augmented,majorandminorsecondsrespectively(Example2.10).Inthelefthand
Ravelpresentsaseriesofdescendingarpeggiateddominantsevenths,ledbythe
thumb,movingintonalstepsbetweenAflat,GflatandFflat.Converselytheright-
handthumbtracesanascendingsequenceofF-G-A-B,thusbothversionsofthe
wholetonescaleappearsimultaneously.Theunusualright-handconfiguration,an
alternatingthumb-dyadpatternthatslipsandslidessemitonally,hasbeen
previouslylinkedinChapter1tosimilarfigurationsfoundinSchumann’sAndante
27BurnettJames,Ravel(London:Omnibus,1987)quotedinRogerNichols’PrefacetoMiroirs,MauriceRavel(London:Peters,1995),p.3.28Ibid.29AlexisRoland-Manuel,LettresdeMauriceRaveletdocumentsinédits,RevuedeMusicologie,38(1956),p.53.Englishtrans.ArbieOrenstein,Ravel:ManandMusicians(NewYork:ColumbiaUniversityPress,1975),p.118.30‘Lesnoctuellesdeshangarspartent,d’unvolgauche,cravaterd’autrespoutres’.Léon-PaulFargue,‘Lapetitegareauxombrescourtes’fromPoèmes(1905).Modernedition(Charleston:Nabu,2011).
102
andVariationsOp.46andBalakirev’sIslamey(seeExamples1.1a-c),bothworkswell
knowntoRavelandimportancesourcesofreferencewhenhewaslookingtopush
theboundariesofpianisticpyrotechnicsinGasparddelanuit.
Example2.10:Ravel:‘Noctuelles’,bar1
InVladoPerlemuter’srecollectionsofhisstudiesof‘Noctuelles’withRavel,
hereiteratesthelatter’s‘insistenceuponthelittlecrescendoanddiminuendo
hairpinsreturningtotheirstartingpoint’.31Atbars23,26,107and110,the
crescendigofrom‘pp’to‘f’inasinglebarwhichHélèneJourdan-Morhangenotes
“foreshadowstheoutburstsof‘Scarbo’”.32Ravel,accordingtoPerlemuter,wanted
thesebars‘tosoundlikeagustofwindbetweentheotherbarswhichareexpressive
andsustained’.33HoweverPerlemuter’srecordingof‘Noctuelles’alongsideothersby
Raveliandisciplesfailtocapturethiseffectanditisnotonlythesuddencrescendi
alla‘Scarbo’thataremissedbutmoresignificantlythearticulationofthe‘Quelle
horreur!’motifintheleft-handmaterialateachofthesemoments.Themajorityof
pianistsfocusonthechromaticcontrarymotionbetweenthehandstodrivethe
crescendo(atbar23,repeatedinbar26,C-Cflat-Bflatintherighthand,F-Fsharp-G
31VladoPerlemuterandHélèneJourdan-Morhange,Raveld’aprèsRavel(Lausanne:Editionsdu
Cervin,1957;5/1970).Augmentedre-edition:Raveld’aprèsRavel,suividesRencontresavecVladoPerlemuter,ed.JeanRoy(Aix-en-Provence:Alinéa,1989).Englishedition(fromthe1970volume):RavelaccordingtoRavel.Englishtrans.FrancesTanner,ed.HaroldTaylor(London:Kahn&Averill,1990),p.19.32Ibid.,p.20.33Ibid.,p.19.
103
intheleft),whereasthe‘Quellehorreur!’motif,inthiscaseF-FsharpandDflat,can
beprojectedeffectivelywithaweightythumbontheDflat(Example2.11).
Example2.11.‘Noctuelles’,bar23
Throughoutthecentralsectionof‘Noctuelles’,thethumbisassignedto
countermelodiesthatslidechromaticallythroughseventhandninthharmonies.
Raveljuxtaposespassagesthatrequireagilityandflexibilitywherethethumb-dyad
patternasatbars63,67and72isintermingledwithsmoothpassageplayedbythe
thumbwithinmelodicfragments(bars64-66,68-70)andallexecutedinwhispered
tones(Example2.12).Thesuddencrescendothatheraldstheclimaxatthepointof
recapitulationinbars84-85seestheleft-handthumbannouncinganotherofRavel’s
trademarkmotifs,thedescendingperfectfourth,referredtoasthe‘Ma-man’motif,34
marked‘f’,accentedand‘endehors’(Example2.13).
Example2.12.‘Noctuelles,bars63-65
34CitedinChapter1,footnoten.37.
104
Example2.13,‘Noctuelles’bars84-86
Inthefinalflourishof‘Noctuelles’(bars126-131)Ravelseemstobringorder
tothedisparateright-handthumb-dyadpatternoftheopening,nowpresentedas
alternatechordsbetweenthehandswithachromaticscaleatitscentrethatascends
threeoctaves.Althoughitisquiteplausibletofingerthescaleusingvarious
combinationsofthumbsandfirstfingers,thesoleuseofthumbsatthispointensures
aconstancyofattackandanevennessofsound.Additionallyifthepianistlightens
thefingeractionontheouternotesitispossibletocontrolthe‘pp’dynamicand
effectahazysonorityaroundtheinnercore.Thefinalthreenotesofthisascending
flourishasplayedbythumbsreproduceaversionofRavel’s‘Quellehorreur!’motif
withaminor2ndfollowedbyaminor7th,A-Bflat-Aflat,thatiseloquently
answeredbythefinaldownwardflourishofEflat,DflatandAflat(Example2.14).
105
Example2.14.‘Noctuelles’bars130-31
Theassociationofthethumbwithaspecificthematiccellisperhapsnowhere
moreappositethanatthebeginningof‘Oiseauxtristes’,withthehauntingcallofthe
blackbird,twoBflatsintonedinaslowiambicrhythmfollowedbyanarabesque-like
flourishdescribingaseventhchordthatendsonalongheldnote(Example2.15).
Bothsegmentsareannouncedbythethumb,thefirstaccentedwithadropofthe
wrist,thesecondwithafluidlateralmotionfromthewrist,tracinganarpeggiated
patternreminiscentoftheopeningright-handfigurationofJeuxd’eau.
Example2.15.‘Oiseauxtristes’,bars1-3(righthand)
RaveladvisedVladoPerlemutertoplaythisfigure‘notstrictlyintimebutmore
briskly’adding‘Ifyouplaystrictlyitlosescharacter’.35Graduallyotherbirdsjointhe
conversation,eachwiththeirownindependentcadencesandinflections,supported
bythelethargicundulatingrhythmoftheforestfloor.Thetexturalcounterpointasks
forsubtleandconsistentvoicing;fortunatelythethumbfingeringsfortheblackbird
35Ibid.,p.21.
106
motifcanbeappliedthroughoutthepiece(thereisonlyoneinstance,atbars23and
24,wherethisisphysicallynotpossible).
AsinpreviousworksRaveltapsintothethumbs’expressiveversatilityatkey
momentsinthestructure,somethingwhichhedemonstratestogreateffectinhis
ownrecordingof‘Oiseauxtristes’(discussedinChapter3).Threesuchoccasions
deservespecialmention.Thefirstcomesatthedynamicoutbursttowardsthecentre
ofthepiecewherethebirds,lostintheoppressivenessofaverydarkforest,are
suddenlydisturbed.Boththumbsbecomeengagedinasemitonalsquabblewiththe
otherfingersradiatingoutwardssupplyingharmonicsupport(Example2.16).
Example2.16.‘Oiseauxtristes’,bar15(extract)
Graduallytherhythmicactivitysubsidesleavingonlythetiednoteostinatoofthe
forestfloortoprovidealinktothereturnoftheopeningmaterial.Atthechangeof
keyfromEmajortoFmajortheostinatodiscreetlymorphsintothe‘Quellehorreur!’
motifofA-Bflat-Fsharp(Example2.17).Allthreenotesaremarkedwithaccents
andRavelmarksthefirsttwonotestobeplayedbytheright-handthumbwiththe
thirdnoteassignedtotheleft-handthumb.Thethirdandfinalexampleoccursinthe
cadenzawheretherighthandascendsinaseriesofbrokenchordsledbythethumb
andfirstfingermovingsemitonallyandharmonizedbyanAflat7pedalintheleft
hand(Example2.18).
107
Example2.17.‘Oiseauxtristes’,bars19-21
Example2.18.‘Oiseauxtristes’,bar25(extract)
Therisingquavercountermelodycreatedbythethumbandfirstfingermovementis
markedlegatoand‘ppp’.RaveltoldPerlemuterthatthe‘Lent-presqueadlibitum’
markingatthispointonlyreferredtotheAflatdyadatthebeginningofthebarand
thattheremainderofthecadenzashouldbeplayedquitebriskly.36Maintaininga
smoothpassageofthethumbisnoteasyatthispointbutasRosenthalcommented
Ravel’squirkythumbscouldoftensurmountsuchtaskswithease.37Thispassage
giveswaytoasequenceofcapriciousfigurationsreminiscentoftheblackbird’smotif
attheopening,harmonisedbyaquasi-cadentialV-Iaccompanimentinthelefthand.
Theright-handfigurationscalltomindthethumb-ledarpeggiatedpatterns,that
36Ibid.,p.21.37SeeRosenthalquoteabovethatreferstoRavel’s‘thumbcurls[sic]underthehandtoplayamelodywhiletheremainingfingersplaytheaccompaniment’,n.4.
108
featuresoprominentlyinthebravurapassageworkofFrédéricChopin’sBallades
andinparticularNo.4inFminorOp.52thatRavelstudiedandperformedatthe
ParisConservatoire(seeExamples1.10aandbinChapter1).
AtthecentreofMiroirssits‘Unebarquesurl’océan’,avastsymphonic
poeminwhichRavelconjuresuptheimageofasmallboatontheoceanusing
extremesofsonority.Thebarqueisdepictedbydyadscloakedinalanguidrhythm
againstthemightofthesea,portrayedbyextensivearpeggiatedpatterns‘très
enveloppésdepédales’.Thistwo-parttexture,tracingtheharmonyofFsharp9is
replayedacrossthefirstthreebarsandcallstomindtheopeningbarsofJeuxd’eau,
butitisnotlongbeforeRavelbeginstorevealamuchmoreintricateandexpansive
conception.Inthefourthbarheintroducesathirdstrandtothemix,atwo-note
figureresemblinganinvertedversionofthe‘Maman’motif.Thisispickedoutbythe
alternatethumbsandevolvesintoamelodicfragmentusingelementsofthe‘Quelle
horreur!’motifininversionasinbars84-86of‘Noctuelles’(Example2.19).
109
Example2.19.‘Unebarquesurl’océan’,bars8-10
RogerNicholsmakesaperceptivecommentregardingwhatOlivierMessiaen
termedthe'orchestralkindofpianowriting’thatpermeates‘Unebarque’,and
specificallyregardingtheopeningphrase:
[…]thepiecelookstotallyorchestralonpaperbutdependsinfactontheinteractionofdifferentregistersinsidethesamesoundboxsothatthethumbedphrasedrawsitsstrengthfromthesoundsoneithersideofit,andneitheroboe,coranglaisnormutedtrumpetcanmatchtheresonanceoftheoriginaltimbre.38
Thevirtuosicnatureofthearpeggiopassageworkthroughoutthispiecemeansthat
thethumbisinvariablyatthecentreofactivity,providingafulcrumfromwhichthe
otherfingersradiate.Takeforexamplebars29-37wherethescoringtraversesthe
entirecompassofthekeyboard.Astherighthanddescendsinextendedarpeggios
withthefifthfingercarryingthemelodicline,thelefthandascendswitharich
chordaltexturewiththethumbarticulatingthevoicingatthecentreofthepiano
whilstalsoexecutingtheBflatpedalnotesinthebass.Halfwaythroughthesection,
38Nichols,Ravel,p.74.
110
inbar33,thehandsseamlesslyswaproles.Passagessuchasthelasttwobeatsof43
andbar45(Example2.20)wherethethumbarticulatescross-rhythmswithinthe
metre,andostinatipatternssuchasthoseinbars82-103thatdemandaccuracyof
executioninthewide-stretchingarpeggiopatternsbothdependuponrocksolid
thumbplacements.
Example2.20.‘Unebarquesurl’océan’,bars43-45
CompoundingthedifficultiesareRavel’sdynamicmarkings,‘ppsansnuances’,
atbars83-85,followedbyamassivecrescendobeginningatbar86tracingafour-
octavedescent,from‘pp’to‘f’,onlytoascendfiveoctavestoreturnto‘pp’at89.The
wholeprocessisimmediatelyrepeatedinbars89-96.Atbar98(Example2.21),
furtherharmonicintensificationaddstothetechnicaldemandsinthattheplaintive
motifsheardinthelefthandatbars83-85(derivedoriginallyfromthethumb
melodyinbars4-10)arenowreworkedwithinachordal(octave)texture.Suchan
111
accumulationoftechnicalhurdlescallstomindRavel’sadmonishmenttoastudent:
‘Don’tinterpretmymusic,justplayit,andbelieveme,thatinitselfisdifficult
enough!’39
Example2.21.‘Unebarquesurl’océan’,bars97-98
Theelectrifyingimpactof‘Alboradadelgracioso’whichfollows‘Unebarque
surl’océan’canbeclearlyfeltinthesestatementsbytwoofRavel’sclosestmusical
collaborators,theviolinistHélèneJourdan-MorhangeandpianistVladoPerlemuter:
InMiroirsafter‘Noctuelles’,‘Oiseauxtristes’,and‘Unebarquesurl’océan’,‘Alboradadel gracioso’arriveslikeameteorwithitslashingaccentsandearthyrhythms’............... Jourdan-Morhange
It’saquiteuniquepieceinRavel’sworksandperhapsthemostdifficultbecauseofitsprecisionanditstechnicaldemands.40 Perlemuter
TheSpanishcontextforthispieceenabledRaveltotapintoanidiomaticmusical
languagethatexploredrhythm,texture,andcolouronthepianoinatotallydifferent
wayfromanythinghehadcomposedfortheinstrumentsincetheHabanerafortwo39‘Nem’interpretezpas,jouez-moiseulement,etcroyez-moi,c’estdéjàbienassezdifficile!’.UtteredbyRaveltoastudentinamasterclassattheÉcoleNormaledeMusiquein1925andrecalledbyMargueriteLong.ReproducedbyJanineWeillinMargueriteLong-uneviefascinante(NewYork:Juilliard,1969)p.91.40Perlemuter/Jourdan-Morhange,Raveld’aprèsRavel,p.24.
112
pianosfrom1895.Theincisiverhythmsanddryaccentuationsofflamencoleapoff
thepagefromtheoutset.Thereisnointroduction,juststraightinwiththealternate
thumbspunchingoutthethemeinsinglenotesforthelefthandandarpeggiated
chordsintherighthand.TheMoorishflavouroftheopeningthemegainsmuch
energyandvibrancyifplayedwhereverpossiblewiththethumb,includingthe
thumbdyadsonthetripletsemiquaverrhythmatbar6.
Example2.22.‘Alboradadelgracioso’,bars1-6
EveninseeminglystraightforwardharmoniccontextssuchastheBflatchordsat
Bars26-7,theSpanishflavourcanbeintensifiediftheright-handthumbscratches
thelowFasthoughpluckingagutstringonanacousticguitar.Forthesudden‘ff’
lowBflatinbar30,nothingaccomplishestheeffectofahugebassdrummore
acutelythanthefreefalldescentoftheleft-handthumbontothenotewiththe
weightofthearmbehindit.
Duringmyownstudiesof‘Alboradadelgracioso’withtheFrenchpianist
CécileOusset41IwasintroducedtoaFrenchpianisticgesturecalled‘élan’,aformof
musicalpunctuation,whichinvolvesliterallytakingashortbreathaccompaniedbya
relaxedflickofthewristtoarticulateamusicalmotiforphrasethatbeginsfromthe
thumb.Thiscanbeappliedduringashortrest,forexampleinbar11(Example2.23),41TheauthorhasstudiedwithCécileOussetsince1989.
113
wheretheright-handupbeatgainsenergyandimpactifthefirstDplayedbythe
thumbisprecededbyanélan.
Example2.23.‘Alboradadelgracioso’,bars10-12
ItisparticularlyeffectiveinthepassageimmediatelyfollowingthelowBflatatbar
30,andfrombars30-42and43-57wherethethumbdrivesthemusicaltrajectory,
providingadditionalcolourandbitetothecross-rhythm,andsettingthesemitonal
shiftsintorelief.Patternssuchasthenotoriouslytrickytripletsemiquaver
groupingsinbars31and37canbearticulatedbrisklyiftheweightofthehandis
slantedtowardsthethumbswithalightflicktowardstheotherfingers.Inbar31,it
ispossibletofocusupontheinternalcounterpointcreatedbythethumbs:Bflat-A-F
sharpintherighthand,Bflat-D-Eflatinthelefthand,whilstmakingaswiftrotary
motiontoeffecttheflamencotripletrhythm.(Example2.24).
Example2.24.‘Alboradadelgracioso’,bars30-31
114
Regardingtheexecutionofthedemandingrepeatednotepassageatbars43-
57,RaveltoldPerlemuternottoworryundulyabouttheclarityofeachnotebut
prevaileduponhimtobegineachtripletgroupwiththethumbtoprovideastrong
rhythmicimpetus,hencethefingering1-3-2markedinhisworkingscore
(Example2.25).42
Example2.25.‘Alboradadelgracioso’,bar43
Perlemuteradded‘Ravelwantedmetoplaythispassagelightly,likeaflautist’,43a
pointreiteratedbyGabyCasadesus:‘hewantedtheserepeatednotessoft-hewas
notavirtuosobuthedidplaytheserepeatednotesverywell.’44AcommentRavel
madetoHenrietteFaureprovidesfurtherlightontheuseofrepeatednotepatterns
inhispianoworks:‘[...]itisonlyapretext;apretexttoakindofvibration,that,even
here[referringto‘Alboradadelgracioso’]isarticulatedintheinitialtempoandit
mustnotbeallowedtocompromisetherhythmoftheleapinglefthandchords’.45
Ravelalsoemphasisedtheneedforbalanceandmoderationatalltimesin
‘Alborada’:
[...]theincisiveandexuberantcharacterof‘Alborada’excludesanyhintofrushingnormustitloseitslivelinessandbecomeleaden.Asidefromasmidgen(oh!trèslimitée)offreedominthenostalgicrecitativeofthecentralsectionyoumustbemindfultomaintaintheopening
42MauriceRavel,Miroirs,Microfilmfirstedition,BibliothèquenationaledeFranceVma.2967(4).43Ibid.,p.25.44InterviewwithDeanElder,PianistsatPlay(London:Kahn&Averill,1986),p.75.45HenrietteFaure,MonMaîtreMauriceRavel(Paris:A.T.P.,1978).‘[…]ellen’estqueprétexte;prétexteàunesortedevibration,qui,icimêmes’inscritdanslemouvementinitial,nenuisantpasàlasupérioritérythmiquedeslégersbondissementsdelamaingauche…’,p.76.
115
tempowithanirondiscipline,exactlyasIhavewritteninthescore:‘noslowingdownorspeedingup’.46
Inthecentralsectionthedistantmurmuringsofflamencodancerhythms
(markedpp)areharmonisedwithrichdiatonicchordsandoctatonicextensions.
GraduallyRavelintroducesthethumbdyadstointensifytheMoorishambiencewith
minorandmajorseconds,mostarrestinglyatbar97withanFsharpmajor/minor
seventh.ThisisreducedovereightbarstoasingleFsharppedal(playedbylefthand
at105)butimmediatelydestabilisedbytheFnatural/Gnaturalthumbdyadinthe
right(Example2.26).
Example2.26.‘Alboradadelgracioso’,bars97-105
Themostquirkyapplicationofthethumbsin‘Alborada’occursinthedouble-
noteglissandiatbars175,177and179(Example2.27),atechniqueinwhich,
46‘Lecaractèreincisifetbondissantd’Alboradaexcluttouteidéed’uneexécutiontroprapide,maislemouvementquandmêmedoitêtrevifetsanslourdeur.Miseàpartlaliberté(oh!trèslimitée)danslamélopée nostalgique du milieu de la pièce, vous devez veiller à une discipline de fer a ne jamaisdépasser ou ralentir lemouvement initial comme d’ailleurs je crois l’avoir indiqué sur la partitionsanspresserniralentir’.Ibid.,pp.75-76.
116
accordingtoPerlemuter,Ravel’sskillwasprestigious.47GabyCasadesusfoundthem
difficulttoplayandwhensheperformedthispieceforthecomposerinpreparation
foraconcertattheSalleGaveauin1920,Ravelsaid:‘Idon’tcarehowyouplaythem.
Playtheminsinglenotesorwithyournoseifyouwant.Iwanttheeffectof
glissando!’48Inthesameinterview,GabyCasadesusalsomentionsanidiosyncratic
fingeringthatRaveladvocatedforthelastfournotesofbar170,anupwardtriplet
flourishaccompaniedbyacrescendomarking.Themostobviousoptionwouldbe
extendedthumb[1]-2-3-4-5,butinsteadRaveladvocatedextendedthumb[1]-3-1-2-
5,therebyusingthethumbtwicetogainclarityandpower(Example2.27).This
fingeringwouldseemidealforthelight,shallowactionofRavel’spreferredchoiceof
piano,theÉrard,(asopposedtotheheavieractionofaSteinwayorPleyelpiano),
althoughasRoyHowatpointsout,Ravel’s1908Érardgranopiano,preservedatthe
MuséeMauriceRavelinMontfortl’Amaury‘initspresentcondition,hasanormal
modernkeydropandweight’.49
RobertCasadesusalsomentionsthedoublenoteglissandiinaninterviewhe
gavetoDeanElderin1975referringtoRavel’suncannyabilitytoplaythemwith
easeaddingthathisstiffwristandfingersmightfacilitatetheirexecution.50
CasadesusgoesontocommentonRavel’splayingingeneral:
[…]hisplayingwasstiff.HetriedtoplayhisSonatineforsomefriends;itwasimpossible forhimtoplaywithanicetouch.GabyCasadesus’addsweighttoherhusband’scommentsasfollows: Idon’tthinkhisthumbswereespeciallylong.[…]Hewas,howeververystiffinhispiano playing.Hisstiffmechanismwasstrangeconsideringthatyouneedaverysupplewristto playtheSonatine,forexample.51
47‘Ravelétaitprestigieuxdansleglissandoendoublenotes,celatenaitprobablementàlaformedesonpouce!’Perlemuter/Jourdan-Morhange,Raveld’aprèsRavel,p.29.48Elder,PianistsatPlay,p.75.49Howat,TheArtofFrenchPianoMusic,p.311.50Elder,PianistsatPlay,p.33.51GabyCasadesusinconversationwithDeanElder.Elder,PianistsatPlay,p.73.
117
TheCasadesus’observationsregardingRavel’spianotechniqueseemstrikinglyat
oddsfromavisualperspectivewiththeflexibleandrelaxedmovementsthatthe
latterdemonstratesintheshortsilentfilmfootage(‘MauriceRavelplayingthepiano
inJanuary1928’)discussedandanalysedatthebeginningofthischapter.52
Example2.27.‘Alboradadelgracioso’,bars170-175
ForthefinalpieceofMiroirs,‘Lavalléedescloches’,Ravelutilizesthethumbs
inanextensiveexplorationofbell-likesonorities.Theannouncingofthethreebells
attheoutsetisassignedprimarilytotheleft-handthumb,andaccordingto
Perlemuter,Ravelwantedthebellsto‘superimposethemselveswithdiffering
52Seep.85andn.6.
118
sonorities’.53InordertoachievethisRavelrequestedadifferentdynamicand
articulation(‘pp’/noaccent,‘p’/unpeumarqué,and‘mf’/accented)toeachbell.
(Example2.28).
Example2.28.‘Lavalléedescloches’,bars1-6
53‘Ellesdoiventsesuperposerdansunesonoritédifférente,chacuneayantsoncaractèrepropre’.Perlemuter/Jourdan-Morhange,Raveld’aprèsRavel,p.30.
119
OfequalsignificancewasRavel’srecommendationstoPerlemuterandFaure
onhowtoexecuteeachbellfromatechnical/physicalperspective.Hespecifiedthat
thehighGsharpoctavesofthefirstbellshouldbeplayed‘withoutusingthewrist
whichwouldoverinkthesketch’.54Thesecondbell,asighingtwodyadfigurewasto
beexecutedbydroppingthedroppingthethumbontothekeyfollowedbyasmooth
lateralwristmovement.Thethirdandmostsonorousbell,asingleEsharpthat
clashessemitonallywiththetonicofE,elicitsanaccelerateddescentofthethumb
backedupwithawristmovementthatreboundsoffthekey.HowRavelhimself
realisedtheseexactingnuancesinperformancewillbeaddressedinananalysisof
hisrollrecordingof‘Lavalléedescloches’inChapter3.
‘Gasparddelanuit’(1908)
Ravel’smostcomprehensiveandingeniousdeploymentofhisidiosyncraticthumbs,
andtheirphysicalanomaliesistobefoundinhistriptychGasparddelanuit,which
hehimselfdescribedas‘threeromanticpoemsoftranscendentalvirtuosity’.55
AccordingtothecriticHenriGil-Marchex:‘Thethumbtakescontrol-especiallyin
Gasparddelanuit,whichcontainssomeofthemostcharacteristicdiscoveriesofhis
supremetechnique’.56ThepianistandpedagogueAlfredCortotalsovoicedhis
unreservedadmirationforRavel:
Thesethreepoemsenrichtherepertoryofourtimebyoneofthemostastonishingexamplesofinstrumentalingenuityevercontrivedbytheindustryofcomposers.57
54‘Ceplanédel’octaveaiguëbannittouteparticipationdupoignetdontlaflexionneferaitqu’empâterlapose’.Faure,MonMaîtreMauriceRavel,p.79.55‘troispoèmesromantiquesdevirtuositétranscendante’.AlexisRoland-Manuel(ed.),‘UneesquisseautobiographiquedeMauriceRavel’,LaRevuemusicale(December1938),pp.17-23.ReproducedinOrenstein,MauriceRavel:lettres,écrits,entretiens(1989),p.45.Englishtrans.Orenstein,‘AnAutobiographicalSketch’,ARavelReader(1990),p.31.56HenriGil-Marchex,‘Latechniquedupiano’,LaRevuemusicale6:6(1April1925),pp.38-45.57[…]Cestroispoèmes-enrichissentlerépertoirepianistiquedenotreépoquedel’undesplussurprenantsexemplesd’ingéniositéinstrumentaledontaitjamaistémoignél’industriedes
120
AlltheprevioushoningofRavel’scompositionalcraftandendlessexperimentation
atthekeyboardcoalescetocreateworksofintricatecomplexitythatneverlose
controlofthemusicalstructureortexturalclarity.Virtuosity,itseems,hasturnedin
onitselfwithRaveloptingforintenseinwardexpressionthatexploresamyriadof
dynamicextremesandmercurialtransformations.Everysinglenotedemands
scrupulousnuancingandgradingwithintheever-changingsonorities.
BothRogerNicholsandArbieOrensteinrefertotheconnectionbetweenthe
firstoftheset,‘Ondine’andtheearlierwaterpieces,Jeuxd’eauand‘Unebarquesur
l’océan’.Nicholsobservesthat‘arpeggiosarethebasicmaterialandthefastrippling
ofdemisemiquaverswithinaheavilypedalledtextureservesasanostinato’58and
Orensteinthatin‘Ondine’thereis‘evengreatervirtuosityandopulentiridescence’.59
Theprofusionofappogiaturasandsemitonalshiftsthatcolourtheharmonies,
coupledwithrhythmicandmetricalflexibilityacrossbarlinesin‘Ondine’,alsorecall
thefleetinggossamer-liketexturesof‘Noctuelles’fromMiroirs.Asanatural
consequencethethumbcontinuestotaketheleadonarpeggiatedpatternsinthe
righthandwithmanyinstancesofgrace-noteup-beatsthatdemandanalert
response.Thedeftexecutionofaccompanimentalostinatiasinbar14and70
(Example2.29aandb)involvestherighthandthumbmovingrapidlybetween
consecutiveblackandwhitekeysaspartofademisemiquaverthreadthatweavesin
andoutoftheprincipalthemes‘A’and‘B’,playedbythelefthandthumb(‘A’played
inoctavesinbar14and‘B’indoubleoctavesinbar70).
compositeurs’.AlfredCortot,Lamusiquefrançaisedepiano(Paris:Quadrige/PresseUniversitairesdeFrance,1932),p.253.58Nichols,Ravel,p.10159Orenstein,Ravel:Man&Musician,p.171.
121
Example2.29.‘Ondine’
a)bar14
b)bar70
Barlinesarealmostsuperfluoustoneedssuchisthefluidityofthewritingandthe
firstfiftybarsof‘Ondine’remainlockedwithinthemostintimateofsoundworlds.It
seemsthatRavel’sthumbshavebeenabsorbedintothefabric,playingtheirpart
withinamultifacetedtechniquethateschewsoutwardvirtuositybyitsverynature.
ThisapproachisreflectedinRavel’sadvicetoHenrietteFaureonaspectsofsonority
in‘Ondine’:
Workatthesilkinessofyoursounds,theirfluidity,theirsmoothness,includingthe deimsemiquaverpatternsoftherighthandwhichshouldevokeakindofripplingonthe surfaceofalakethatextendsintooblivion.Adjusttheheavinessofyourthumbs.Whatyou doistooreal.RefertotheworksofLiszte.g.FeuxFollets.60
60‘Travaillezlasoieriedevossons,leurfluidité,leurlegato,etaussitoutesvosbrisuresentriple-crochesdelamaindroitequidoiventévoquerunesortederiséesurunlacetsedéroulerdansl’immaterialité.Corrigerlalourdeurdevospouces.Cequevousfaitesesttropréel.Tenez,travaillezdesLiszt,parexampleles“FeuxFollets”’.Faure,MonMaîtreMauriceRavel,p.57.
122
Frombar55-66Ravelunleashesaseriesofswirlingcrescendiand
diminuendiineachbarandasinMiroirsandtheearlierworksthethumbtakes
charge,launchingthegrace-notearpeggio(righthand)inbars55and56and
projectingthemelody(lefthand)inbars57-61(Example2.30a).Concurrentlythe
righthanddescendsinasequenceofdouble-notepatterns,ledbythethumb,that
recallFranzLiszt’s‘FeuxFollets’andChopin’sÉtudeOp.25No.6(citedinChapter
1).Evenatbar62(Example2.30b),thegrace-notefigurationatthebeginningofthe
barendsonathumbonthebottomEsharpandimpliesvoice-leadingfromthebass
line(asopposedtotheupperline)thataddsbreadthtothebuild-uptowardsthe
climaxatbar66.
Example2.30.‘Ondine’
a)bars55-57
123
b)bars62-65(righthand)
Atbar66thesecondtheme,‘B’,isrecalledinablazeofcolouratthecentreof
aflurryofarpeggiosthattraversethewholekeyboard.Sinceitsfirstappearancein
bars32-36,wherethesmoothexecutionof‘B’posedlittletechnicalchallenge
(Example2.31a),Ravelreconfigurestheaccompanimentaltexturesthatsurroundit
andwitheachsuccessivestatementthechallengesincrease,involvingmuchhand-
crossingandunusualfingeringconfigurationstomaintainthelineasatbars37-40
(Example2.32b)andbars52-56(Example2.32c).Thetexturalcomplexityreaches
itsapexinbars66-71(Example2.31d),wherethemelodynotesarepickedout
amidstafrenzyofactivity,usingthethumbandfifthfingerinbar66,thenasa
thumbedphraseinbar67,afifthfingerphraseinbar68andeventuallyindouble
octaves(threevoices)inbar70-71.Inbars69-71themelodymovestothetopand
bass,playedatatwo-octavedistanceinbar69(bythefifthfingers),thenacentral
voiceisaddedbytheleft-handthumbinbars70-71.Thecontinuousstreamof
arpeggiatedpatternsweavesaharmonicthread,andallthewhilethetessiturais
changing.Eachofthefourstatementshasitsownuniquedynamiccolouring
highlightingRavel’sextraordinarydeftnessandoriginalityanddemonstratingonce
124
morethewayinwhichhe‘takesup,extendsandsurpasses’61thetreasure-troveof
technicaltricksheinheritedfromFranzLiszt.
Example2.31.‘Ondine’,fingeringconfigurationsfortheme‘B’
a)bars32-36(lefthandonly)
b)bars37-40(edited)
c)bars52-56(edited)
d)bars66-71(edited)
61ThewordsofRoland-Manuelquotedinthesectionon‘Jeuxd’eau’inthischapter.Seen.15above.
125
Ravel’sinterpretativethoughtsonthefinalsection(frombar80onward)of‘Ondine’
asimpartedtoHenrietteFaureencapsulatehisexactingapproachtotheexpressive
componentsoftouch,nuanceandimagery:
‘Formyself,Iinsistonaparticularstyle;don’tlettherhythmsag,followthemoodofthepoem,especiallyonthelastpage(heturnedthescore),sustainadelicatemagicalpianissimo;thenclothethebaremelodyinawhitediaphanoustone...Heturnedoverthepage:andhereacompletecontrast,arpeggioshurtlingupthekeyboardexecutedwithajoyfulandunbridledpassion(heletoutaburstoflaughter)andthenthelasttwolinesexecutedinaverysmoothandelegantcurvewithacontrolleddecrescendototheenddisintegratingintocascadesofwater....'62In‘LeGibet’,Ravelreconnectswiththebell-likesonoritiesof‘Lavalléedes
cloches’.However,thetechnicaldemandsin‘LeGibet’faroutweighthoseofthe
earlierworknotleastduetoRavel’sexplicitinstructionstomaintainanunwavering
tempoandtoplaythepiecewithoutexpressionwiththeunacordapedaldepressed
throughout.63ThetollingoctaveBflatthatsitsattheveryheartofthetexture
demandsaconstancyofattackfromboththumbsthroughout.Additionallythe
thumbstakethelead(bydefaulttogetherwiththefifthfinger)inthechordal
melodiesthatsurroundtheostinatobell(Example2.32a).Thesemelodiesare
harmonisedinavarietyofways,forexample,inbars12-14andthecorresponding
passageatbars17-19wherethelefthandexploresadiversearrayofseventhchords
againsttherighthand’sdiatonicchordsinoctaves(Example2.32b).
Ravel’sdeploymentoflongpedalnotesthroughout‘LeGibet’,coupledwith
theever-shiftingchromaticharmonies,meansthatthethumbsmustarticulatewith
absoluteprecisiontopreservethethematiclinethroughtheconstanthalf-and
62‘Moi,j’insistesurlestyle;sansaucunamollissementrythmique,épousantdetrèsprèslatramedupoème,dansladernièrepagenotamment(ilfeuilletalapartition),tenez,unglissantdansl’extrêmepianissimogenremagique,suggéré;puisaprès,ici,lamélodienuedansunesonoritéblanche,diaphane...Iltournalapage:encontrastececi,arpègesdévalantleclavieretleremontantdansunemportementjoyeuxetdéchaîné(poussaunéclatderire)etlesdeuxdernièreslignesdansunecourbetrèségaleéléganteetundecrescendoprogressifjusqu’àlafinets’évanouitengibouléesquiruisselèrent.....’.HenrietteFaure,MonMaîtreMauriceRavel,pp.57-58.63‘Sanspresserniralentirjusqu’àlafin’and‘Sourdineduranttoutelapièce’.Ravel’sinstructionsatthebeginningoftheprintedscoreof‘LeGibet’(Durand,1909).
126
vibrato-sostenentepedalchanges.Atbars20,23and40wherethetextureisatits
mostexpansive,withextendedchordsthatmoveincontrarymotionacrossthe
wholerangeofthepiano,Ravelcallsforthemostmutedandlegatoofsoundsin
(‘ppp’trèslié),despitethefactthatthethumbsmustalsoattendtotheresolute
tollingbellatthecentre(Example2.32c).
Example2.32.‘LeGibet’
a)bars1-3
b)bar12
127
c)bars20-21
Ravel’sdeploymentofthumbtechniquesisatitsmostadvancedand
pioneeringin‘Scarbo’,thefinalmovementofGasparddelanuit.AccordingtoVlado
PerlemuterRavel’sobjectiveswhencomposing‘Scarbo’werethreefold:firstly,to
writeanorchestraltranscriptionforthepiano,64secondly‘towriteapiecethatwas
moredifficultthanMiliBalakirev’sorientalfantasy‘Islamey’,65andthirdlyto
experimentfurtherwithLisztianpianotechniques.
Ravel’spursuitoforchestralsonoritiesiseffectedfromtheveryoutset,as,
accordingtoPerlemuter,theopeningthree-notemotifandthetremolofiguration
thatimmediatelyfollowsitaretobeinterpretedasthoughplayedbya
contrabassoonandasidedrumrespectively(Example2.33a).66AnoteinRobert
Casadesus’workingeditionaddsadirectiontoplaythetremololikeamuffleddrum
(notclearlyrepeated)whichtiesinwithRavel’sadvicetoFaure’sregardingthe
interpretationofthesamepassageatthebeginningoftherecapitulation(bar395-
64‘J’aivoulufaireunetranscriptiond’orchestreaupiano!’.Perlemuter/Jourdan-Morhange,Raveld’aprèsRavel,p.38.65‘J’aivoulufaireuneœuvreplusdifficilequ’Islamey!’.Ibid.,p.36.66‘Commeunc-basson’and‘Commeuntambour’.NotatedbyRavelonPerlemuter’sworkingeditionandmentionedinRaveld’aprèsRavel,p.35.
128
6):‘Idon’twanttohearallthenotes,justablurred,velvetyatmosphere’.67Withthis
inmindCécileOussetadvisedthepresentwritertoexecutethetremolousinga
clusterofthumbandfirstandsecondfingerswithaloosewristmotion,never
allowingthekeytoreturntothesurface,asopposedtoafingeredapproachsuchas
3-2-1thatshefeltwouldover-articulatethetremolo.Oussetstudied‘Scarbo’with
MarcelCiampi(1891-1980),astudentofLouisDiémer,whohadalsoworkedclosely
withClaudeDebussy.FellowCiampistudentNancyBricardalsorecommendsthis
effectivefingeringinherpublishededitionof‘Scarbo’.68Anotherpercussivesonority
isadvocatedattheclimaxofthedevelopmentsection(bar367)whereRavelasksfor
theaccentedsemiquavers,playedbythealternatethumbs,tobe‘commedes
timbales’.69
Ravel’sever-changingpanoplyoforchestralcoloursin‘Scarbo’makes
enormoustechnicaldemandsupontheperformer,whosehandsareinconstantflux
traversingvastareasofthekeyboardatbreakneckspeed.Atthecentreofthis
activitysitsRavel’sstranglerthumbs,directingandco-ordinatingeveryaspectofthe
musicaldiscourse.Witheachoftheprincipalthemes,Ravelemploysthethumbsto
articulatethemelodic,harmonicandrhythmiccomponentsasdemonstratedin
Table2.1.(theletternamesforeachmotifareadoptedfromRoyHowat’sanalysisof
‘Scarbo’).70Thesubsequentroleofthethumbsinshapinganddevelopingthis
thematicmaterialissummarizedinTable2.2.
67‘Jeneveuxpasentendredenotes,maisuneatmosphère,sonore,floueetfeutrée’.Faure,MonMaîtreMauriceRavel,p.66.68MauriceRavel,Gasparddelanuit,ed.NancyBricard(VanNuys:Alfred,1990),p.40.69Perlemuter,Raveld’aprèsRavel,p.38.70Howat,TheArtofFrenchPianoMusic:Debussy,RavelFauré,Chabrier(2009)Table4.2,p.49.
129
Table2.1:Thumbsasmotivicmotivatorsin‘Scarbo’(Bars1-121)
Bar(s) Motif Description(Dynamic/Articulation)
Roleofthumbs
1 a Ascendingthree-notemotif,asemitonefollowedbyperfectfifth.(ppwithdiminuendo/legato)
Thumbsetapartfromotherfingersatoutset.
32 a’ Figure‘a’adjustedtosemitoneandmajorseventh,doubledattheoctaveandharmonized.Dubbedthe‘Quellehorreur!’byRavel.(mf-ff-mf-ff/legato)
Thumbarticulatesinnermelodicline.
52 b Briskrepeatednotemotifwithonedownwardshiftofatone.(p,unpeumarqué,staccato)
Thumbattackonfirstnotedrivesthepatternthrough.
65-67 c Paralleltriads-hemiolaeffectinrighthand,tremolointheleft-shiftingsemitonally,derivedinpartfrom‘b’.(pptof/legato)
Thumbprovidingrhythmicandharmonicstabilityatthecoreofthetexture.
80 d Expansionof‘c’-swirlingoctatonicscalepatterninrighthand(onebar’sdurationthenansweredininversion,anddevelopedbyrepetitionandsequencingtobar90.(ppreachingfby90/legato)
Right-handthumbabsorbedintoeven‘pp’texture,left-handthumbattheheadofthedry,sharp,punctuatingchords.
94 e Repeatednotepatternderivedfrom‘b’,extendedbyinversion,repetitionandvariation.(Terraceddynamics-pp,p,mf,cresctoff/detached).
Thumbfacilitatesexecutionofpattern(see‘b’above)
121 F71 Offbeattwo-chordpatternswheresecondchordcanbeshortorlong.(pp/staccatoand/orheld)
Boththumbsutilizedinfastsidesteppingmovementsonallchords.
71Howat’suseofacapitalletterforthismotifreflectshisviewofitsimportanceas‘asecondthemeproper,presentingacontrasttomotifsa-ewhosecloserelationshipformsaveryextendedfirstgrouproundedoffbythereturnofa’atbar110’.Howat,TheArtofFrenchPianoMusic,p.49.
130
Table2.2.Ravel’suseofthumbtechniquesin‘Scarbo’
Type Functionofthumbs Examples(Bars)Orchestral Producingorchestralsonoritiesonthepiano 367and411Harmonic Formingdyadsthatenrichtheharmonic
colouringActingasthefulcrumofthehandinwidelyspacedarpeggiofigurations
55-57,264-66(lefthand)168-213(lefthand)
Melodic Combiningwiththefifthfingerinoctavemelodiesandoctavedisplacementswithinparticularthematicmotifstoaddbreadthandrangetothetextures.Ravel’sground-breakingtechniquewherethumbdyadsareusedinamelodiccontextforthefirsttime
325-365448-476
Rhythmic Articulatingrepeatednotepatternsandfastmovingpassagework
2-6and256-312
Textural Boththumbsusedalternatelytoarticulatethethematicmaterialindenseharmoniccontexts,forexamplewhenbuildingtowardsclimacticmoments.
309and362-365
Thumbdyadpatternsmaketheirappearanceearlyonin‘Scarbo’.Theopening
three-notemotif,‘a’,containstheleadingnote,tonicanddominantofGsharpminor.
HowevertheVpedal(Dsharp)tremoloinbar2playedbytheleft-handthumbis
compromisedbyitssemitonalneighbours,theCdoublesharpandEnaturaldyads
playedbytheright-handthumb(Example2.33a).
Example2.33.‘Scarbo’
a)bars1-2
131
b)bars32-36
Thisthree-noteclustersitsatthecentreofthe‘Quellehorreur!’motifinbars15-
22asitevolvesintoanenergeticscamperascendingoversixoctaves,culminatingin
aspine-tinglingtremolo(Gsharp-Dsharp-FdoublesharpandCdoublesharp-E-G
sharp).Atbar32,Raveltransformsmotif‘a’intoanexuberantmelodicsurge
doubledattheoctaveintherighthand,withthelefthanddrivingthroughcascades
ofarpeggios(Example2.33b).
Eventhisearlyoninthepiece,thedynamiccharacterhingesuponsurgesof
soundinvolvingcrescendianddiminuendithatinvariablyreturntoabasedynamic
ofpianoandpianissimo.AspianistandpedagogueDominiqueMerletputsit,‘Scarbo
isapiecewrittenpianissimowithmultipleoutbursts’.72Theseleft-handarpeggios
reachtheirapexwithastrongthumbandwristaccentinbars33and36.
Motif‘b’,announcedatbar52(Example2.34a)presentstheperformerwith
thechallengeofexecutingitunpeumarquébutwithinappdynamicasnotatedby
Ravel.Withtheright-handthumbleadingonthepattern,thefingering1-3-2-1-3is
advocatedbyVladoPerlemuterandfortwoverygoodreasons.Firstlythethumbcan
bethrownontothekeyusingtheélantechniquetorattleoffthefigurationand
72Merlet,‘ConseilspourinterpreterRavel’,Lalettredumusicien:Piano20(2006-7),pp.89-91.
132
secondly,fromalong-termperspectivethisfingeringworkslaterinthepiecewhen
‘b’isdevelopedtoincorporateoctavedisplacementsasinbar73,wherethefirst
noteisdoubledattheoctave73withanascendingleapofaninthonthelastnote
(Example2.34b).Oncemoretheextendedthumbpatternatbars55-56undermines
theBmajortonality,inablackversuswhitenoteconflict;thisisfurtherendorsedin
theconnectingbars57,64and78-79withafour-noteclusteragainsttheBpedal
(Example2.34a).
Example2.34.‘Scarbo’
a)bars52-57
b)bars73-74
Atbar73Ravelreconfiguresmotif‘b’involvingbriskopenandclosedhand
movementsthatarealwaysfocuseduponarticulatingthethumb.Thistechniqueis
alsousedtodevelopmotif‘e’from94-108withthreestatementsthatgrowin
intensityinlinewiththedynamicsurgefrompptoff:singlenotesinbars94-98,
73RogerNicholsomitsthethumbnoteatthispointinhis1991Peterseditionof‘Scarbo’,onthebasisthatitismissinginboththeautographandfirsteditions,althoughitisaddedinRavel’scorrectedcopyofthefirstedition.
133
octavedisplacementsinbars98-102,andadditionalharmonynotesinbars102-108
(Example2.35).Thisprocessundergoesmanytransformationsasthepiece
proceeds,wheretheroleofthethumbbecomesdecidedlymoreprominent.
Example2.35.‘Scarbo’,bars94-104(righthand)
Allthethematicmaterialuptothispointcanbetracedbacktothefirstthree
notesofthepiece.Howeverat121,acontrasting,harmonicallyconceivedmotif,‘F’,74
makesitsappearance(Example2.36).Thiskeymotifactsasakindofsecondsubject,
takingtheformofaseriesofstutteringtwo-chordprogressionsiniambicrhythm
wherethethumbhastomakeadetachedmotionatlightningspeed.Wherethe
secondchordissustainedusingthepedal,boththumbsandfifthfingersmustengage
inacross-handexchangemarked‘verymellowandwithanevensound’,75posingyet
anotherchallengeincontrollingquietsonorities.Ravel’slowseatingpositionatthe
keyboardandhisfluidconnectivitywiththekeysasdemonstratedinthesilentfilm
footage76couldbeatellingfactorinascertaininghowheexpectedperformersto
achievetheappropriateblend.
74Regardingthecapitalization,seen.65above.75‘trèsfonduetbienégaldesonorité’.76https://youtu.be/9SjD1m4fQUY[Accessed20August2016].SeealsoChapter2p.85andn.6.
134
Towardstheendofthispassage(frombar156onwards),Ravelinsertshis
trademark‘explosivehairpins’77andmotif‘F’appearsdoubledattheoctaveinthe
righthandwiththethumbsprovidingclarityandagilityatthecoreofthetexture.
Thedevelopmentof‘F’frombars168-214continuesinthismode,whiletheleft
Example2.36.‘Scarbo’,bars121-133(reduction)
handdirectstherhythmicflowwithaseriesofgraduallywideningarpeggiated
ostinatithatincorporatethe‘flyingthumb’.78Itisinterestingtonotethatthe
semiquaverupbeatof‘F’alwayscoincideswithathumbnoteinthelefthand;thus
bothhandsengagesimultaneouslyinaswiftlateralmovementarticulatedbythe
thumbs(Example2.37).Snippetsofmotif‘b’punctuatetheseleft-handostinati
precipitatingsomedeftfingerstaccatomovementscatapultedfromthethumb.At
thefirstclimax(bar204)theextendedthumb(straddlingBsharpandDnatural)
reappearstoblurtheharmony(Fsharpmajor).
77PerlemuterandJourdan-Morhange,RavelaccordingtoRavel,p.36.‘[…]lessoufflets,toujourstrèséclatants.’Raveld’aprèsRavel,p.37.78Termcoinedbypresentwriter.
135
Example2.37.‘Scarbo’,bars168-73
ThehighlyindividualnatureofRavel’spianotechniqueisoftenreflectedin
theidiosyncraticwaysinwhichheconstructshisarpeggiatedfigurations.Aprime
exampleofthisoccursatbars232-234and253-255wheretheascendingleft-hand
arpeggiosdefyasmoothlegatofingering(Example2.38).InthePetersEditionRoger
NicholsreproducesthefingeringfromRavel’scorrectedcopyofthefirstedition,5-3-
2-1.Thisisaparticularlyawkwardhandplacement,impossibletoplaywithfinger
legato,asthethumblandsonaGsharpandhastoregroupontheAasemitone
abovewiththefifthfinger.Theonlywaythisfingeringcancreatetheillusionofa
legatoisbyusingaswifthandmotionknownas‘déplacement’wherethewhole
handremainsinthe5-3-2-1positionandis‘pasted’ontothenextpattern.Cécile
Oussetoffersamuchneatersolution,replicatedbyNancyBricardintheAlfred
editionof‘Scarbo’,byadopting2-1-4-3,thusthethumb-fourthfingercrossingis
negotiatedsmoothlyacrosstwoblacknotes.Thislatteroptionworksparticularly
wellifthepianistfollowsRavel’sexamplewithregardtokeyboardpostureby
adoptingalowseatingposition,andkeepingthepalmsofthehandflatallowingthe
thumbstoslideunderneathtonegotiatetheirregularpatternswithfluidityand
evenness.
136
Example2.38.‘Scarbo’,bars232-234.Fingeringoptions(left-handarpeggios)
Atbars256-276,Ravelexplorestexturalpossibilitiesusingmotif‘e’where
bothhandsofteninhabitthesameareaofthekeyboard.Ravel’sdecorationof‘e’is
reminiscentofhismethodatbar94inthattherearethreefour-barunits,eachmore
densethanthepreviousone(Example2.39).Thefirstisinsinglenoteswherethe
thumbispropelledwithgrace-noteadditions(bars256-9),thesecondwithoctave
displacementinvolvingthethumbandfifthfinger(bars260-3),andathird
statementwheretheleapsextendacrosstwooctaves(bars264-7)andtheharmony
isatitsmostchromaticwithGandAnaturaldyadsplayedbythethumbthatmask
theFsharp(dominant)andAsharp(leadingnote)ofBminor.
Example2.39.Texturaldevelopmentofmotif‘e’in‘Scarbo’,bars256-265
137
Shortinterjectionsbymotifs‘b’(bar268),‘a’(bar271)and‘F’(bar276)
voice-ledbytheright-handthumb,formalinktofurtherdevelopmentofmotif‘e’in
bars277-313.Thissectionalsobreaksdownintothreestatements,thefirsttwo
consistingoffourteenbarsthatbreakdowninto4+4+4+2barunits,whereasthe
thirdandfinalstatementisreducedtoninebarsof4+4+1barunitsasTable2.3
demonstrates.
Table2.3.‘Scarbo’,bars277-313.Developmentofmotif‘e’-breakdownof barnumbersStatement1277-284(4+4bars)2277-280+281-284+285-288 289-290
Statement2 291-294+295-298+299-302 303-304
Statement3 305-308+309-312 313
Bars285-288,299-302and309-312consistoffast-movingchords
alternatingirregularlybetweenthehands,withamelodicthreadderivedfrom‘e’
leadingthewayinthetrebleline.Althoughthethumbisconstantlyinusealongside
theotherfingers,itisinthethirdandfinalappearance(bars305-313)wherethe
dynamicsurgeneedstobegreatest,thatthethematicthreadisarticulatedatthe
centreofthetexture(nowinvolvingmorecomplexharmoniesusingchromatic
inflexionsinbothhands)principallybythethumbs(Examples2.40).
Frombar314totheclimaxofthedevelopmentsectionat366,thethumb
playsasignificantpartinthetusslebetweentheromanticandneoclassicalelements.
Theformerismanifestedintherhapsodicutterancesofmotif‘a’(asatbar32),with
thelatterrealizedwithdrydetachedstatementsofmotifs‘b’,‘e’and‘F’.Both
elementsarebathedincascadesofarpeggiosthattraversethewholekeyboardand
explorewidestretchesespeciallybetweenthethumbandfirstfinger.
138
Example2.40.‘Scarbo’,bars305-313(bracketednotestobeplayedbyleft-handthumbsasrecommendedbytheauthor)
Thismeansthatthehandpositionsareconstantlychangingandconsequentlythe
articulationofthethemeissharedbetweendisparatefingersasinbars325-9
(Example2.41)wherethearpeggiofigurationsdescendandascendacrossasix-
octaverange.Thefirsttwonotesofmotif‘a’(EsharpandFsharp)playedbythe
right-handthumbandfirstfingerrespectivelymustmatchupseamlesslywiththe
ensuingCsharp,assignedtotheleft-handthumbatthebeginningofbar326.
Example2.41.‘Scarbo,bars325-329
139
Withincreaseddynamicactivity,Raveloncemoreemployshisthumbstodevelop
andprojectthethematicmaterial,asTable2.4demonstrates.
Table2.4:Thumbs’roleinprojectingmotivicmaterialin‘Scarbo’, bars335-366Bars Motif Dynamic Thumbactivity Textural
details335-337 e fdimtop Motif‘e’assignedtoalternate
thumbsatcentreoftexturewith.
339-340 e mf Asatbars335-7343-344 e f Asatbars335-7
Tessituraandoctavedoublingsadjustedwitheachstatement.
345-352 ae surgesfrommftoff
Intervallicsweepof‘a’reducedtotonal/semitonalshiftsplayedbythumbssurroundedbymotif‘e’withoctavedisplacements.
Combinationofromanticsurgeof‘a’withneoclassicaltautnessof‘e’.
353-356 a ptomf ‘a’inreducedintervallicformassumesthecharacterof‘b’-detachedoffbeat4-notesemiquaverspatterns.
356-358 a mftof Octavedoublingsaddedoncertainnotes.‘a’nowanoctavehigher.
Bothhandsinhabitthesameareaofthekeyboard
358-361 a ftoff Thumbsarticulate‘a’atcentreofalternateoctaves.
Handsmoveaparttoaccommodatealternateoctavetexture.
362-266 a mftoff Ascenttoclimaxdrivenbyscalicthreadplayedbyalternatethumbs.
Octavedoublingsthroughout
366 F ff+accents Extendedthumbs
140
Withsuchanactiveandvolatiledevelopmentsectionitisnosurprisethat
Raveloptsforahushedambiencefortheopeningsectionoftherecapitulation.Motif
‘a’entersinbar395doubledinseventhsandoctavesattheverybassofthe
keyboard.Interspersedbetweenstatementsof‘b’atbar431and‘c’inbar437,Ravel
revisitsatexturaldeviceheexploredinbars68-9,atremolobetweenthehands
followedbyaswiftarpeggiateddescent.Onthisoccasionhereplacesthetremolo
withatrillthatexploresthumbdyadsalternatingwith2-3fingeringpatterns(bar
439-40,Example2.42).
Example2.42.‘Scarbo’,bars439-40
Atbar448,Ravel’sthumbdyadsmaketheirfirstappearanceina
thematic/melodiccontext.Motif‘d’whichdidnotfeatureinthedevelopmentsection
reappears,transformedintoadouble-notepassageinmajorsecondsusingthe
extendedright-handthumbintandemwiththeotherfingers(Example2.43a).Itis
accompaniedbyasuccessionofparallelchordsplayedbythelefthand,underpinned
bylongpedals.ThisfigurerisesandfallschromaticallywithRavelbuildingupthe
tensionbyincreasingthespeedanddynamicuntilthemusicburstsintoadance-like
furoreat460(Example2.43b)beforefinallyplungingdownsixoctavesat472-476
(Example2.43c).OncemoreRavel’sownphysicalityatthekeyboardprovidesthe
answerastohowonemightexecutethispassage.AsMauriceDelagenoted:‘the
necessaryagilitycomesfromgreatsupplenessinthewrist,thefingersheldflaton
141
thekeyboardandtheplayersittingverylow.79GabyCasadesus,inaninterviewwith
DeanElder,expressedherbeliefthatRavelthoughtofthefingeringfirstwhen
composingthispassage,addingthatwhereas‘withDebussy,thepianistisrequired
tosolvetechnicalproblemsthatariseoutofcompositionalexperiments,Ravelstarts
withtheinstrumentandtheplayer’stechnicalcapacitiesandbuildshismusic
aroundtheseconsiderations’.80
Example2.43.Thumbdyadsasmotivicmaterialin‘Scarbo’
a)bars448-9
b)bars460-1
c)bars472-3
79Nichols(ed.),RavelRemembered,p.90.80GabyCasadesus,PianistsatPlay,ed.DeanElder,p.33.
142
Fromthispoint(bar477)Ravelembarksuponthemostgrippingmusical
trajectorywithinScarbothatresonatestellinglywiththefourthstanzaofAloysius
Bertrand’spoem:‘DoIthinkhimvanishedthen?Thedwarfgrowsbetweenthe
moonandmelikethebelfryofagothiccathedral,agoldenbellshakesonhispointed
cap!’.81Thedynamiclevelisreducedtoaminimum(ppp)astheleft-handostinato
rumblesmenacinglyatthebassofthekeyboardonadominantpedaldestabilisedby
therelentlessEsharpappoggiaturareiteratedoneverybarline.Hushedutterances
bymotif‘F’addtotheuncertaintyandasbeforethethumbsarebusyatworkwithin
thecentreofthetexture.
Forthenextforty-fourbarsthedynamicsurgesremainveiled,anditisnot
untilbar521,wherethebasslinesettlesuponanFminorpedal,thatthetextural
breadthbeginstomirrorthesecondofBertrand’sphrasesquotedabove.Atthis
pointmotif‘F’continuestodominatethetexture,althoughtheostinato‘E’sofbar
122arenowtransformedintotwobarsofascendingchromaticswithaleapbetween
thelasttwonotesechoinga‘filledin’versionofthe‘Quellehorreur!’motifplayedby
allthefingers(Example2.44a).Thedynamicswellsfromppptomfdrivethemusic
forwardandfrombars543to555Ravellookstothepowerandagilityofhisthumbs
topropeltheactiontowardsthefffattheclimaxatbar563(Examples2.44bandc).
Table2.5outlinestheoverridingresponsibilitygiventothethumbstosteerthe
performerthroughthismosttempestuousofpassages.
81‘Lecroyais-jealorsévanoui?lenaingrandissaitentrelaluneetmoicommeleclocherd’unecathédralegothique,ungrelotd’orenbranleàsonbonnetpointu!’.AloysiusBertrand,‘Scarbo’,Gasparddelanuit-FantaisiesalaManièredeRembrandtetdeCallot(Paris:Labitte,1842).
143
Table2.5:ThumbsasMotivicArticulatorsin‘Scarbo’,bars523-577Bars Dynamic Texture Thumbactivity523-24528-29
ppp-mf Chromaticsurgeacrosstwobars
534-35539-40
pp-mf Chromaticsurge,perfectfourthhigherthanpreviously
Thumbabsorbedintodefaultfingeringpatterns
543 Levelsetatmf
Left-handarpeggiosexpandedtospantwobrokenoctaves
Thumbandfifthfingeractingasanchors.
544 pcresc Chromaticsurgeharmonicallyenriched-chordsinrighthandandoctaveinlefthand(tenorregister)
Alternatethumbsarticulatechromaticversionof‘a’
547-48 Asat543-44
Chromaticsurgeintrebleregistertoeffectamorestridentdynamicswell.
Asat543-44
554-55 Chromaticsurgeovertwobars,coveringfouroctaves.Alternatechordaloctaves.
Thumbsdirectingthechromaticline.
556-60
pcresc
Intervallicexpansionofchromaticsurge-basslinedescent.
Flyingthumb(lefthand)onsixthsemiquaverarticulatingthecrescendothrougheachbar.Right-handthumbarticulatingoctaveascent.
561-62 cresc-fff Semitonesofchromaticsurgeexpandedtominorninths
Left-handthumbenergisedwithrotarymovementofwristtoeffectthecrescendo
563567-8
fff/ff Handsunitedattheclimaxwithmotif‘F’inoctaves
ExtendedthumbsdestabilisingBmajortonality.
564-66567-69
mfcrescff Three-barascentinbrokenoctaves
574-77 pcrescff Four-barascentinoctaves
Thumbsprojectingchromaticversionof‘a’
144
Example2.44.‘Scarbo’
a) bars521-4:ascendingchromaticsplayedbyallfingers
b) bars543-8:ascendingchromaticsprojectedbythumbsaloneatthecentreofalternatechords(544)withoctavedisplacements(548)
c) bars552-556:ascendingchromaticsovertwobarswithincreasedharmonicactivity
145
Evenatthispoint,Ravel’sfffinterjectionsareshort-lived,withsurgingcrescendos
pullingthedynamicbacktomfandevenpforthethirdandlengthiestofthem(bars
574-577).Ravelphraseseachcrescendoinonesweep,agesturethatcanberealised
effectivelybythethumbsatthecentreofthechordaloctaves(Example2.45).
Example2.45.‘Scarbo’,bars573-578
Asthedynamicssubsideduringthecodaof‘Scarbo’,thethumbscontinuetopickout
thebriefthematicinterjectionsfromtheturbulentarabesquefigurations.
Conclusion
RaveldidnotperformorrecordGasparddelanuit,andyettheevidence
presentedpointsunequivocallytothefundamentalroleplayedbyRavelthepianist
andhis‘stranglerthumbs’intheevolutionofthisseminalwork.Roland-Manuel
notedthatinGasparddelanuit‘Ravelhadsimplyaimedatthesolutionofa
technicalproblem’,andidentifiedthatproblemas‘virtuosity’.82Whatisclearisthat
82Roland-Manuel:ÀlagloiredeRavel.Englishedition:MauriceRavel,trans.CynthiaJolly,p.54.
146
Ravelexpandedthetermtoembraceeveryaspectofmusicalcompositionand
performanceandthatitispossibletotracethisuninterrupteddevelopmentfrom
Jeuxd’eautoGasparddelanuit.
Inhislasttwomajorworksforsolopiano,Valsesnoblesetsentimentales
(1911)andLeTombeaudeCouperin(1914-1917)Ravel’smodeofexpressionturned
awayfromtheexpansiveandextroverttowardtheconciseandreserved.Withthe
ValsesnoblesetsentimentalesRavelwasaimingfor‘amarkedlyclearerkindof
writingthatcrystallizestheharmoniesandsharpenstheprofileofthemusic’.83That
thethumbdyadsplayavitalroleinthisvibrantandfreshharmoniclanguagewillbe
discussedinrelationtoRavel’spianorollrecordingofValsesnoblesetsentimentales
inChapter3.InLeTombeaudeCouperin(1914-17)theprocessofrefinementgoes
evenfurtherasRavelturnstotheeighteenth-centurydancesandthekeyboard
techniquesofhisFrenchforbears.HereRavel’semphasisfromatechnical
perspectiveisonclarityandevenexecution,andforthemostpartthethumbtakes
itsplacealongsidetheremainingfingers.Itisinthefinal‘Toccata’thatthepuissance
andenergyofthethumbsisharnessedaswillbeexploredinChapter4.
InhermonographAtthePianowithRavelpianistandpedagogueMarguerite
LongreferredtoRavel’sJeuxd’eauas‘arenewalofpianotechniquethathadbeen
asleepsincethedaysofLiszt’.84Furthermore,inhertreatiseonpianotechnique,Le
Piano,LongascertainedthatforLiszt’shandthethirdfingerplayedapivotalrolein
thecultivationofthematicmaterialbasedonparticularfingeringpermutationsas
forexampleintheopeningostinatofigurationsoftheÉtudedeConcert,
‘Waldesrauschen’(Example2.46).ForthatothergreatRomanticpianotechnician,83‘AnAutobiographicalSketchofMauriceRavel’.Orenstein(ed.),ARavelReader,p.31.84MargueriteLong,AupianoavecMauriceRavel,ed.PierreLaumonier(Paris:Julliard,1971).Englishedition:AtthePianowithMauriceRavel,trans.OliveSenior-Ellis(London:Dent,1973),p.64.
147
FrédericChopin,itwasthesecondfingerthattookthelead,asdemonstratedinthe
ÉtudeOp.25No.2(Example2.47).85WithMauriceRavelitisthethumbthatactsas
headprefectofthehandnotonlywithinatechnicalcontextbutmoresignificantly
andtellinglyasavehiclefortheshaping,definingandnuancingofmelodic,harmonic
andrhythmicbuildingblockswithinhispianoworks.
Example2.46.Liszt:DeuxétudesdeconcertS.145,‘Waldesrauschen’ (1862-63),bars1-5(righthand)
Example2.47.Chopin:ÉtudeOp.25No.2(1835-37),bars1-5
85MargueriteLong,‘Introduction’,LePiano,(Paris:Salabert,1959),p.4.
148
Chapter3
RavelasPianistandRecordingArtist(1895-1928)
Hisplayingwaspolished,infinitelywhimsical,yetremoteandpreoccupied,asthoughheweregazingwithwonderuponwhathehaddoneandpuzzlingvaguelywhetherhecouldeverdoitagain.1 ChotzinoffHemadelotsofmistakes-thatwasbecausehedidn’tpractiseenough.Buthegaveaverygoodideaofwhathemeant.2 Halffter
Ravel’searlypianistictraininghadequippedhimwithextensiveknowledgeofthe
piano’scapabilities.Additionally,thesolopianorepertoirehestudiedandperformed
between1889and1895demandedasignificantdegreeoftechnicalandinterpretive
accomplishment,qualitiesthatRavelhaddemonstratedincontestablyintheinternal
examinationsandcompetitionsattheParisConservatoire.Wearefortunatethat
recordingsofRavelplayinghisownsolopianoworkshavesurvivedfromtheearly
twentiethcenturyintheformoffivepianorollsrecordedfrom1913to1928and
subsequentlyrealizedinLPandCDformatduringthelatetwentieth-andearly
twenty-firstcenturies(seeTable3.1).
Table3.1:SolopianoworksrecordedonpianorollbyRavel(1913-1928)
Company/Rollno. Work DateofrecordingWelte-Mignon2887 Sonatine:first/secondmovements 1913Welte-Mignon2888 Valsesnoblesetsentimentales 1913Aeolian/Duo-Art082 ‘Oiseauxtristes’ 1922Aeolian/Duo-Art084 PavanepouruneInfantedéfunte 1922*Duo-Art72750 ‘Lavalléedescloches’ 1928**OthersolopianoworksperformedbyRavelinthe1922and1928recordingsessionsthatweresubsequentlyattributedtootherpianistsornotreleasedwillbereferencedwithintherelevantsubsectionsofthischapter.
1SamuelChotzinoff,‘Music’,NewYorkWorld,February271928.ReproducedinRogerNichols,Ravel(NewHavenandLondon:YaleUniversityPress,2011)p.292.2ErnestoHalffter,interviewfor‘FranceCulture’.ReproducedinRogerNichols(ed.),RavelRemembered,(London:Faber&Faber,1987)p.92.
149
UnfortunatelyRavel’ssomewhatidiosyncraticapproachtointerpretationand
thetechnicallyerraticdeliveryofhisownworksintherollrecordingshasbeenmet
withmuchscepticism.AccordingtoRonaldWoodley,Ravel’sfingersdoseemtohave
foundtheirnaturallimitsatwhatonemightcharitablycallasub-professionallevel,
despiteanapparentlyexceptionalmobilityinhisthumbs’3,whileRogerNichols
notes,‘hedidhissoloworksnofavours’.4AngelaHewittisevenmorepointedinher
assessment:‘Ravelhimselfwasnotaverygoodpianistandknewit.5Such
observationsseemallthemoreextraordinarywhenoneconsidersthatRavelhad
beenlaudedattheParisConservatoireforhisperformancesofvirtuosicpianoworks
byChopin,Schumann,MoschelesandHerz.OnhisdismissalfromCharlesdeBériot’s
advancedpianoclassinJuly1895,itisunclearwhetherornotRavelundertookany
furtherpianostudiesandasurveyofhisperformingactivitiesduringtheperiod
1895to1913,thatisfromtheendofhisofficialpianostudiestothefirstrecording
sessionsforWelte-Mignon,revealsadistinctpaucityofsoloperformances(seeTable
3.2).
Evidently,Ravelseemstohavefeltmorecomfortableinthefieldsof
accompanimentandthepianoduetandduorepertoiremakingrelativelyfewforays
intothesolopianoarena.Neverthelessitwasduringthiseighteen-yearperiodthat
Ravelwrotethemajorityofhissolopianoworks,exceptingSérénadegrotesque
(1893)andLeTombeaudeCouperin(1914-1917),andhispredilectionfor
composingatthepianomeantthathewasconstantlyapplyinghispianisticskills
3RonaldWoodley,‘PerformingRavel:StyleandPracticeintheEarlyRecordings’,inDeborahMawer(ed.),TheCambridgeCompaniontoRavel(Cambridge:CambridgeUniversityPress,2000),pp.214-5.4RogerNichols,Ravel,p.292.5AngelaHewitt,bookletnotes,Ravel,TheCompleteSoloPianoMusic,HyperionCDA67341/2(2000).
150
Table3.2:Ravelaspianist:performingactivities1895-1913(selectedexamples)6Date DescriptionSeptember-December1897
PianoduetsessionswithRicardoViñesplayingarrangementsofRimskyKorsakov’sAntar,Balakirev’sTamar,andDebussy’sProseslyriques
June-October1898
ResidentpianistatacasinoinGranville(Normandy)
January201901
PerformedaselectionofChopinPreludesandWaltzestoaccompanyIsadoraDuncan’sdancingatMadamedeSaint-Marceaux’ssalon.
April211903
PerformedDebussy’sNocturnesinthetwo-pianoarrangementwithViñes(Ravelhadtranscribedthefinalmovement,‘Sirènes’)attheScholaCantorum.
October111904
Firstrunthroughof‘Oiseauxtristes’atanApâchesevening(chezDelage)
January131905
Performed‘Oiseauxtristes’andDebussy’sD’uncahierd’esquissesatMadamedeSaint-Marceauxsalon.
February51905
RimskyKorsakov’sScheherazadewithViñeschezGodebski.
January121907
AccompaniedJaneBathoriinthepremiereofHistoiresNaturellesfortheSociétéNationaledeMusique(SNM)attheSalleÉrard.
June111907
PerformsSonatinechezCalvocoressi7
April201910
GivesthefirstpublicperformanceofDebussy’sD’uncahierd’esquissesatthefirstconcertoftheSociétémusicaleindépendante(SMI).
January161911
PerformsthreepianopiecesbySatieattheSNM:thePreludetothefirstactofLesfilsdesétoiles,thesecondSarabandeandthethirdGymnopédie.
February291912
PlayspianopartinFrenchpremiereofVaughanWilliams’sOnWenlockEdge.8
March81912
PlaysValsesnoblesetsentimentaleschezMortier.
tothecreationofnewsonorities,texturesandpioneeringkeyboardtechniqueswith
eachsuccessivecomposition,orasYvonneLefébureputit:‘WithRaveltherewas
thisunflinchingdeterminationtorenewhimselfwitheachsuccessivecomposition’.9
6InformationcollatedfromArbieOrenstein(ed.),ARavelReader(1990),RogerNichols(ed.),RavelRemembered(1987);RogerNichols,Ravel(2009).7Orenstein(ed.),ARavelReader,p.127,n.1.8Ibid.,p.130.
151
AlettertoLéonVallas,datedParis,April8,1906,followingthepremiereof
theSonatinehighlightsRavel’sratherindifferentstanceonperforminghisown
works:
IamabitstartledbyLarevuemusicale’scritiqueofSonatineasbeingdifficult.WhatwilltheysayaboutMiroirsthatImyselfcannotmanagetoplaycorrectly!ItistruethatIhavenotpractisedthepianoforagoodnumberofyears.MoreoverforthetimebeingIamnotwritingpianopieces,andapartfromaconcerto,10I’mhardlyplanninganythingbutsymphonicorlyricworks.11
Whenitcametogivingthefirstpublicperformancesofthisremarkablebodyof
works,Ravelentrustedtheresponsibilitytootherpianistsandprincipallytothe
CatalanpianistRicardoViñesasTable3.3demonstrates:
Table3.3:PremièresofRavel’ssolopianoworks(1898-1913)Date Work Performer/VenueApril181898 MenuetAntique RicardoViñes/Société
NationaledeMusique(SNM)/SalleÉrard
May51902 PavanepouruneInfantedéfunteandJeuxd’eau
Viñes/(SNM)
January61906 Miroirs Viñes/SalleÉrardFebruary101906
Sonatine PauledeLestang/Lyon
January91909 Gasparddelanuit Viñes/SalleÉrardMarch111911 MenuetsurlenomdeHaydn EnnemondTrillat/SNMMay91911 Valsesnoblesetsentimentales LouisAubert/SNMDecember101913
AlamanièredeBorodineandAlamanièred’EmmanuelChabrier
AlfredoCasella/Sociétémusicaleindépendante(SMI)
ItisrathersurprisingthentofindRavelacceptinganinvitationfromthe
GermanfirmWeltetomakethefirstofseveralplayerpianorollrecordingsinthe
autumnof1913.WhatpromptedRaveltoundertaketheserecordingsatthistime?It
wasn’tasthoughhedidnothavehishandsfullwithadiversearrayofcomposing9‘C’estd’ailleursuneconstantchezRavelquecettedéterminationdefairepeauneuveaprèschaquepartitionréussie’.YvonneLefébure,Sleevenotes,MauriceRavel,LeTombeaudeCouperinandotherworks,CDSolsticeFYCD018(1975).10AreferencetoZaspiak-bat,Ravel’searliestdraftsforapianoconcertobasedonBasquethemes.Heworkedonitoveranextendedperiodbuteventuallyabandonedit,incorporatingelementsintothePianoTrio(1914)andtheConcertoinG(1929-31).11Orenstein(ed.),ARavelReader,p.81.
152
andarrangingprojectsthat,accordingtoRogerNichols,‘balancedhisexplorationsin
theregionsofIgorStravinskyandArnoldSchoenbergwithretrospectiveactivitiesof
orchestrationandpastiche’.12BetweenMarchandAprilRavelandStravinsky
workedtogetheronthereorchestrationofMussorgsky’soperaKhovanschinaand
duringthesummermonthsRavelcompletedhisTroispoèmesdeStéphaneMallarmé
forvoiceandchamberensemble.Hisonlyothercompositionalactivitiesincludeda
shortpianoPréludecommissionedasasight-readingtestfortheladiespiano
competitionattheParisConservatoire,andfurtherrevisionsofthepianoconcerto
basedonBasquethemes,Zazpiak-bat,thathehadbegunbackin1906(mentionedin
alettertoStravinskydatedAugust281913).
Thus,asidefromtheMallarmésettingsRavelseemstohavestrugglingto
breakintonewterritoryandhemayhavefeltanurgentneedtoreinventhimselfand
reinvigoratehisworkforfearofbeingovertakenbyhiscolleagues,bearinginmind
thatDebussy’sseminalsecondseriesofpianoPréludeshadjustbeenpublishedon
April17andonMay28Schoenberg’sDreiKlavierstückeOp.11wereperformedat
theSMI,followedbythepremièreofStravinsky’sLeSacreduPrintempsonMay29.
WhatbetterwayforRaveltolayclaimtohisplaceatthevanguardoftheFrench
musicalavant-gardethanbyfollowingtheexampleofothereminentcomposer-
pianists,includingEdwardGrieg,FerruccioBusoni,CamilleSaintSaënsandClaude
Debussyinrecordingaselectionofhisrecentlycomposedpianoworks?
Ravel’srecordingsweremadeduringtheearlydecadesofthetwentieth-
centurywhenperformancepracticesstartedtomoveawayfromlatenineteenth-
centuryattitudes,accordingtowhichtheperformerswereencouragedtobringtheir
ownideastotheinterpretation,towardsthetwentiethcentury’snewfoundrespect
12RogerNichols,Ravel,p.160.
153
fortheintentionsofthecomposerandfidelitytotheprintedtext.Ravel’spreference
forthelattertrendwasexpressedin1913inareviewhewroteintheComoedia
illustré(June15)oftheParispremiereofBorisGodunovattherecentlyinaugurated
ThéâtredeChamps-ÉlyséesonMay22.SpeakingofFeodorChaliapin’s
interpretationinthetitlerole,Ravelsaid:
Apowerful‘tradition’hastakenhold.M.Chaliapinremainsthegreatestlyricartistofourtime,andeventhoughIadmire,amongothervirtues,hismannerofinterpretingtherecitativebyalmostspeakingwhilefullyobservingthemelodicflow,heisbeginningtoabusethistechnique.InBorisGodunov,therearepurelylyricalpassagesinwhichsingingismandatory,andinwhichMussorgsky’stemposmustberespected.Thereisnothingthatnecessitatestheadditionofthosesinistersneersorcavernousgroanswhoseeffectissogruffandsounmusical.13
JacquesFévrierrecalledRavel’srequestfor‘[…]norubato,nointerpretation,
justthatwhichiswritten;thetextandonlythetext’,14addingthat‘[…]Ravel’spiano
worksaskfortheminimumofsubjectiveinvolvementfromtheirinterpreters’.15
ThusforRavelrespectfortheprintedtextwasakeyfactorinproducingacredible
interpretationandtheserecordingscanprovidethemeanstoascertainhowclosely
RavelthepianistadheredtotheprintednotationofRavelthecomposer.DidRavel
practisewhathepreached?
Ravel’spianorollrecordings(1913,1922and1928)
The1913Welte-Mignonpianorollsaresomeoftheearliestrecordingsofanyof
Ravel’scompositionsandconstitutecrucialprimarysourcematerialforidentifying
historicalperformancepracticesinhissolopianoworks.ForRaveltoundertake
theserecordingshemusthavehadsufficientconfidenceinhispianisticabilitiesto
13Orenstein(ed.),ARavelReader,p.369.14‘[…]pasderubato,pasd’interprétation,hormiscequ’ilavaitécrit;letexte,seulementletexte’.‘LesexigencesdeRavel’,LaRevueinternationaledemusique(Paris:April1939),pp.893-4.15‘[…]l’oeuvrepianistiquedeRaveldemandéàsesinterprètesunminimumd’initiativepersonelle’.Ibid.
154
conveyhisinterpretationswithclarityandconviction.Unfortunatelythis
suppositionseemsnottohavestoodthetestoftime,asRonaldWoodleypointsout:
‘Ravel’sowntechnicallimitationsasapianisthavelongbeenadducedasapretext
forplayingdowntheinterpretativeimportanceofhisownrecordings’.16
ListeningtoRavelplayingRavelwithtwenty-firstcenturyears,oneisaware
ofthemanystylisticinconsistencies,andimperfectionsthathaveledacademicsand
performerstoquestionthevalidityoftheserolls.Converselyoneistransportedby
themyriadnuances,andmanymomentsofilluminatingandenchantingpiano
playingthatalsoreflectthepianisticperformancepracticesofthelatenineteenth
andearlytwentiethcenturies.Thischapterfocusesupontheselatterqualitiesto
highlightthebreadthofRavel’spianismbyanalyzingthreeofhispianoroll
recordings:Valsesnos.1and7fromValsesnoblesetsentimentales(Welte-Mignon,
1913),andtwopiecesfromMiroirs,‘Oiseauxtristes’(Duo-Art1922)and‘Lavallée
descloches’(Duo-Art,1928).
ToconductthisinvestigationthreeCDrealizationsoftherollrecordingshave
beensourced:
• TheCondonCollectionbyAustralianpianohistorianandcollectorDenis
Condon:Ravel:MastersofthePianoRoll.DSPRCD004(1992:CD).Theroll
copieshavebeenrecordedfromaplaybackonanewconcertgrandandin
whatsoundslikeaveryreverberantacoustic.
• TheCaswellCollectionbyKenCaswell:MauriceRavel,theComposerasPianist
andConductor.Pierian0013(2002:CD).TheWelte-Mignonrollcopieswere
realizedbyKenCaswellandtheDuo-Artrollaudioreproductionswere
realizedbyDenisHall.Thisrecordingisreproducedonarestored1923
16RonaldWoodley,TheCambridgeCompaniontoRavel,p.214.
155
Feurichuprightthathasthestring-lengthofagrandpianoinaroomwitha
dryacoustic.
• ACDtransferrealizedbyDenisHallandreproducedonarestoredSteinway
WelteandaSteinwayDuo-Artgrandpiano(bothdatingfromthe1920s)ina
roomwithadryacoustic.
Additionally,anLPrecording,‘MauriceRavelplaysRavel’(Ember:GVC39,1975),
reissuedonCDin2009hasbeenconsulted.Theonlyinformationavailableregarding
theremasteringprocessforthisrealizationstatesthat‘[…]theoriginalmastertape
recordingsweremadein3-trackstereousing3AKGcalibratedomnidirectional
microphones’.17
DenisHall,aspecialistonthetechnologiesofreproducingpianos,has
explainedhisrealizationprocessasbeingfromanhistoricallyinformedapproach.18
AccordingtoHall,Ravel’srollswereprobablyrecordedonaSteinwayorFeurich
grandpiano,thusHall’sSteinwaygrandcomesclosetoreplicatingRavel’s
performanceintermsofearlytwentieth-centurypianisticsonority.19Caswell’s
choiceofpiano,aFeurichupright,allbeitwiththestring-lengthofagrandpiano,
comesoverasmorelimitedinitsexpressivetonecolour,whileCondon’smodern
concertgrandproducesaresonantandweightiersonoritymoresuitedtolate
twentieth-centuryinterpretivepractices.However,Hallalsopointsoutthe
difficultiesinpreservingandmaintainingolderpianos:
Itisnotpossibletoreproducetheexactkeyandhammerspeedonindividualnotes.You havetodothebestyoucan.[…]Iftherecordingsoundsgood,allthesystemsareworking well;ifnotitismorelikelythatthepianoisnotworkingwellratherthanthesystembeing faulty.20
17Sleevenotes,‘MauriceRavelplaysRavel’(Ember:GVC39,1975).18TheauthorinconversationwithDenisHall,Bromley,February282017.19Ibid.20Ibid.
156
Acloseexaminationofthefourrealizationsrevealsanomaliesintheplayback
relatingtoaccuracy,pedalling,dynamicsandtempithatwillbediscussedduringthe
courseofthischapter.ThisisparticularlynoticeableontheLPrecording‘Maurice
RavelplaysRavel’from1975.Ravel’sperformancesofthePavanepouruneInfante
défunte,and‘Oiseauxtristes’and‘Lavalléedescloches’fromMiroirsarelitteredwith
notesthatstandout,unbalancedchords,unexpecteddynamicsurgesandamediocre
pianosound.Likewise,theperformanceofthe‘Toccata’,erroneouslyattributedto
RavelbutnowknowntohavebeenperformedbyRobertCasadesus,isundulyslow
(lasting4’55”)anduneveninexecution.21Comparethiswiththerealizationofthe
sameperformancebyCondon,lasting4’22”,thatreplicatesthefluidtechnique
normallyassociatedwithCasadesus’brandofpianism.ItisclearthatCasadesus’roll
recordingofthe‘Toccata’wasplayedbackatanincorrectspeedonthe1975
realization.Suchissuescouldhavearisenfrompoorlyadjustedmechanismsorfrom
thepianoitselfnothavingbeensetupproperly.AsHallstated,severalfactorsneed
tobeinplacetoensurearecordingthatreproducestheperformanceasitwas
createdintherecordingstudio:‘[…]therollshavetobeplayedataparticularspeed,
therecordingmechanismsneedtobeproperlyadjustedandthepianos(hammers,
keysandpedals)mustbeevenlyregulated’.22
OftheCondon,CaswellandHallrecordings,thefirstnamedistheleast
convincinginthattherecordinghasbeenproducedinaveryreverberantacoustic
onaverybrightpianowhosetoneisnotalwaysevenacrossthekeyboard.This
recordingalsorevealssomeunexpectedjoltsinrhythmandpulse.CaswellandHall’s
realizationsaremuchmoresuccessfulinalltheserespectsaswillbedemonstrated.
21ForfurtherinformationonRobertCasadesus’involvementwithRavelinthe1922Duo-Artrecordingsession,seep.176inthischapter.22Ibid.
157
ByexaminingtheHall,CaswellandCondonrealizationsRavel’spianismisput
underthemicroscopetoinvestigatehisapproachtothecorecomponentsof
performance:accuracy,tempoandrhythm,arpeggiationanddislocation,
articulation,pedallinganddynamiccolouring.Therecordingsarescrutinizedand
cross-referencedwithRavel’spublishedscoresofMiroirs(Demets,1906)andValses
noblesetsentimentales(Durand,1911)togetherwithrecordingsmadebypianists
whoreceivedadvicefromRaveloninterpretiveissues,namelyRobertCasadesus,
VladoPerlemuter,HenrietteFaure(recordingsof‘Oiseauxtristes’and‘Lavalléedes
cloches’)andYvonneLefébure(recordingofValsesnoblesetsentimentales).Table
3.4providesdetailsoftheserecordings.
Table3.4:ListofrecordingsdiscussedbyRavel’sdisciplesPianist Recording
Co./No.Date/Issuedateofrecording
RobertCasadesus SonyMasterworksMH2K63316
December41951(issued1952)(CD1998)
VladoPerlemuter VoxLegendsCDX2550723
1955(issued1956)(CD1999)
HenrietteFaure BnFCollection January11959(CD2014)
YvonneLefébure FYCD018 January20-271975(CD1986)
TheWelte-Mignonrecordingsessions(1913) BeforeinvestigatingRavel’sperformancesof‘Valse1’and‘Valse7’itisuseful
toconsiderthetechnologyofpianorollrecordingsinordertoproperlyassessthe
meritsandlimitationsoftheWelte-Mignonrecordingprocess.AccordingtoDenis
23Perlemuter’s1955recordingwasconsultedforthecurrentstudy,asopposedtohis1973recordingofthecompletepianoworks(1979),CD,NimbusNI7713(1996).
158
Hall,whoseconsiderableexperienceinrestoringreproducingpianosextendsfrom
treatingthehammersandsettinguptheactiontorebuildingthemechanismstoplay
therolls,thereproducingpianosarecapableofreplicatingtherubato,dynamicsand
pedalling.Weltewasrightlyregardedasthefirsttruereproducingpiano,inthatit
automaticallyreplayedthetempo,phrasing,dynamicsandpedallingofaparticular
performance,andnotjustthenotesofthemusic,aswasthecasewithotherplayer
pianosofthetime.24Asregardstherollmanufacturingprocess,Hallandtheconcert
pianolist,RexLawsonsaid:
Theplayingwasrecordedonaroll,morethanlikelywhitepaperpre-printedwith100 continuouslines,inthepositionwhereeachpitchwaslocated.UnlikeDuo-Art,Weltedid notperforatemusicrollsduringtheactualperformance,butratherwithinkorcarbon tracesratherthanperforations.Fromthisoriginalroll,holeswerepunchedoutbyhandto createthefirstmasterroll.Thencopies(secondmasters)werecreatedandtheactual productionrollswereonetoonecopiesfromthese.25 Oneofthemajorproblemstoemergefromtherollcopyingprocessis
highlightedinthefollowingcommentmadetotheauthorbyHall:
Betweenthesecondmasterandproductioncopiesthereareconsiderableerrors.You cannotrecordkeystrokesfromthekeys-hastobedonefromthehammers(when hammer hitsstring).Thesesystemsworkfromthekeymovements.Theyworkbyconstantlydefining whetheranynoteorpedalisupordown.Theperforationontherollhastoberoughlythe sameamountinadvanceofthenotegoingtosoundasthebeginningofthekeystroke.Theincorrectplacementofperforationshasmanyimplicationsforthevariousroll
copiesofRavel’srecordingsaswillbeseenintheensuingstudyof‘Valse1’and
‘Valse7’fromtheValses.
Ravel’sdecisiontorecordtheValsesnoblesetsentimentales(henceforth
referredtoastheValses)inthe1913sessionsmakesperfectsense.Firstlythiswas
hismostrecentlycomposedlarge-scalepianowork,publishedandfirstperformedin
1911andsubsequentlyorchestratedin1912.TheValseswouldalsobefreshin
Ravel’smindandprobablyinhisfingersfromaperformancehegaveonMarch8
24TheauthorinconversationwithDenisHall,February282017.25Ibid.Seealso‘TheReproducingPiano:Welte-Mignon’,www.pianola.org.
159
1912(seeTable3.2),andcouldthusprovideaperfectbenchmarkforanalyzing
Ravel’sperformancestyleinhisnewlycraftedstyleofpianisticcompositionwhich
hedefinedas‘amarkedlyclearerkindofwritingwhichcrystallizestheharmonyand
sharpentheprofileofthemusic’.26HisparticularattachmenttotheValsesis
reflectedinrecollectionsmadebyVladoPerlemuter,HélèneJourdan-Morhangeand
HenrietteFaure:
IcanonlybemovedwhenIrecallRavelinhisstudy,nearthepiano,scoreinhand,makingmeworkattheseWaltzes.Ihaveneverseensomuchintentnessinhislook.Therewasabouthimsuchalongingtobeunderstood,toletnothingpass,notonlytextually,butintheinterpretationofthistext.Throughthedesireforperfectionintheletter,oneautomaticallymadecontactwiththespirit.27 Icanseehimsowell,siftingthroughhisscore,pickingoutthenoteornuancethatmighthaveledyouastrayfromthetextasitstood.ItprovestowhatextentRavelwasattachedtohisValses.28 ThenIbegantoplaytheValsesforhim.Atfirsthewasseated,butthenhegotup,stoodbythepianoandsubjectedmeanordealthatstillremainswithmetothisday,stoppingcontinually,poringovereverylastdetailregardingbreathing,rests,pedalling,nuancesandthroughouthemaintainedaninexorable1.2.3.,1.2.3.,likeaclock.Itwasexhaustinghavingtocombinefantasywithrigourandtoincorporatevisionandelegancewithinexactingrhythmandmeticulousprecision.Ienduredthismartyrdomforclosetotwoandahalfhours.29
‘Valse1’
Accuracy
Ravel’sperformanceof‘Valse1’isprettycleanandstandsupsurprisinglywell
alongsiderecordingsmadebytwoofhisdisciples,RobertCasadesusandVlado26AlexisRoland-Manuel,‘UneEsquisseautobiographiquedeMauriceRavel’,LaRevuemusicale(Paris:1938),pp.17-23.Englishtrans.DennisCollins,‘AnAutobiographicalSketchofMauriceRavel’,inOrenstein(ed.),ARavelReader,p.31.
27Perlemuter,VladoandJourdan-Morhange,Hélène,Raveld’aprèsRavel.(Lausanne:EditionsduCervin,1957;5/1970).Augmentedre-edition:Raveld’aprèsRavel,suividesRencontresavecVladoPerlemuter,ed.JeanRoy(Aix-en-Provence:Alinéa,1989).Englishedition(fromtheabove1970volume):RavelaccordingtoRavel.Englishtrans.FrancesTanner,ed.HaroldTaylor(London:Kahn&Averill,1990),p.43.28Ibid.29‘JecommençaialorsàluijouerlesValses.Ilétaitassis,ilseleva,setintprèsdupianoetm’infligeaunsupplicequ’undemi-sièclen’arrivepasàmefaireoublier,m’arrêtantcontinuellement,mereprenantdanslesmoindresdétailspourunerespiration,unsilence,unepédale,uneinflexion…etaufonddetoutcela,commeunehorlogeaufondd’uncouloirsesinexorables1.2.3.,1.2.3..C’étaitépuisant,ilfallaitintégrerlafantaisiedanslarigueur,etdonnerdurêveoudel’élégancedanslemaximumderythmeetdeprécision.Cemartyreduraprèsdedeuxheuresetdemie’.HenrietteFaure,MonMaîtreMauriceRavel(Paris:ATP,1978),p.20.
160
Perlemuter,bearinginmindthattheWelte-Mignonperformancesconstitute
completeuneditedtakes,afactcorroboratedbyinformationsuppliedonthePianola
Institutewebsite:
Welte,uniquelyamongstthemainfourrollrecordingcompanies,didnotencourageitspianiststoparticipateintheeditingprocess.Indeed,therewasvirtuallynoeditingprocess:pianistscouldlistentotheirrollsonceperforated,andiftheywereunsatisfiedwiththem,theycouldchoosetorecordthemagain,buttherewasnosuggestionoftheoriginalrecordingsbeingalterableinanyway.30
AnyerrorsinRavel’sperformanceseemtobeatobviousplacesandpossiblylinked
toadegreeofnervousness,althoughcommentsmadebyRichardSimonton,whohad
workedcloselywithWelte,implythatRavelwasverymuchateaseduringthe
recordingprocess:‘Ravelwasveryquiet,verytractableandveryeasytogetonwith.
Hecame,performedatarecordingsessionandthatwasthat’.31
Table3.5liststhenoteerrorsthatoccurontherollcopiesusedbyCondon
andHall.IntherollcopyonCaswell’sremastering,alltheseerrorshavebeen
corrected,exceptingthelastmentionedatbar73.Oncloseinspectionallfourerrors
comprisenotesadjustedbyasemitone.ForDenisHallandRexLawsonthissuggests
that,ratherthanbeingerrorsmadebyRavelinperformance,theymaybe
attributabletothenoteshavingbeenpunchedontheincorrectsideoftheoriginal
(inked)rollonthecopyusedbyCondonandHall,withthreeoftheseerrorsbeing
correctlypunchedoramendedontherollcopyusedbyCaswell.Thisunderlinesthe
crucialpointthatwhilstdynamics,tempiandexpressioncouldnotbealteredpost-
recordingintheWelteprocess,thenotescouldbeadjusted.
30www.pianola.org.‘TheReproducingPiano:Welte-Mignon’.31RichardSimonton,‘ApersonalexperiencewithWelte’inEncyclopedia,ed.Bowers,p.324.ReproducedbyCarolynAbbatein‘OutsideRavel’sTomb’JournaloftheAmericanMusicologicalSociety,Vol.52No.3(Autumn1999)p.495.
161
Table3.5:NoteerrorsinRavel’srollrecordingof‘Valse1’fromValsesnobles etsentimentalesasremasteredbyDenisCondon(1992),andDenis Hall(2017)Bar Errors22 Thirdbeat,lefthand:Anatural(shouldbeAflat)37 Firstquaver,righthand:Fnatural(ShouldbeFsharp)38 Lastquaver,righthand:Csharp(shouldbeBsharp)73 Secondquaver,righthand:Gnatural(shouldbeGsharp)
TempoandRhythm
Hewasalsoanxiousthatthespeedofeachwaltzshouldbemarkedontheprogramme.32 VladoPerlemuter[…]probablybecauseitexpressesthefeelingwithwhicheachwaltzshouldbeinterpreted.ThefirstismarkedModéré-trèsfranc(moderate-veryclear).33 HélèneJourdan-Morhange
AsPerlemuterstates,Ravel’smetronomemarkofcrotchet=176shouldbeadopted
astheidealtempo.However,Ravel’sperformancetellsanotherstoryinthathis
openingtempoissetatcrotchet=192withahikeuptocrotchet=216-232inbar5
thatbecomesthebasictempofortheremainderof‘Valse1’.Thetempodoesslow
downbrieflyinpassagesthatcorrespondtotheopeningfigurations,suchasbars45-
48,andthereisaslighthesitationinbars73-74.InanarticleforthePianolaJournal
RoyHowatpointsoutthatWelterolls,‘unlikeanaloguesoundrecordings,are
basicallydigitalandcanbereplayedfasterorslowerwithoutchangingthepitch’.34
Nevertheless,theCondon,CaswellandHallrealizationsadheretoRavel’sbrisk
tempi.Ofthethree,theHallandCaswellrecordingsprovidemostrhythmically
consistentperformances;theopeningbarsoftheCondonrealizationarejerky,and
thepulsedoesnotstabilizeuntilbar5.
ThedurationsoftheCondon,CaswellandHallrealizationsof‘Valse1’are
1’06”,1’10”and1’12”respectively.AccordingtoDenisHall,theseslightdifferences32Perlemuter,RavelaccordingtoRavel,p.43.33Jourdan-Morhange,RavelaccordingtoRavel,p.44.34RoyHowat,‘DebussyandWelte’,PianolaJournalNo.7(1994),pp.3-18.
162
betweenthevariousrollcopiescanbeputdowntomarginalvariationsinthesetting
orcalibrationofplaybackinstrumentsorinpaperthicknessbetweendifferent
copiesofaroll.35
Ravel’snotatedcrotchetpulselookslogicalonpaperwhenalignedwith
Faure’srecollectionofhis‘inexorable1.2.3’.Howeverinthis1913recordingthereis
aforwardmomentumthatseemstocastasidethecrotchetpulsealtogether.Ravel
playsthemainrhythmiccell(bar1)withasenseofone-in-a-bari.e.adottedminim
pulse,andavoidsoverplayingtheaccentonthethirdbeatsothattheoverallfeelis
ofafullevensoundunderpinnedbycarefullyjudgedpedalling.Theright-hand
quaverpassageworkinbars13-15and29onwardsdrivesthroughthebarlineswith
thebassnotesatthebeginningofeachbarinthelefthandprovidingsolidsupport.
Atbars33-34onecansenseastrong-to-weakphrasingacrossthetwobarsthat
reflectstheebbandflowofthechromaticinflectionswithintheharmonies.The
recordingsbyCasadesus,Perlemuter,andtoalesserdegree,YvonneLefébure,
whoseoveralltempisitatcrotchet=176-184,don’thavequitethesamerhythmic
driveandfeelsteadyandultimatelymoremoderate,inlinewithRavel’stempo
marking,Modéré.Byusingsubtlepedalling(discussedseparatelylateron),Ravel
managestoretainasenseoftheViennesewaltzwhilstinjectingtherhythmwith
manycross-accentsandirregularphraseshapes.Onlyatthemodulatingchordal
passagesinbars53-60dowegetasenseofcrotchetpulseunderlinedoncemoreby
frequentpedalchanges.UltimatelyitseemsthatRavelplays‘Valse1’froma
composer’sperspective,listeningtotheharmoniesandguidingthemthroughwitha
35InformationsuppliedtoRoyHowatandsourcedfromRoyHowat,TheArtofFrenchPianoMusic(NewHavenandLondon:YaleUniversityPress,2009),p.316.
163
realsenseofspontaneity,andincouplingafastertempowithabarlinepulsehe
conjuresamoodofexhilarationthatgoeswaybeyondhisnotatedinstructions.
Arpeggiation/Dislocation
Ravelemploysarpeggiationinavarietyofcontextsthroughout‘Valse1’as
evidencedontherollcopiesusedbyCondon,CaswellandHallintheirrealizations.
Thattheseareexpressivegesturesasopposedtoanytechnicaldifficultieswiththe
widelychordalpassagesisconfirmedbyRavel’sabilitytostriketheninthchordsin
bars17-18withprecisionandattack.VladoPerlemuter,ontheotherhand,resortsto
left-handspreadsatthispointbuteschewsanyarpeggiationelsewhereinhis
performance.Thesecontraryviewpointsbetweencomposerandpupilarereflective
ofchangesinattitudesregardingarpeggiationinthatitwasperfectlyacceptableas
anun-notatedexpressivetoolinlatenineteenth-andearlytwentieth-century
performancepractices,butthenbecameobsoleteasthecenturyworeon(witnessits
absenceinthese1950srecordingsoftheValsesbyPerlemuterandCasadesusunless
markedbythecomposer).
IntheopeningfourbarsRavel’sattackontheaccentedthirdbeatright-hand
chordscarriesaslightarpeggiandofromthetoptothebottomtherebyprojecting
thetoplineofthechordaltexturewhilstalsoarticulatingtheharmonicdetail.This
modeofexecutionresonatesperfectlywithRavelthecomposer’sintentionsforthe
Valsesashestatesinhis‘AutobiographicalSketch’.UnlikeCasadesusand
Perlemuter,butlikeRavel,YvonneLefébure’srecordingoftheValsesfrom1975(she
was77yearsofage)looksbacktoearlytwentieth-centurypianisticpracticesinher
applicationofarpeggiationtohighlightmelodicnotesandpunctuatethebeginnings
andendingsofphrases.However,Ravelploughsthroughatamuchafasterspeed
164
thanLeféburewhosefocusisprimarilygearedtowardcharacterisationwithbright
dynamicsoundsunderpinnedbylongpedals.
ComparingtheCondon,CaswellandHallrecordingsforevidenceof
arpeggiationoncemoreunderlinestheslightdiscrepanciesthatoccurbetweenthe
variousrollcopies.WhereasRavel’sarpeggiationsareprominentlyoutlinedinthe
Condonrecording,theeffectislessenedsignificantlyintheCaswellandHall
versions.Chordsarereproducedevenlyandthereisastrongsenseofunityand
polaritybetweenthetrebleandbass,allowingaclearmelodicstrandtoemergeat
thetopofthechordaltextures.Theselatterperformancesresonatewithacomment
RavelmadeinalettertoRalphVaughanWilliamsin1908:‘thereisanimplied
melodicoutlineinallvitalmusic’.36ThustherollusedbyCondonseemstohighlight
Ravel’sarpeggiations,underliningRavel’slinkswithnineteenth-andearly-twentieth
centuryperformancepracticeswhereasthoseusedbyCaswellandHallpointto
someeditorialinterventionintheplacementofnotesthatgivesthethe
interpretationamorelatetwentieth/twenty-first-centurysheen.
WiththebrisktempothatRavelsetsfor‘Valse1’,onewouldassumethat
therewouldbelittleroomfordislocationbetweenthehands.HowevertheCondon
versionforegroundsadegreeofinstabilityinRavel’stechnicalcontrolmanifestedby
someerraticco-ordinationbetweenthehandsthatislessnoticeableintheCaswell
andHallrealizations.Onthispoint,DenisHallhasstressedthatthequalityofthe
performancedependsprimarilyuponthelevelofpreparationofthereproducing
piano:‘theresultsareonlyasgoodasthepianosthemselves’.37Thebrighttreble
36March31908.Orenstein(ed.),ARavelReader,p.93.37TheauthorinconversationwithDenisHall,Bromley,February282017.
165
sectiononCaswell’sFeurichpianoandHall’sSteinwaycertainlyaidtheprocessof
projectingtheupperlineintherighthandchords.
BothHallandLawsonconcurthatevendifferentproductioncopiesofthe
samerollrevealdisparitiesofattackorspreadonthesamechord,yetagainpointing
toinexactfactorycopying.LawsonalsonotesthattherearemomentsinRavel’s
performancesoftheValseswherenotesareoff-setconsistently.38Aparticular
exampleofthisoccursatthebeginningof‘Valse2’,wherethetexture,comprising
melody-dominatedchordsandoctaveleapingpatterns,isconfinedtothetreblearea
ofthepiano(suchtexturesaboundinRavel’spianoworks,forexampleinJeuxd’eau
(bar19)andtheopeningsectionof‘Ondine’fromGasparddelanuit).Reproducing
systemsdifferentiatedynamicsacrosstwohalvesofthekeyboardthusitisvirtually
impossibletoisolatemelodynotesfromsurroundingnotes,inthiscasethetopofthe
righthandchords.Itisthereforepossiblethattheeditorscouldhaveresortedto
minoradjustmentstotheholepunchingtoproduceastaggeredeffectthatsetsthe
melodynotesapartfromtheaccompanyingharmonies.Thattheoff-setsare
consistentwouldseemtosupportthislineofargument.39
Notwithstandingthis,Raveldoesusedislocationasanexpressivetoolto
bringhisharmonicandpolyphoniccolouringintoreliefin‘Valse1’.Inbars25-29
wherethethirdbeatsaresinglenotesineachhand,theenharmonicclashes(Dsharp
againstDnaturalinbars26and28)seemintentionallystaggeredtosoftenthe
dissonanteffect.Withthisinminditisinterestingtonotethatbyironingout
dislocationsandarpeggiationsinpost-production,theCaswellandHallrollcopies
losesomeofRavel’sidiosyncraticvoicings,forexample,themodulatingchord
38TheauthorinconversationwithDenisHallandRexLawson,Bromley,February282017.39Ibid.
166
sequenceinbars57-60,wheretherollutilisedbyCondondelineatesinternal
chromaticlineswithasharperfocus.
Pedallingandarticulation
ItwasthefirsttimeRavelreallymademestudythepedal.Hethoughtthatitwasessentialforthesewaltzes.Youmustnotuseanypedalforthechordonthethirdbeat,butonlyonthefirstbeats.Ingeneraluseshortpedalstounderlinetherhythm.40Perlemuter
Asthereproducingpianoworksontheprinciplethatthepedaliseitherupordown,
theoperatingmechanismwaslesseffectiveinrecordingmorenuancedapplications
suchashalf-pedalsandvibratopedal.Nevertheless,anexaminationofRavel’suseof
thesustainingpedalintheopeningsectionof‘Valse1’revealshisexactingapproach
regardingthearticulationofhisharmonicandrhythmictextures,andisyetanother
reminderofhisintentionsintheValses:‘tocrystallizetheharmonyandsharpenthe
profileofthemusic’(Table3.6).
Table3.6:PedallingtechniquesemployedbyMauriceRavelinhisrecorded performanceof‘Valse1’(bars1-20)Bars Pedalling
1-6 Pedalsthroughbarliftingonthirdbeat7-8and9-10 Pedalsacrossthetwo-barunitstosustainthebass11-12 Pedalsthroughthebarliftingonthethirdbeat13-14 Pedalsacrossthebar15-16 Pedalsacrossthetwobars(Condonremastering)15-16 SustainsthepedalnoteAforonebarandproceedstouselegato
pedallingoneachchordinbar16(Caswellremastering).17-18 Pedalsthroughrestswithhalf-pedalchangesoneachchord19-20 Legatopedalling
Condon’srecordingishamperedbyexcessivereverberation(possiblyadded
inpost-production),makingitdifficulttogaugetheexactpointsatwhichRavel
depressesorreleasesthesustainingpedalandinthisregardtheCaswellandHall
40Perlemuter,RavelaccordingtoRavel,p.45.
167
recordingsprovideamuchclearerpicture.ItisevidentthatRavelisconcernedwith
sustainingthepedalnoteswhereverpossibleforharmonicpurposeswithoutlosing
therhythmicimpetus,forexample,inbars1-4thepedalnoteGlingersunderneath
thethirdbeatwiththepedalreleasecominghalf-waythroughthisbeat.This
techniqueisalsoappliedatbar45andsimilarinstances.
TheprojectionofmelodyandbasslinesisskilfullybalancedinRavel’s
performance,asisthenuancingofharmonicstructuresandprogressions.Inbars49-
50theninthchordsringthroughwithexcellenttonalbalance.Similarlyinbars53-
60,notonlyisitpossibletohearthechromaticallyshiftinginternalcounterpointbut
alsotoexperienceRavelthecomposer’smindatworkashedrawsoutparticular
notesforattention.Ravelalsomaintainsrhythmicindependencethroughout
allowingforafluidinterplayofdupleandtriplerhythmsbetweenthehands.
PerlemuterrecalledRavel’sinsistenceonthispointwithregardtobars67-70:‘Ravel
mademerepeatthispassagetentimeswithhandsseparate!Hewassofussyabout
gettingitright’.41
PerlemuterisfaithfultoRavel’sinstructionsregardingthepedalalthoughhis
pedalliftsonthethirdbeatsofbars1-4areearlierallowingforashortgapbefore
thenextdown-beat.HisworkingeditionoftheValses42islitteredwithinterpretive
detailsthatwereaddedoveranextensiveperiodofstudy(referencestopublic
performancesdatebetween1929and1991).Onthefirstpageindicationsinclude
‘sansfrapperlapremièrenotedugroupe’and‘égaldesonetderythme’withvery
specificpedalmarkingsthroughout.Theseareallperformancedetailsthatresonate
throughoutbothPerlemuterandRavel’srecordings.
41Ibid.,p.44.42BibliothèquenationaledeFrance,CatalogueNumberIFN-55000846.
168
RobertCasadesus’readingdemonstratesmorevarietyoftouchandpedal
thanPerlemuterandRavel.Hisopeningsoundisboldandresonantandherespects
Ravel’srequestregardingtheuseofnopedalforthechordonthethirdbeat,butonly
onthefirstbeatstotheletter.Howeverfrombar11onwardheemploysthepedal
verysparinglyasthoughwantingtohighlighttheneoclassicalcharacterofthiswork.
Inaccumulativefour-barphrasessuchasbars11-14and71-74hebeginswithno
pedalandgraduallyintroducesittointensifytheharmonies.Ravel’smodulating
sequences,bars55-60forexample,areexecutedwithadrystaccatotouchbordering
onthepercussiveandtheendingsofthefirstandfinalsectionsarealsobrittleand
ratheraggressiveinapproach.Bethatasitmay,Casadesus’readingisalmosta
literalreproductionofRavel’sprintedscoreinthateachrestisobserved,each
phrasemarkingisobserved,andwheretherearenophrasemarkingsheusesa
detachedunpedalledtouch.HealsoadherescloselytoRavel’sdynamicindications,
aswillbediscussedbelow.
ThecontrastwithRavel’srollrecordingisstartlingandgivenRavel’s
enormousrespectforCasadesus’pianismonemayaskwhetherRavelwouldhave
approvedofthisaccurateperformanceorhavepreferredhisownversionthatwent
wellbeyondtheprintedpage.Significantly,Casadesusseemstohavepassedonhis
interpretiveideastohisstudentClaudeHelffer,judgingbyhisrecordingoftheValses
noblesetsentimentales.43Helffer’sreadingisverybuoyantanddrywithneat
pedalling.Oncemoreshortstaccatochordsprevailinthemodulatingsequencesand
inhisendingheadoptsCasadesus’brusquestyle.
43HarmoniemundiHM34.922,Geneva(1970).
169
Dynamicexpression
AccordingtoHallandLawsonthemethodbywhichWelterecordeddynamicsfroma
performanceremainsacloselyguardedsecret:
Somehowtheyconvertedthemintorowsofedgeperforationsonareplaymaster;in doingsotheyhadtojudgenotonlyhowmuchofwhatandwherebutalsohowfarin advancetoplaceeachperforationaffectingdynamics(andpedallingtoo)toallowthe playbackpneumaticsjusttherightamountoftimetoact.[…]Withmostotherreproducing pianosystems,thereisoftenthefeelingthatthedynamicshavebeencarefullycraftedbya rolleditor;thereisatendencytousethecompletegamut,frompianissimotofortissimo,for everyroll,justtoprovethattheparticularsystemcandoit.InthecaseoftheWelte-Mignon, however,therecanbeastoundingrealismatsomeofthemostinsignificantmoments,andon occasionsacertainlackofdetailwhenthemusicaltexturebecomestoocomplex-bothsigns ofanautomatedprocess.44Ravelusesbroaddynamictrajectoriestobringoutthebriskrhythmicandharmonic
coloursthatdriveshisinterpretation.Thefirstsectionissustainedatabold,vibrant
fwithasatisfyingbalancebetweenthehands.Inbars21-39,Ravel’snotationtraces
acontinuousdecrescendofromfftopp.Comparedwiththefirsttwentybarsthe
texturesherearemarginallylessbusy,afactthatRaveltakesadvantageofinhis
recordingthroughsubtlecolouringandpedalling.Hedoesnotreallybeginfforend
ppbutthegradualwind-downiseffective.Atbar33themoodhasrelaxedenoughto
allowhimtoexploretheensuingharmonicprogressionsbytracingastrong-to-weak
pulseacrossthetwo-barunits.Fortheppatbar39hegentlyalludestotheharmonic
remotenessandchangeintessitura,anditisallachievedwithadegreeofeffortless
insouciance.Mentionhasalreadybeenmadeofhiscrystallinevoicinginthechordal
sectionbetweenbars45and61,althoughhepaysnoheedtohisowndynamic
cutbacksinbars48,53and57.Hisalternativesolutionistoshortenthethirdbeats
inbars54and56therebyallowingtimeforabriefrespirationbeforethenext
phrase.
44DenisHallandRexLawson,‘TheReproducingPiano’,www.pianola.org.
170
OncemoreitisfascinatingtocompareRavel’s‘lookingbeyondthescore’
approachwithCasadesus’straightforwardreadingandespeciallythelatter’s
perfectlygradeddiminuendofromfftoppinbars21-39.Perlemuter’strademark
sound,lyricalandwarm,informshisperformance,althoughtherangeofdynamicsis
somewhatlimitedincharacter,unlikeYvonneLeféburewhoseinterpretationbrims
withbrightlycolourednuancesandquirkyrhythmicidiosyncrasies.HenrietteFaure
didnotrecordthisworkbutherbriefdescriptionof‘Valse1’assherecalledfrom
herlessonsmirrorsRavel’sscintillatinginterpretation:‘[…]verylivelyandbrilliant,
inasteadypulsethatjuxtaposesthepercussivenuanceswithwavesofexpressive
legato’.45
‘Valse7’
ThatRavel’spersuasiveperformanceof‘Valse1’isbynomeansaone-offcanbe
verifiedbylisteningtohisreadingoftheexuberant‘Valse7’inwhichhedisplaysa
comparablesenseofconfidence,accuracyandamasterfulcontroloftheintricate
textures.Aswith‘Valse1’Raveldemonstratesarobustandsecurechordal
technique,especiallyfrombar39totheendofthefirstsectionatbar66wherethe
technicaldemandsoftheleft-handpassageworkaremostchallenging.Whatis
impressiveistheeasewithwhichhenegotiatesthearpeggiatedflourishesatbars54
and57.WherePerlemuterandCasadesusgettrappedintothinkingabouteachnote,
Ravelconceivesthewholefigurationinonemovement,thatisanextensionofhis
forward-thrustingapproachtothequaverpassageworkfrombar39onwards(atrait
alsowitnessedinsimilarsituationsin‘Valse1’).Thenervousenergyfeltin‘Valse1’
45‘[…]trèsvive,brillante,d’unrythmeinexorablefaitalternerlepercutant,etlesvaguesdelegatoexpressif’.Faure,MonMaîtreMauriceRavel,(1978),p.39.
171
isredeployedtounderpinthebuild-upfrombars39-66andoncemoreRavelcarries
itoffwithcontrolandpanache.Perlemuter’sreadingcapturesRavel’sexpressive
nuancesbutbecomesatouchuntidyandunclearwhereasCasadesuspresses
throughandtheresultishurriedandeventuallyalsountidy.OncemoreHenriette
FaureencapsulatesRavel’secstaticperformanceinherdescriptionofthisValse:‘[…]
anewtypeofViennesewaltzrepletewithforwardmotionandoutward
expression’.46
WhatRavel’sinterpretationunderlinesishislong-termperspectivewith
regardtophrasestructures.Bars19-21and22-24areplayedasthougheachwerea
9/4barwithaplacedcross-accentonthesecondbarline.Inbars25-26,27-28and
29-30hethenproceedstoexploringduplerhythmsacrossandwithinthebarlines
usingsubtleaccentsandcoloristiceffects.
Ravel’sveryspecificnotationfortheright-handthirdbeatinbars19and22,
awedgestaccatomarkingwithopenslursacrossthebarline,isproblematicand
somethingofaparadox.Howcanoneexecutethisandobservethecrotchetreston
thenextdownbeatwhilstretainingthelegatothroughthetwo-barphrasinginthe
accompanyinglefthand?Oncemorethevariouspianorollcopieshighlight
discrepanciesinthehole-punchingprocess.IntheCondonandHalltransfers,Ravel
comesoverasbeingmoreconcernedwithpreservingthemelodiclineatopthe
chordsandthepedallingisrecordedacrossthetwo-barphrase.Thislatterpoint
couldyetagainpointtotheinabilityofthepedallingmechanismonthereproducing
pianotopickuponRavel’smoresubtleapplicationsofpedal(thisissurelythecase
withinbars17-18whereRavelwouldsurelyhaveappliedhalf-orvibrato-pedalsto
theparallelchromaticchordchangesinsteadofonecontinuouspedalthroughout
46‘[…]unenouvellevalseviennoisedegrandeallureetd’expressionextérieure’.Ibid.,p.42.
172
thatoccursonallthreerealizations).Althoughthethirdbeatofbar19isplayedwith
alighttouch,thesoundcarriesthroughtheensuingcrotchetrest.Conversely,onthe
rollcopyusedbyCaswellthethirdbeatcomesoverstaccatoandunpedalled,
followedbyastrongleft-handdownbeatonthenextbarline.Themelodiclineisstill
preservedinthelistener’smindasRavelachievesaperfectbalancebetweenthis
third-beatchordanditsrepetitioninthenextbar.Ravelthenaltershispedallingin
lineinbars25-26toaccommodatethetiedcrotchetsacrossthebarlineintheright
handasintheCondonandHallrollcopies.
VladoPerlemuter’ssolutionforthisisto‘bringoutitscharacterbystressing
theswellandthestaccatocrotchet’whileHélèneJourdan-Morhangeconcursthe
thirdbeatmustliftoff‘àlaviennoise’.47Perlemuterinhis1955recordingachieves
theperfectblendofstaccatowedge,crescendoandrealizestheopenslursbyletting
thepedaloverlapforthebriefestmomentontothenextdownbeat(thelefthand’s
two-barlegatophrasingistheonlycasualtyinthisrecording).Howeverheonly
maintainsthisforthefirsttwoappearances(bar19and22)resortingtoalight
staccatoliftonthethirdbeatwitheverysubsequentappearanceofthisphrase,
includingthereprise.ThatRobertCasadesusadoptstheexactsamearticulationin
theverysameplacesisuncanny.
EquallysignificantisthewayinwhichRavelusesarpeggiationoncemoreto
delineatemelodicshapes.ThisismostnoticeableintheCaswellrecordingatbars
28-30where,inadditiontosomesubtlerubato,Ravelpicksoutthetreblemelody
notes,mostmarkedlyinbars28-29.Hecontinuesthispracticeuntilbar39wherehe
beginsthebuild-uptotheclimaxat59.TheCondonandHalltransfersdonot
47PerlemuterandJourdan-Morhange,RavelaccordingtoRavel,p.54.
173
highlightthesearpeggiationstothesamedegreeandonecanbarelydiscernthe
treblemelodyatbar28-9withthechordalbalanceleaningtowardsthethumb.
Thisdiscrepancycouldbeputdowntothewayinwhichthereproducingpianos
weresetup,withCaswell’suprightFeurichdemonstratingamorestridenttreble
section.
Asin‘Valse1’,Ravel’sadherencetohisowndynamicmarkingsissomewhat
selectivethroughout‘Valse7’.However,whenitcomestopedallingandarticulation
heisinvariablyconsistent.Theexpansionthatbeginsatbar39seeshiminfull
controlofthedisparatetexturesfromeveryperspective.Thefast-movingharmonic
counterpointisskilfullypedalledandhisfingerworktransmitsarealsenseof
exhilaration.IncontrastPerlemuterandCasadesusbothadoptaleggierocharacter
atthispointandplaythelefthandofbars39-50lightlyandstaccato.OnlyLefébure
inher1975recordingfollowsRavel’snotationandhangsontothepedalAsandDs
wheremarked,addingtotheheightenedexcitementandbravurafeelofwhatHélène
Jourdancalled‘thegreatorchestralwaltz.It’sViennaitself!’48Leféburealsoadheres
toRavel’sthird-beatarticulationreferredtoabove.LikeRavelshebringsasenseof
polyphonyanddepthtotheleft-handarpeggiofigurations.
Forthecentraltriosection,FaureprovidesfurtherinsightintoRavel’s
concept:‘InthisshortbreakfromtheValsethesmallautomatonreturns;thewriting
issmooth,delicateandmeasuredwiththeintentionofconjuringtheillusionofan
out-of-tunemusicalbox’.49Thisout-of-tunemusicalboxeffectthatRavelsoughtis
capturedwithmoreimmediacyinthereverberantacousticthatCondonfavoursin48Ibid.49‘Nouvelentr’acte,lapetitemécaniquerevient[…]avecunlegatodélicatetmesuré,faisantbienressortirl’écritureintentionnellefausse;uneboîteàmusiquedétraquéedisaitRavel’.Faure,MonMaîtreMauriceRavel,(1978),p.42.
174
hisrealization,andtoalesserdegreeinHall’srealization,althoughpresumablyin
hisattempttoconveythemechanicalaspectRavel’stonecolourisrather
monochromeinbothrecordings.Thedynamicintensificationhemarksinthescore,
beginningppatbar66andreachingaclimacticffatbar93,failstoregister.In
completecontrast,Caswell’stransferisbarelypedalled,andtheresultantsoundis
dryandnoteyalthoughRavel’smelodyisclearlyprojectedwithsomesenseof
phraseshaping.Itseemsasthoughthispassagehasbeenrecordedontheoriginal
rolladheringstrictlytothenotevaluesaswritten.
Ravel’srollrecordingsof‘Valse1’and‘Valse7’demonstratesaquirky
brilliancedisplayingneatpassageworkforthemostpartandnolessinaccurate(in
factmoreaccurate)thanPerlemuterandCasadesusatthemoretechnically
challengingmoments,ifnotquiteasassuredintermsofsustainedexpressive
pianism.Hisunrestrainedapproachtotempoandforwardtrajectorylooksforward
tohismosteffusiveessayintheValsemedium,LaValse(1919-20)andpointstoan
interpretiveconceptionthatoftengoesbeyondthepianotoembraceorchestral
sonority.ItisparticularlytellingthattheorchestrationoftheValsesnobleset
sentimentaleswascompletedinjustfifteendaysduringMarch1912.
TheDuo-Artrecordingsessions(1922and1928)
NineyearsweretopassbeforeRavelreturnedtotherecordingstudio.Atthe
invitationoftheAeolianCompanyRavelwascontractedtomakeatleastten
recordingsofhissolopianoworksfortheDuo-Artplayerpiano.AsthePianola
Institutewebsitestatesinits‘IntroductiontotheReproducingPiano’:
UnlikeWelte-Mignon’srecordingprocess,theDuo-Artusedareal-timeperforatorto produceanoriginalrollastheartistplayed.Therecordingmachinedidnotrecordthe pianist'sdynamicsautomatically;insteadtheywerecreatedontherollastheartistplayed, bytwodialsandtheirassociatedmechanisms,controlledbytherecordingproducer,who
175
sattotheleftandslightlybehindthepianist.50
Thustheskillandexperienceofthemusicaleditorswasparamountindetermining
howfaithfulaparticularrollmightbe.Ravelwouldalsohavebeenabletotakepart
intheeditingprocessalthoughthereisnoinformationtocorroboratehowmuch
actualeditingtookplace.
TworecordingsbyRavelwereeventuallyreleasedfromthisfirstsessionon
June301922,namely‘Oiseauxtristes’fromMiroirsandPavanepouruneInfante
défunte,withafurtherrecordingof‘Lavalléedescloches’recordedandreleasedin
October1928.Otherrecordingsmadein1922thoughttobebyRavelofthe
‘Toccata’fromLeTombeaudeCouperinand‘LeGibet’fromGasparddelanuitwere
subsequentlyattributedtoRobertCasadesus.AsRavelhimselfexplainedinaletter
toCalvocoressiwhowasactingasago-betweenforthecomposerandtheAeolian
Company:
I’mpresentlyworkingonfivepianopieces(stillcountingtheSonatineasonlytwo),andambusyfindingabetterpianistthanmyselfforthefiveothers,andwillhaveeverythingreadyforthemonthofJune.I’mnotaskingRicardofor2reasons:firstIthinkhe’ssupposedtobeinSpainaboutthattime;second;IwouldespeciallyliketohaveGasparddelanuitrecordedandViñesneverwantedtoperformthesepieces,inparticular‘LeGibet’,accordingtothecomposer’sintentions.ViñesassuredmethatifheobservedthenuancesandthetempothatIindicated,‘LeGibet’wouldborethepublic.Andnothingwouldmakehimchangehismind.51
ThereasonsRavelcitesfornotinvitingRicardoViñestorecordGasparddela
nuitoncemorehighlightstheimportanceheplacedonbuildinganinterpretation
thatrespectedthecomposer’sviewsfirstandforemost.Viñes’confrontational
stanceissomewhatsurprisingconsideringtheirlongstandingfriendshipandthefact
thathehadpremieredalargeproportionofRavel’ssolopianoworksuptoand
includingGasparddelanuit.InsteadRavelchosetheyoungRobertCasadesusto
50InformationobtainedfromthePianolaInstitutewebsite.http://www.Pianola.org/Reproducingpianos/Duo-Art51LettertoMichelDimitriCalvocoressi24March1922.Orenstein(ed.),ARavelReader,p.219.
176
record‘LeGibet’,andlaterpaidcomplimenttohimwiththistellingstatement:‘[...]
youbringoutalltheharmonieswhichpianistsdon’tusuallydo–Icanseeyouarea
composer’.52
AcomparisonbetweenRavel’smusicalactivitiesin1922andthosein1913
revealoutsomefascinatingparallels,inparticularRavel’spreoccupationwiththe
paringdownofhiscomposingstyleaseffectedby1922intheSonataforViolinand
Cello(1920-22),aworkthatRaveldescribedasaturningpointinhiscareer:‘[…]
thinnessoftextureispushedtotheextreme.Harmoniccharmisrenouncedwithan
increasedreturntomelody’.53Inthe1913recordingsRavel’sinterpretivechoicesin
hisperformancesofthefirstandseventhValsesnoblesetsentimentalesseem
weddedtohiscompositionalintentionsto‘crystallizetheharmoniesandsharpen
theprofileofthemusic’,asstatedinhis‘AutobiographicalSketch’.54HowRavel’s
volte-facetopromotemelodyaboveharmonyintheSonataforViolinandCello
shapedhisinterpretationof‘Oiseauxtristes’fromMiroirsonthe1922rollrecording
willbediscussedinthefollowingsection.
Oiseauxtristes(Duo-Art:1922)
Ravelfirstperformed‘Oiseauxtristes’tohisclosefriendsatameetingofLes
ApâchesinOctober1904.AccordingtoMichelCalvocoressi,ittookthemquitea
whiletocometoappreciatewhathewasafterandRavelwas‘ratherdisconcertedto
findusindifferenttoapieceintowhichhehadputsomuchofhimself’.55ForRavel,
Miroirsmarkedaprofoundchangeinhisharmonicdevelopment.AsRoland-Manuel
52RobertCasadesusinconversationwithDeanElder,9January1970.ReproducedinDeanElder,PianistsatPlay(London:Kahn&Averill,1986)p.33.53Orenstein(ed.),‘AnAutobiographicalSketchofMauriceRavel’,ARavelReader,p.32.54Referencedearlierinthischapter:seefootnoten.17.55Nichols(ed.),RavelRemembered,p.183.
177
recalled,bothRavelandDebussyhadbeenindependentlypushingtheboundariesat
thistimewithregardtomusicalforms.InDebussy’swords:
[…]hewasdreamingofakindofmusicwhoseformwassofreethatitwouldsoundimprovised,ofworksthatwouldseemtohavebeentornoutofasketchbook.56
ViñeshadjustperformedDebussy’sD’uncahierd’esquissesforthecomposer
andrelatedthisconversationtoRavelwhoconfessedthatthemusichewasworking
on,namely‘Oiseauxtristes’,wasbasedonsimilarprinciples.Ravelwouldlater
performboththeseworksatamusicalsoiréeinJanuary1905,andgivethefirst
publicperformanceofD’uncahierd’esquissesattheinauguralconcertoftheSociété
musicaleindépendanteinApril1910.InaddressingRavel‘sperformanceof‘Oiseaux
tristes’onemayaskhowfarwouldhegoinhisinterpretationtoeffectthissenseof
freedomandspontaneityandtowhatextentdoeshisnotationprovidethecluesto
unlockingthesequalities?
Bars1-3
ThepotentimagedescribedbyRavelas‘birdslostinthetorporofaverysombre
forestduringthehottesthoursofsummertime’57isannouncedwithtwointonedB
flatsfollowedbyanarabesquethatevokeablackbird’ssong.Ravelwasvery
particularregardingtheexecutionofthissimplephrase,borneoutintheadvicehe
gavetoVladoPerlemuter:
[…]thearabesqueofthesadbird,which[sic]mustnotbeplayedstrictlyintime,butmorebriskly.[…]Ifyouplaystrictlywhat’swritten,itlosescharacter.Youmustnotbeafraidoflingeringonthelongnote.Assoonasyoucompresstheoutlineofthisarabesqueitstandsout.58
Bars1and3areindeedplayedwithadegreeofflexibilityandRavelcutsthelonger
noteseachtime.Despiteadoptingamuchfastertempoforbar2hemaintainsstrict
56Roland-Manuel:ÀlagloiredeRavel(Paris,1938).Englishedition:MauriceRavel,trans.CynthiaJolly(London:Dobson,1947),p.41.57Orenstein(ed.),‘AnAutobiographicalSketchofMauriceRavel’,ARavelReader,p.30.58Perlemuter,RavelaccordingtoRavel,p.21.
178
timewithinthebarinthataconsistenttripletquaverpulseunderpinstheintricate
arabesquerhythm.Thusitseemsthattheprintednotationinbar2doesreflectthe
improvisedcharacterthatRaveldesired.AlsobyapplyingtheélantechniqueRavel
injectsacertainfrissontothearabesques.
Ravel’sarticulationofthebirdcallsinbars1and3ofhisrecording
contradictstheprintednotationandisfurthercompoundedbythepianoroll
realizationsbyCondonandHall(thelatterontheCaswellCD).Thediscrepancies
betweenthevariousversionsaremarked,withtheHallrealizationcomingclosestto
reproducingRavel’sdesiredarticulationinhisperformance(Table3.7).
Table3.7:‘Oiseauxtristes’(Bars1and3).Articulationissuesinthe remasteringsofRavel’srollrecording Bar1accentuation Bar3accentuationRavel’snotation Strong/weak Strong/weakCondonremastering
Weak/strong;Equal AsinBar1
Hall/Caswellremastering
Nuancedslightlyasnotated
Nuancedslightlyasnotated
EmberLP(CDreissue2009)
Nuancedslightlyaswritten
Weak/strong
NosuchdoubtsapplytoPerlemuter’s1955recordingwhereRavel’snotated
accentuationisclearlyprojected.LikeRavel,heshortensthelongernoteinbar1,
condensingtherelationshiptoaquaverandcrotchet,andhisarabesquesmirror
Ravel’sinflexibilityandmaintenanceofthepulse.Ravelwasobviouslyanxiousto
avoidastaticexecutionofthearabesques,atrapintowhichCasadesusandFaurefall
intowiththeirrecordedperformances.Casadesusmaintainsarock-solidpulse
throughoutallthreebarsandobservestheaccentuationsasmarked.Thismeasured
openingalmostliteralandunexpressiveinapproachseemsatoddswithRavel’s
interpretiveview.HenrietteFaureissimilarlymeasuredwithherbirdcallsalthough
179
heroverallpulseisconsiderablyfreer.Table3.8outlinesthetempisetbythe
pianistsunderdiscussion.ThedifferencesindurationbetweenthetwoRavel
transfersoncemorehighlightsmarginaldifferencesrelatingtothesetttingupofthe
rollsandreproducingpianos.
Table3.8:Tempiadoptedinrecordedperformancesof‘Oiseauxtristes’. Metronomeindicationsinquaverbeats.BarNumbers 1 4 7 11-12 20 21 26 29 Total
TimeRavel:Condon(1922/1992)
56 48 50 48
144 40 4’36”
Ravel:Hall/Caswell(1922/2002)
56 54 60
52 56 160 46 4’11”
Casadesus(1951)
60 66
70 72 68 144 60 3’51”
Perlemuter(1955)
66 76-80 80 66 144 Rhythmunclear
3’33”
Faure(1959) 68 54-56 56 104-8 60 3’55”
Bars4-9
Thetransitionfromasinglequasi-improvisedthematicstrandtoamultilayered
texturecomprisingbird-calls,accompanimentalostinatiandpedalnotescallsfor
controlandbalance,especiallywithregardtomaintainingtwodistinctlevelsinthe
texture,asFaurepointsout:
Thebirdcallsonahigh,ratherstridentlevel,withrapidarabesques,andbycontrast,thesombrestiflingatmosphereoftheforestonalowerlevel,ratherheavyandmutedwithalotofpedalbutnotmuchmovement.59
Ravel’sperformanceisatouchawkwardinthisregard,compoundedbythe
prevalenceofdislocationandacertainflexibilityofrhythmthatthreatensto
destabilizetheharmonicco-ordination.Thetripletquaverostinatoatthecentreof
thetextureisunevenintoneandrhythm,withmucharpeggiationanddislocation
59‘Lesappelsd’oiseauxsurunplanaiguunpeustrident,auxarabesquesrapides-etd’autrepartl’atmosphèreétouffanteetsombredelaforêtsurunplangrave,unpeulourdetfeutrévoilédepédale;sansgrandemobilité’.Faure,MonMaîtreMauriceRavel,(1978),p.71.
180
withinthedyads.Thepedalnotesandtheostinatoareinvariablydislocatedandin
bar6thisextendstothecuckooutterancesinthetreble.Byadoptingaslowertempo
thanhisopeningtempoatbar4,Ravel’sblackbirdfeelsconsiderablymorelethargic
thanatthebeginning.However,inbar8hefindsasimplesolutionthatallowshimto
retainthemoodofthearabesquesattheopeningwithoutcompromisingthe
accompanyingostinato.Basicallythearabesquesareexecutedasattheopening,but
RavellingersontheBflat(dottedsemiquaver)toallowthethirdtripletquaverto
catchupbeforemovingon.Unfortunatelythecorrespondingpassageatthe
recapitulation(bar22)isnotsosubtlymanaged.Ravel’sapplicationofrubato
involveslingeringonthefirstdyadoftheostinatosighsandisoftenbalancedoutby
atendencytoundercuttiednotes,atraitcommontoallofRavel’sperformances,
mostnoticeablyinhis1913recordingofthefirstmovementofSonatine.
Suchcomprehensivedislocationmakesforanunsettled,awkward
atmospherethatisstrangelyeffective,giventhenatureoftheimagesbeingevoked.
CouldthisthenbeRaveldeliberatelyapplyingdislocationtechniquetoharmonicand
rhythmiccolourtoconveythedisjointedandfreelyimprovisednatureofthesubject
matter?Ifthisisindeedthecase,thenRavelhasoncemoreleftthepagetoproject
hisinterpretation,thusgoingbeyondthemusicalnotation.
Ontheotherhandthelimitationsoftherecordingsystemwithregardto
reproducingRavel’sexactingdynamicnuancesandthehighlightingofparticular
notesorthematicstrandswithincloselyalignedtexturesmayhavenecessitatedthis
levelofdislocation.Eitherway,Ravelhimselfcouldhavebeeninstrumentalin
makingtheseinterpretivechoices,asHallandLawsonobserveonthePianola
website:
181
[…]Duo-Artrollswerewithoutexceptioneditedonthepianosofthetime,untilthey soundedrighttothepianistsandeditorsinvolved[…]
ItisinterestingtocomparethiswithRavel’suncompromisingstanceonrhythm,
colourandarticulationwhendiscussingasimilarpassagefrom‘LeGibet’,the
placementoftheintonedBflatsthatrepresentthetollingbell(‘laclochequitinte’)
asrelatedtoHenrietteFaure:
Justplaythemwithamuffledtimbre,keeptheaccentsuniformandmaintainaconsistentrhythmicflowinthechordalmovement.60
Perlemuterinhisrecordingsetsafastertempoinbar4lettingthetriplet
ostinatoflowevenlyifatouchpredictablywhencomparedtoRavel’sslowerbut
equallybutevocativereading.Hispaletteofcoloursissubtlygradedatppandppp
withhislayeringofdynamicsfavouringthetrebleandcentraltextures.Allthe
birdcallscomeintofocusandheiscarefultoobservetheinflectionsineachmotifas
withtheaccentedDinthecuckoomotif.Inhisskilfulmanipulationofthetriplet
ostinatiinthesebarsPerlemuterdemonstratesarefinedpianismthatsetshimapart
fromRavel.Thetripletsinbars4-6areevenandheiscarefultoavoidany
dislocation,evenwhenplacingtheBminorchordatthecentreofbar5.Throughout
bar7,Perlemuterallowsthetripletstoebbandflowsothattheycanaccommodate
thearabesquefigurationsseamlesslyinthenextbarwithoutanyneedfor
dislocation.
WithCasadesusthereadingisalmostclassicalinitsmeasuredsmooth
execution,itsdepthoftoneandexactingco-ordinationofthethematicstrands.Itis
Faurewhofeelstheneedtoinjectamodicumofemotionintoherbirdcalls,inthat
eachutterancebythecuckooisprecededbyaslightritenutoandplacingofthe
60‘Ilsuffitdelajouerdansuneatmosphèreunpeusourde,avecuneinflexibleordonnancedesaccentssurl’inflexibleordonnancedurythmedesaccords’.Ibid.pp.61-2.
182
accompanyingtriplets.Thusthecrotchetpulseinbars4and5soundsasthough
phrasedinunitsof3+3+2,therebylinkingthemtothetripletimeinbar3.
Bars10-19
Ravel’sinterpretationofthecentralsectionof‘Oiseauxtristes’showshimathismost
imaginativeandresourceful,drawinguponhisidiosyncraticpianismtoconveythe
scene.Thebirdsaresuddenlydisturbedandthrownintoconfusion,realizedby
Ravelthecomposerwithrhythmicintensification,acuteharmonicdissonance,and
extremesofdynamicandarticulationwiththewritingtraversingthewhole
keyboard.OncemoreRavelthepianistshowshisstrikingabilitytorespondtothe
suddenchangesofmoodandtheexcitementandurgencyofthemusicaltrajectory
(asinbars39-60of‘Valse7’).Thatheresortstotechniquesanddevicesthatarenot
highlightedinthescorewillcomeasnosurprisebynow,anddespiteacertain
waywardnessinhiscontrol,theperformancecomesaliveinwaysnotachievedby
hisdisciples.
Ravelinsertsarpeggiationmarksatthebeginningofbars10and11inhis
score,andthenpromptlyignorestheminhisperformance.Inbar10hespreadsthe
rightandlefthandtogether,insteadofthecontinuedarpeggiationfrombassto
trebleasmarkedandobservedbyPerlemuter,andtheleft-handarpeggiationinbar
11isabsent.FromhereonwardsRavelgraduallydislocatesthetextureleadingupto
theoutburstatbars15-16.Hebeginsbyemphasisingthetenuto/staccatomelody
notesinthelefthand,playingthemaheadoftheright-handdyadswhichhealso
arpeggiates.Thusthewritten-outdesynchronisationofthethree-parttextureinbar
12emergesnaturallyfromthepreviousbar.Inbar13therhythmicinstability
arisingfromRavel’sdecisiontorushthetripletsemiquavergroupsandarpeggiate
183
thedyadswithinthedupletgroupsfurtherintensifiestheagitation,culminatingwith
thechaoticoffbeatoutburstsfromthebirds.UnfortunatelyRavel’sco-ordination
alsoexperiencesamomentofchaosatthebeginningof14asthefirstright-hand
interjectionarrivesasemiquaverlateforcingaslighthold-upbetweenthesecond
andthirdquavergroupsinthelefthand.NeverthelessRavelrecoversimmediately
andhisexecutionofthePressezsectionatbars15-17iscleanandbristleswith
energy.Thedemisemiquavergroupsfeelrushedinsidebutindoingsotheyturnthe
spotlightontotheminorsecondclashes,playedbyRavel’subiquitous‘strangler’
thumbstogreateffect.Faurealsomarksoutthesemitonaldissonancesandaddsto
thevibrantcoloursbyarpeggiatingtheleft-handchordsinamoremeasuredand
ultimatelylessgrippingreadingthanRavel.Perlemuterbycontrastseemstolessen
theeffectbymakingtheminorsecondsfeellikeunaccentedpassingnotes.The
chordalprogressionsareprojectedwithexpressiveemotionratherthanthe
dissonantdisarraythatRavelengendersinhisperformance.Inbars17-19asthe
musicwindsdown,Ravelseemstobegrapplingwithcontrollingthetripletgroups,
resultinginaslightlymuddledsonoritythatisstrangelyappositeinthiscontext.The
focusforPerlemuterandCasadesus,withtheirmoremoderateapproachesand
concernforpianisticclarity,comesdowntosubtlevoicingandtherealigningofthe
three-parttexture.
Bars20-24
ThroughoutRavel’srecordinghismarkedaccentsfortheblackbirdmotif(bar1)and
thecuckoomotif(bar4)feelmoreliketenutomarkings.Histouchisdecidedly
smootherandthediminuendiheinsertsbetweenthetwonotesareinvariably
minimisedinhisperformance.Casadesus,PerlemuterandFaureallobserveRavel’s
writteninflectionforthesetwo-notemotifsateveryappearance.Onlyatbar20does
184
Ravelgiveusanythingapproachinganaccentednuance,namelythreeweighted
accentstooutlinehisthematicthumbprint,the‘quellehorreur!’motif.Heattaches
muchsignificancetothismomentandcontinuestoslowdownasnotated.However
byretainingtheslowertempo(quaver=48intheCondonrealization)attheensuing
Aumouvementinbar21Ravelrunsintodifficultiesinthathisbriskexecutionofthe
blackbirdarabesque(bar22)causestheaccompanyingsecondtripletquavertobe
rushed.IntherollcopyusedbyHall/Caswellthespeedissetatquaver=56,making
thecompromisedrhythmlessnoticeable.Faureadoptsasimilartempoatthispoint
butherarabesquesaremoremeasuredandinlinewithaneventripletquaver
movement.
Perlemuterisrathermorerelaxedherethanatthecorrespondingpassage
(bar7),allowinghimtousesubtlerubato.Bars21-22provideaperfectexampleof
hismeticulouspreparationandeloquentphrasing:inbar21hemakesaslight
extensiontoaccommodatethedupletAagainstthetripletquavers,therebygiving
addedpathostotheninth(AagainsttheGinthebass);hethenmovesthroughthe
baranddelaysthesecondtriplet,bringingitclosertothethirdtripletineachgroup,
whichfitsneatlyagainsttheblackbirdarabesqueinbar22;finallytheBflat
augmentedsixthharmonyonthesecondbeatisdrawnoutinanexpressive
questioninggesture.
Bar25
[…]adlibitumdoesnotassomepianiststhinkmean‘allovertheplace’(endésordre)-andtokeepthemonthestraightandnarrow,I’vewrittenpresqueadlibitum...61
Ravel
TheabovequotationfromFaure’srecollectionsisareminderthatRavelguarded
againsttheexcessiveuseofrubato,evenwithinthiscadenza-likesection.Aftera
61‘[…]adlibitumneveutpasdireendésordrecommelecroientcertainsinterprètes-etpourleurimposerunfrein,j’aiindiquépresqueadlibitum…’.Ibid.p.74.
185
slightlyunevenascentthroughtheLent-presqueadlibitum,Raveldemonstratesa
remarkabledegreeoffluiditythroughtheChopinesquefigurationsatthePressez
légèrement.Hedoesn’tfocusparticularlyonthemodulatingsequencestodrawout
theirharmonicsubtleties,preferringinthiscasetooptforaquicksilvereffect.His
abilitytonegotiatesuchpassageswherefluidfingerwork,clarityandaccuracyare
trulyputtothetestisaconstantreminderofhisearlypianistictrainingandhis
thoroughgroundingintheStilebrillantegenreofpianism.
Perlemuter’sreadingofthiscadenzasectioncarriesmorediversityand
imagination.Withhissuperiorcommandoftonecolourhesucceedsinblendingthe
harmoniesandtheascenthassomethingofthemercurialaboutit.Hejudgeshis
ritardandotoperfection,effectingaseamlesstransitionintothePressezlégèrement.
Casadesusadoptsamoremoderateapproach,focussingonabalancedsonorityand
fine-tuneddynamics.Hisoverallslowertempoandconstantvibratopedal
adjustmentsallowshimtoachieveatransparentcolourthatretreatstoarealppp.
Bars26-32
Ravel’smarkingofaumouvementinbars26-28isarareinstancewhereallfour
pianistsdisregardthewritteninstructionandfollowthesamealternativesolution.
Inbar26,Ravel(CondonandHall/Caswell),CasadesusandPerlemuteradopta
tempoofapproximatelyquaver=144,overdoublethespeedoftheopeningtempo
(quaver=60),ifthatisindeedwhatRavelmeansbyaumouvement.Theirtempi
seemtofollownaturallyfromthecadenzawriting,butthismeansthatallthree
pianiststhenhavetoeffectapronouncedritardandoacrossbars27-28,employing
touchesofrubatowithinthevariousrhythmicpatternsinordertoallowthepulseto
stabilizefortheEncorepluslentatBar29.Faure’scadenzasectionisinterpreted
withmorerestraint,henceherslightlysloweraumouvementtempoofquaver=104.
186
Inthefinalfourbars,itisthecomposeralonewhoobserveshisEncoreplus
lenttotheletter,againassumingthattheAumovementat26referstotheopening
tempoofquaver=60.Ravel’stempiof40(Condon)and46(Hall/Caswell)are
remarkablyslowbuthemanagestosustainthemood,sombreanddistant.The
consistentlycontrolledperformanceofCasadesusfinishesasitstarted,exactlyon
quaver=60.
Ravel’sfinalcommentregardingtheinterpretationof‘Oiseauxtristes’is
somewhatconfusing.AsVladoPerlemuterexplains:
Inthelastfourbars,therearesomechordsoverwhichaccentsappearandwhichareoftenobscuredbythenon-chordtones.Ravelwantedthechordstodominatecompletely.Thegreatproblemisthattheothernotesshouldneverthelessbesoundinginthedistance.62
Perlemuterachievesthistexturaldepthbyaccentingthethird-beatchordsandusing
half-pedalsonthefourth-beatchords.Unfortunatelyhehasatemporaryaberration
withregardtorhythm,andturnsthetripletcrotchetandquaverintherighthand
intotwoevenquavers.Ravel,ontheotherhand,resortstodislocationand
arpeggiationinsteadofgenuineaccentstounderlinethetopnotesofthechords.The
preponderanceoftonallyunbalancednotesontheCondonremastering(possibly
duetothesettingupofthereproducingpiano)makesitdifficulttogaugeexactly
whatisgoingon,buttheHallrealizationrevealsthateachofthethreestatementsis
playeddifferently.Inbar29,thetopDandCaredelayed;inbar30,theyareplayed
beforetheremainderofthechord;andinthefinalbarthechordisneatlystruckwith
thefinalDslightlydelayed.Casadesusseemstobemoreconcernedwithharmonic
clarityandfocusesonneatpedallingtoavoidblurringtheright-handcounterpoint;
thus,unlikePerlemuterhehighlightstheEflatminortoDflatminorprogressionby
repedallingonthefourthbeats.
62Perlemuter,RavelaccordingtoRavel,p.22.
187
‘Lavalléedescloches’(Duo-Art1928)
Ravelreturnedtotherecordingstudioforonelasttimeduringhisconcerttourof
theUnitedStatesofAmericain1928whereherecorded‘Lavalléedescloches’from
Miroirs.HealsoputdowntheMenuetAntiqueandthe‘Rigaudon’fromLeTombeau
deCouperin,butunfortunatelyneitherrecordingwasreleased.63
AreviewofaconcertatAnversin1923whenRavelperformed‘Lavalléedes
cloches’(alongsidethePavanepouruneInfantedéfunte,the‘Menuet’fromLe
TombeaudeCouperinandSonatine)illustrateshisabilitytoenthralhisaudience
withthispiece:
[…]absolutemasterywithregardtohisrhythmicprecisionandexpressiveclarity.‘Lavalléedescloches’transformsthetones;hejuggleswithchords,takesthemapartandreassemblesthemlikeamagicianplayingwithpreciousnuances.64
Oneofthetrickieraspectsofinterpreting‘Lavalléedescloches’ishowto
establishanopeningtempothatallowsthemusictounfoldnaturallyand
unhurriedly.AccordingtoVladoPerlemuter‘themetronomespeedrequestedby
Ravelisverygood,butitcallsforgreatindependencebetweenthehands’.65
However,asTable3.9demonstrates,Perlemuterpushesthetempiwellbeyond
Ravel’sindicationofcrotchet=50withaninterpretationthatneverfeelsrushedbut
isneverthelessfluid.Ravelgoestotheoppositeextremeinhisexpansive
interpretation,remainingwellbelowhisnotatedmarkingthroughout.With
Perlemuter’sperformancelasting4’34”andRavel’sat6’04”,itisCasadesuswhois
exemplaryinhisfidelitytothescoreat5’09”.
63MusicalCourier,19April1928.InformationsourcedinNormanVanceDunfee.MauriceRavelinAmerica.UnpublishedD.M.A.dissertation,UniversityofMissouri-KansasCity,1980,p.161.SeealsoNichols,Ravel(2009),p.293.64‘[…]unemaîtriseabsoluesertsaprécisionrythmique,sanettetéexpressive.‘Lavalléedescloches’ébranlelestonalités;iljongleaveclesécarts,lesrassemble,lesramène,ondiraitd’unmagicienjouantavecdestimbresprécieux’.Journald’Anvers4/5/23.ReproducedinCahiersRavelNo.14(Paris:Séguier,2001)pp.53-65.65Perlemuter,RavelaccordingtoRavel,p.27.
188
Allfourpianistsmakesubtletempoadjustmentsthroughouttheir
performancesthatarenotindicatedinthescore(Table3.9).Thisimpliesthat
Ravel’sindications,includingtrèsdouxetsansaccentuation(bar3),trèscalme(bar
12),largementchanté(bars19-20);andespressivocalmé(bar23-24),havebeen
subconsciouslyexpandedtoincorporategradationsoftempoandrubatoalongside
thehabitualelementsofnuancing,texturalbalancinganddynamicgrading.
Table3.9:‘Lavalléedescloches’:Tempiadoptedinrecordedperformances. Metronomeindicationsinquaverbeats.
BarNumbers 1 3 12 20 24 34 42 49 TotalTime
Ravel:Condon1922/1992
44 48 <40 40-44 46-50 40-42 50 6’04”*
Ravel:Hall/Caswell(1922/2002)
44-46 49 <40 40-44 46-50 40-42 50 5’55”*
Casadesus(1951)
46 56 50-52 54-56 38-42 50 5’09”
Perlemuter(1955)
54-56 59-60 50-52 62 62-66 48-50 57 4’34”
Faure(1959) 50 44-46 44 40 60-62 50 44 5’37”
*thedisparityindurationbetweenthesetworecordingsonceagainpointstoissuesrelatingtothevariationsbetweenrollsandreproducingpianosdiscussedearlierinthischapter.
Perlemuter’sreferenceto‘greatindependencebetweenthehands’iscertainlya
featureofRavel’sperformanceof‘Lavalléedescloches’inthathisapproach
regardingalignmentandco-ordinationisveryflexible.Aswiththesemiquaver
ostinatiinbar13etc,of‘Oiseauxtristes’Ravelseemsunconcernedabout
reproducingtheexactgroupingsfrombar3onwards.Forexample,headdsagroup
atthebeginningofbar4(theleft-handentryislate)andattheendofbar9.Bars3
and5arecorrectlyplayedwhereasthereismuchdislocationandincorrect
placementofbellsinbars4and6.FurtherrearrangementsareoutlinedinTable
3.10.Theseadjustmentsinperformanceareallthemoreextraordinaryconsidering
189
thedraughtsman-likeprecisionofRavel’smanuscriptcopy,66whereeverynote,
everyaspectofalignment,thesymmetryandorganisationofthebarshasbeen
subjectedtotheminutestscrutiny.
Table3.10:Modifications(notinlinewiththepublishednotation)madeby Ravelinhis1928rollrecordingof‘Lavalléedescloches’.Bars Modifications16-17 ThebassCsharpsareplayedanoctavehigherthannotated19 ThesemibreveCislate21 Thetiednotesinthemelodyarecut-atraitcommontoall
Ravel’spianorollrecordings.37 Ravelcutsthethirdbeat,turningthisbarinto4/447-48 RavelinsertsaverylongpausebeforethebottomE49-51 Theoctavebell(centrestave)islate,causingfurther
modificationstothesemiquaverostinatoTosuggestthatRavelwasindifferenttoeventhemostinfinitesimaldetailsin
performancemakesnosenseeither.AsMadeleineGreyrecalled:
RavelcametomyhouseafewmonthsbeforehisdeathsothatImightsingDonQuichotteàDulcinéeforhim(accompaniedbyPoulenc).WhenIhadfinishedheseemedpreoccupied,andonemighthavethoughthewashardlyawareofwhathehadjustheard.Thenhemadeaverypreciseobservation,correctingaminisculerhythmiclibertythatPoulencandIhadallowedourselves.67
WhatemergesclearlyfromRavel’sperformanceof‘LaValléedescloches’,together
withhiscommentsasrelatedtoFaureandPerlemuter,ishisoverridingconcern
withsonority:thenuancingofthethreebells,thetexturalbalanceacrossthethree
stavesandtheconstantdeploymentofthesustainingpedal.Hewasequally
particularwhencoachingHenrietteFaure:
Ravelsetaboutmakingmeplay,atthebeginning,withtwoverydifferentsonorities:the doublenotecarilloninsemiquaversintherighthandandthechimingoctavebellsinthe lefthandthatprojectthroughthetexture,andallofthiswastobeplayedinapianissimo thatRavelcouldexecutewithoutlosingclarity.68
66BibliothèquenationaledeFrance,microfilmBob.17682.67MadeleineGrey,‘Souvenirsd’uneInterprète’,LaRevuemusicale,19,no.187,specialissue,Dec.1938,pp.367-370[175-178].SourcedinOrenstein(ed.),ARavelReader,p.538.68‘Ravelentrepritdemefairejouer,dansledébut,surdeuxplanstrèsdifférentslecarillondedoublecrochesetdoublenotesdelamaindroiteetle‘Plané’desclochesaiguesenoctavesdelamaingauchequileponctueletoutdanscettenuancepianissimodont-ilavaitlesecretpourlafairesansmollesse’.Faure,MonMaîtreMauriceRavel,(1978),p.79.
190
Ravel’sarticulationanddynamiccolouringofthesebellsiscarefullyjudgedand,as
Perlemuterrecalls,‘verysoftandunaccented’.Additionallytherelationshipbetween
thesemiquaverostinatoandthebellsisfinelygauged,conjuringasenseof
transparencyanddepth.Aswiththepreviouspianorolls,themoreeven-tempered
realizationsbyHall/Caswell,asopposedtoCondonandtheLPrecordings,best
illustratesRavel’satmosphericreading.
BothPerlemuterandFaureseemtohavebeendeeplyaffectedbythecentral
sectionof‘Lavalléedescloches’.ForPerlemutertheoctavemelodyfrombar19
represents‘thebroadestexampleoflyricismwecanfindinRavel’.69Faurerecalls
Ravel’sdemonstrationinoneofherlessons:
Ravelhimselfplayedthispassageformewithacalmserenityakintoareligiouslyricism,punctuatedbythesonorousbellsinthebass.70
InhisrecordingRavel’sprojectionofhisoctavemelody,marked‘largementchanté’
atbar19,issubtlyachievedusingdislocationandarpeggiationcoupledwith
carefullyplacedagogicaccents.Betweenbars19and23,theuppernoteprecedes
thelowernote,allowingthetrebletosingthrough.Inordertotransformthemood
tooneof‘p,expressifetcalme’frombars23/24onwards,thewholetextureis
slightlydislocated(lefthandbeforeright)andarpeggiatedtowardthetreblevoice.
Frombars28-47,Ravelisathismostexpressive,andinthesebriefmomentshe
seemstocommunicatehisinnermostthoughts,suchistheprofoundsimplicityand
directnessofhisphrasing.
69Perlemuter,RavelaccordingtoRavel,p.27.70‘Ravelm’avaitjouélui-mêmecepassageenl’imprégnantd’unesortedelyrismereligieuxetcalme,ponctuéparledéfinitifdesquintessonoresdelabasse’.Faure,MonMaîtreMauriceRavel,(1978),p.77.
191
Conclusion
Inathought-provokingarticle,CarolynAbbatetracesthehistoryof‘mechanical
playersthataspiredtocapturetheplayingofgreatpianistsandcomposersand
reproduceitwithouthumanintervention’71andmakesacrucialobservation
regardingthenatureoftheinformationthepianorollsactuallyprovide:
SuchreproducingdeviceswerenotacousticrecordingdevicesandcouldnotreproducethesoundofRavelplayingthepiano.TheycouldinsteadencodeeverymovementofRavel’shandsandfeetastheytouchedtheinstrument,movementsthatwerethenrematerializedeverytimetheplayerwasputintoaction.72
Shehighlightsthelimitationsarisingfromthepianorollrecordingprocessand
likensRavel’sroleinthissituationtoa‘well-programmedmachine’.Thisstrikesat
theverycoreofwhatdrivesRavel’spersonalityasacomposer-hisfascinationwith
machines,toysandautomataandtheirpresenceinhisstageworks,L’heure
espagnoleandL’enfantetlessortilèges,andtherelentlessmechanismofBoléro.
Equallythesenseofspacebetweenoneselfandtheactualactofcreationiskeyto
Ravel’spursuitoftechnicalperfectionandre-emergestimeandtimeagaininhis
musicintheguiseofpasticheand/orsimulation,beitofbirds,bellsortheballrooms
ofSchubert’sVienna.
Andyetintheseplayerpianorollrecordings,itisthehumanaspectofRavel
thecomposerthatshinesforthbrightly.Hisuniqueinterpretationscontain
invaluableinformationaboutstyleandpracticethatgowellbeyondthenotation.
Thebrilliance,virtuosityandunalloyedjoyhebringstotheValsesnobleset
sentimentales,histranscendentalevocationofforestlifebalancingfreedomof
expressionagainsttheprecision,orderandsymmetryofNaturein‘Oiseauxtristes’,
71CarolynAbbate,‘OutsideRavel’sTomb’,JournaloftheAmericanMusicologicalSociety,Vol.52No.3(Autumn1999)p.491.72Ibid.,p.492.
192
andthesonorousbellsandmomentsofquietintrospectionin‘Lavalléedescloches’
allpointtoRavelthepianistfindinginspirationinthemomenttogiveadded
meaningtohiscompositions.Ravel’salertmindatworkintheseperformances
combinesthedraughtsman’sexactitudewithafebrileimaginationthattranscends
thewrittennotationwithouteverresortingtoclichéorsentiment.Thisdisciplined
andmeasuredapproachgivestheseperformancesthestampofauthoritywithout
Raveleverclaimingtohavethelastwordonhowtointerprethispianoworks,ashis
continuedinvolvementascoachandmentortothenextgenerationofpianists
(Casadesus,Perlemuter,Faure,andLefébure)attests.Despiteallthecontradictions
andcontraventionsperpetratedbyRavelagainsthisownindications,his
performancesemergeaslogical,convincing,braveandgroundbreakingintheir
originality.ThissurelysetshimapartfromAbbate’s‘well-programmedmachine’.
193
Chapter4
DisseminatingIdeasandDefiningFrenchPianism:LeTombeaudeCouperinasaCaseStudy
ThischapteridentifiesRavel’splacewithinthewidercontextoftwentieth-century
Frenchpianismandspecificallyhisroleascoachandmentorindisseminatinga
performancetraditionforhissolopianoworkstosucceedinggenerationsofFrench
pianists.Theinvestigationcentresuponaselectionofrecordedperformancesof
Ravel’sfinalcompositionforsolopiano,LeTombeaudeCouperin(1914-17).Eight
recordingshavebeenchosen,includingsixbypianistswhoseknowledgeand
understandingofRavel’spracticesascomposerandpianistwereshapedbydirect
contactwithhim:MarcelleMeyer(1897-1958),YvonneLefébure(1898-1986),
RobertCasadesus(1899-1972),JacquesFévrier(1900-1979)HenrietteFaure
(1904-1985)andVladoPerlemuter(1904-2002).Twofurtherrecordingshavebeen
addedtothemix,thefirsteverrecordingofLeTombeaudeCouperinmadein1929
byMadeleinedeValmalète(1899-1999)andthatofSamsonFrançois(1924-1970)
from1957/58.Table4.1liststheeightrecordingstobediscussed,andTable4.2the
durationsofeachperformance.
Therecordedperformancesarecross-referencedagainstthepublished
performanceeditionsofLeTombeaudeCouperinbyDurandetCie.no.9569(1918),
andthePetersUrtextEditionno.7376researchedandpreparedbyRogerNichols
(1995).Referencestobarnumbersthroughoutthischaptercorrelatewiththosein
thelatteredition.AdditionallyRavel’sorchestrationsoffourofthemovements,the
194
‘Prélude’,‘Forlane’,‘Menuet’and‘Rigaudon’,completedinMay1919willbe
examinedtoascertaintheirimpactupontheeightsolopianorecordings.1
Table4.1:MauriceRavel:LeTombeaudeCouperin:therecordingsPianist Recording
Co./No.Daterecorded
MadeleinedeValmalète
Arbiterrecords144
1929
RobertCasadesus SonyMasterworksMH2K63316
4December1951
MarcelleMeyer EMI2909633 1954VladoPerlemuter
VoxLegendsCDX25507
1955
SamsonFrançois CVC2054-6IME-PathéMarconi
Paris1957/58
HenrietteFaure BnFCollection(2014)
1stJanuary1959
JacquesFévrier Adès7041/44 1971YvonneLefébure FYCD018 20-27January
1975
Table4.2:MauriceRavel:LeTombeaudeCouperin:durationsofperformancesbytheeightpianistsPianist MovementsofLeTombeaudeCouperin Total Prélude Fugue Forlane Rigaudon Menuet Toccata Valmalète 2’34” 2’39” 4’45” 2’58” 3’26” 3’50” 20’12”Lefébure 2’42” 2’49” 4’52” 2’35” 3’35” 3’52” 20’25”Casadesus 2’49” 3’18” 4’54” 3’10” 4’22” 3’56” 22’29”Meyer 2’38” 2’47” 5’29” 2’59” 4’59” 3’52” 22’44”Faure 3’03” 2’56” 5’38” 3’11” 4’38” 4’01” 23’27”Perlemuter 2’49” 3’07” 5’41” 3’23” 4’41” 4’02” 23’43”Février 3’06” 3’18” 5’29” 3’36” 4’56” 4’07” 24’32”François 2’50” 4’20” 6’00” 2’50” 4’55” 4’05” 25’00”ThegenesisofLeTombeaudeCouperin(1914-1917)
LeTombeaudeCouperinwascomposedinfitsandstartsoverathree-yearperiod
from1914to1917.Thefirstknownreferencetotheworkcomesinaletterfrom
RaveltoCipaGodebski,undatedbutthoughttohavebeensentinJune1914:
1Durand,1919,reprintedDover,2001.
195
YouknowthatthePope,whosecostumedesignsareshortlytobeexhibitedbyMaison Redfern,hasjustpromotedanewdance,theforlane.I’mtranscribingonebyCouperin.2FurtherinformationappearsinalettertoRoland-Manueldated1October1914in
whichRavelmentionsbeginningnotone,buttwoseriesofpianopieces:
FirstlyaFrenchsuite–noitisn’twhatyouthink:LaMarseillaisewillnotbeinit,butitwillhaveaforlaneandagigue;notangohowever.SecondlyaRomanticnight,withspleen,infernalhunt,accursednun.3
However,intheensuingtwoandahalfyearsRavelunderwentlife-changing
experiencesthatlefthimlittletimeforcomposition.Hisactiveinvolvementinthe
FirstWorldsawhimtraumatisedbythehorrificsceneshewitnessedasalorry
driverattheBattleofVerdunduring1916,andinearlyJanuary1917hismother
died.On1June1917hewastemporarilydischargedandwenttostaywithfriendsin
Lyons-la-ForêtinNormandy,whereherecommencedworkonLeTombeaude
Couperin.InalettertoJacquesDuranddated7July,hewroteofhavingcompleted
the‘Rigaudon’andthe‘Menuet’.4Allsixmovementswereeventuallyfinishedby
November1917,althoughRavel,anxioustorefutechargesthathehadbeenatouch
insensitivewithregardtothepredominantlyjoyfulcharacterofLeTombeaude
Couperin,hadclaimedinalettertoLéonVallasthat‘thesuite,completedin1917
aftermydischarge,wasalreadyalmostentirelycomposedinJuly1914’.5Theremay
beagrainoftruthinthisgivenRavel’spenchantforexploringmusicalideasinhis
2‘Entretempsjeturbineàl’intentiondupape.VoussavezquecetaugustepersonnagedontlaMaisonRedfernexécuteraprochainementlesprojetsdecostumevientdelancerunenouvelledanse,laforlane.J’entranscrisunedeCouperin’.RenéChalupt:Ravelaumiroirsdeseslettres-correspondanceréunieparMarcelleGeraretRenéChalupt(Paris:Laffont,1956),p.106.3ArbieOrenstein(ed.),MauriceRavel:Lettres,Ecrits,Entretiens(Paris:Flammarion,1989).Englishedition:ARavelReader,Correspondence,Articles,Interviews.Englishtrans.DennisCollins(NewYork:ColumbiaUniversityPress,1990),LetterNo.122.Ravelalsomentionshavingabandonedthreeothermajorcompositionalprojects,namelyapianoconcertoonBasquethemes,Zazpiak-Bat;anopera,Laclocheengloutie;andasymphonicpoem,WienthatwouldeventuallybecomeLaValse.4‘Letempspasseincroyablementvite,quandonestautravail.LeTombeaudeCouperins’élève.LeMenuetetleRigaudonsontachevés.Lerestesedessine’.Chalupt,p.150.5RogerNichols,Ravel(NewHavenandLondon:YaleUniversityPress,2011)p.204.
196
headandtryingthemoutatthepianobeforeactuallycommittingthemto
manuscript.Ashestated:
InmyownworkofcompositionIfindalongperiodofconsciousgestation,ingeneral,necessary.Imaythusbeoccupiedforyearswithoutwritingasinglenoteofthework-afterwhichthewritinggoesrelativelyrapidly.6
LeTombeaudeCouperin(1914-17)representsacuriousamalgamof
eighteenth-andearlytwentieth-centurystructuresandtechniques,described
succinctlyinthefollowingstatementbyEmileVuillermoz:
ThefluidclarityofCouperin,thedeliciouseleganceofhiswriting,thecoquettishnessofhisfiligreeandornamentationandthetimbreofhisharpsichordarereturnedtousinaharmonicandpianisticlanguagethatisquintessentiallyRavelian.7
Thesixmovementscomprisea‘Prélude’,‘Fugue’,‘Forlane’,‘Rigaudon’,‘Menuet’and
‘Toccata’thatYvonneLefébureseesasdisplayingasawholeaunityofformthat
makestheworkcomparabletoasonatainthreesections:apreludeandfugue,three
dances,andagrandfinale.8ForOlivierMessiaenandYvonneLoriod,LeTombeaude
Couperinrepresented:
anewstyleofkeyboardwritingintheformofsnapshotsofhumancharacterthatembracemodality,theFranceofold,forgottendances,popularthemes,simplesongs,andsadtales.Thepianowritingwasalsoground-breakinginitsrepeatednotetechniques,ornamentationandadiversearrayofarticulations.9
EachmovementisdedicatedtothememoryofoneofRavel’sfallencompanionsin
theFirstWorldWar.
6ObservationmadebyRavelduringhislecturefortheRiceInstitute,Houston,Texas,April71928,quotedinOrenstein,ARavelReader,p.46.7‘L’élocutionvolubiledeCouperin,l’élégancedélicedesonécriture,lacoquetteriedesesbroderiesetdesesornements,lesrésonancesdesonclavecinnoussontrestituésdansunlanguageharmoniqueetpianistiquefoncièrementravélien’.EmileVuillermoz,Raveletmoi,Manuscriptcopy(1939),[n.p.].AccessedFondsEmileVuillermoz,MediathèqueMusicaleMahler,2015.8YvonneLefébure,bookletnotestoherrecordingofLeTombeaudeCouperin.Solstice,FYCD018(1975).9‘Unnouveaustyled’écritureduclavecinaveccetteidéeoriginaledepetitstableauxpeignantlescaractèresdesgens.L’écritureduclavierétaitnouvelleaussiavecsesnotesrépétées,sesornements,sesattaquesdiverses.Lamodalité,lavieilleFrance,dansesoubliées,thèmespopulaires,chansonsnaïvesethistoirestristes’.OlivierMessiaenetYvonneLoriod-Messiaen,Ravel:analysesdesoeuvrespourpianodeMauriceRavel(Paris:Durand,2003),p.85.
197
FrenchPedagogicalGenealogies:AnIntroductiontotheEightPianists
LeTombeaudeCouperinmarksthebeginningofRavel’sworkingpartnershipwith
MargueriteLong(1874-1966),whogavethefirstperformanceinaconcertforthe
SociétéMusicaleIndépendanteatSalleGaveauon11April1919,withthecomposer
inattendance.Regrettably,LongdidnotrecordLeTombeaudeCouperindespiteher
interpretationsofthisworkelicitingmanyfavourableresponses,includingthe
followingfromherstudentAldoCiccoliniandthecomposerFrancisPoulenc
respectively:
Onlyonepersoncanreallyplaythesepieces…You!YourmiraculousinterpretationsofRavel….youpossessthesecret.10OncemoretheRavelwasperfect.Whyhaven’tyourecordedLeTombeau,aworkthatyouhaveperformedsoofteninconcert?11
Long,togetherwiththeSwisspianistAlfredCortot(1877-1962),wasamongstthe
mostinfluentialpedagoguesinFranceduringthefirsthalfofthetwentiethcentury.
Sixoftheeightpianistsunderdiscussionhere,namelyMeyer,Lefébure,Février,
Perlemuter,FaureandFrançoisworkedwitheitheroneorbothofthem.Table4.3
outlinestheprincipalteachersofalleightpianists.
Table4.3:ListofthePianistsandtheirTeachers(includingMauriceRavel)Pianist TeachersMadeleinedeValmalète IsidorPhilippRobertCasadesus LouisDiémer,MauriceRavelMarcelleMeyer MargueriteLong,AlfredCortot,RicardoViñesVladoPerlemuter MoritzMoszkowski,AlfredCortot,MauriceRavelSamsonFrançois YvonneLefébure,MargueriteLong/JacquesFévrier,
AlfredCortotHenrietteFaure LouisDiémer,MargueriteLong,MauriceRavelJacquesFévrier MargueriteLong,MauriceRavelYvonneLefébure MargueriteLong,AlfredCortot10‘Iln’yaqu’unepersonnepourjouercesmorceaux….Vous!LemiracledevosinterprétationsdelamusiquedeRavel…vouspossédezlesecret’.LetterfromAldoCiccolinitoLongfromNewYork,16January1953.FondsMargueriteLong,MediathèqueMusicaleMahler,Paris.11‘LeRavelétaitunefoisleplusinimitable.Pourquoin’avez-vousjamaisenregistréleTombeauqu’onajouéàlongueurderécital?’.LetterfromPoulenctoLong,30August1950,afterPoulenchadattendedLong’srecitalinEdinburgh.FondsMargueriteLong,MediathèqueMusicaleMahler.
198
LongbelongstoagenealogyofFrenchpianisticpedagogythatextendedback
totheverydawnofFrenchpianismattheendoftheeighteenthcentury.Oneofthe
earliestmanualsonFrenchpianopedagogy,LouisAdam’sMéthodeouprincipe
généraledudoigtépourleforté-piano,whichdatesfrom1798promotedatechnical
regimethatfollowedondirectlyfromtheharpsichordpracticesofFrançoisCouperin
inL’artdetoucherdeclavecin12andJean-PhilippeRameauinCodedemusique
pratique.13Adamfocusedonthecultivationoftoneusingfingerpressurealone,
supportedbyasupplewristandmotionlessarm.Thisapproachtopianotechnique
becametheofficialmethodattheParisConservatoireandwaspromulgatedand
disseminatedthroughoutthenineteenthcenturybyinfluentialpedagoguesincluding
CamilleSaint-Saëns,Antoine-FrançoisMarmontelandhissonAntonin(Long’s
principalteacher),LouisDiémer,andLongherself.Attainingfingerindependencewas
aprimaryconcerntogetherwiththedevelopmentofstrength,precisionandlightness
inbothhands.AsoneofLong’sstudentsJeanne-MarieDarréexplained:
MadameLongalwayssaidthatthefingersshouldarticulatefromhighupwhenpractisingslowly,andclosetothekeyswhenplayingrapidly.14
UnderLong‘sfingerseachnotewasperfectlyplaced,hertonecolourswereevenand
balancedandshewashailedasaconsummateexponentofthe‘jeuperlé’
technique.15ThisfluidmethodofplayingprovidedLong’sstudentswithasolid
techniqueandwasideallysuitedtotheshallow,lightactionsoftheÉrardandPleyel
pianos.LongbecamealeadingadvocateforRavel’spianomusicandher
reminiscenceswererecordedinhermonographAupianoavecMauriceRavel.16
12Paris,ChezFoucaut,1716.13Paris,L’imprimerieRoyale,1760.14InterviewwithLongstudent,Jeanne-MarieDarré.Timbrell,FrenchPianism.15CommentsfrompaststudentsincludingGabrielTacchinoandPierreBarbizet.CécileDunoyer,MargueriteLong,ALifeinFrenchMusic(Bloomington:IndianaUniversityPress,1993),pp.160-1.16Paris:Julliard,1971.Englishtrans.OliveSenior-Ellis(London:Dent,1973).
199
AttheotherendofthepedagogicalscalewasAlfredCortot,performer,
teacher,editor,transcriberandauthorofseveralpianistictreatisesandco-founder
oftheÉcoleNormaledeMusiquein1919.InaninterviewforthePianoQuarterlyin
1984,Cortot’sstudentMagdaTagliaferrooutlinedhisteachingmethodology,which
contrasteddrasticallywiththatofMargueriteLong:
Asateacherhewasn’tinterestedintechniqueperse.Hisinterestwasininterpretationandtheimagesheconjuredupforuswereabsolutelyvisionary.Eveninthefastesthardestpassagesthesenseofthemusicwasalwayshisfirstconcern.Hedidn’tlikethetechniqueofhisteacherLouisDiémer.AtthattimeDiémerandtheMarmontelshadfirmlyestablishedthenotionoffastsuper-articulatedplaying;lighttransparentsoundsproducedwithminimalwristandarmmotion.Thefingerswerehigh,buttheyneverreallyfeltthebottomofthekeybed.Longinheritedthatandpassedonthestyle:fastdigitalplayingthatwassemi-legatoandwithoutmuchpedal.Thesoundwasthinanduninteresting.WithCortotoneusedmorearm,andmorelegato.17
ForYvonneLefébure,Cortotwasatechnicalinnovatorwhoadvocatedpressing
downthekeysinsteadofstrikingthem.18BothLefébureandVladoPerlemuterused
theexpression‘leavinganimpressioninthekeys’,todescribeCortot’sapproach,
achievedbycombiningfirmfingerswithrelaxationandmobilityconcentratedinthe
wristsandarms.19AsPerlemuterstated,Cortotdidn’thavejustonetechnique;he
wouldconstantlyadaptittosuittheneedsofthemusic.20Thatthiswasaconcepthe
passedontohisstudentsisclearlyfeltinthecolourfulanddistinctive
interpretationsofLeTombeaudeCouperinbyLefébure,Perlemuter,MarcelleMeyer
andSamsonFrançois.CortothimselfdidnotrecordLeTombeaudeCouperinbuthe
hadplentytosayabouthisinterpretivevisionoftheworkinhistreatiseAlfred
Cortot’sStudiesinMusicalInterpretation.21
17CharlesTimbrell,‘AlfredCortot:hisLifeandLegacy’.ThePianoQuarterly,No.127,1984,pp.19-31.18ThomasManshardtandLaurenceAmundrud,‘UnderstandingCortot’,AspectsofCortot(Hexham:APR,1994).19Timbrell,‘AlfredCortot:hisLifeandLegacy’,p.19-31.20Ibid.21AlfredCortotinJeanneThieffry(ed.),AlfredCortot:coursd’interprétationrecueillietrédigéparJeanneThieffry;(Paris:Legouix,1934).Englishedition:AlfredCortot’sStudiesinMusicalInterpretation,trans.RobertJacques(London:Harrap,1937reprinted1989).
200
InChapter3Ravel’srollrecordingsofhispianoworkswereassessed
alongsiderecordedperformancesmadebythreepianistswhoworkedcloselywith
thecomposer,HenrietteFaure,VladoPerlemuterandRobertCasadesus.Faureand
Perlemuterbothundertookintenseperiodsofstudyofthecompletesolopiano
workswithRavelathishomeinMontfortl’Amauryduringthe1920sinpreparation
forlandmarkpublicperformances.Fauregavethefirstall-Ravelrecitalwhichtook
placeattheThéâtredesChamps-Élyséeson12January1923andin1929
Perlemuterperformedthecompletesolopianoworksintwoconsecutiverecitals
withRavelinattendance.TheinterpretiveadvicetheybothreceivedfromRavelhas
beenpreservedintwodetailedmonographs,MonMaîtreMauriceRavel,22andRavel
d’aprèsRavel.23
RobertCasadesuswonaPremierPrixinpianoperformanceattheageof
fourteenwhilstastudentintheclassofLouisDiémerattheParisConservatoire.
GabyCasadesusspokeofherhusband’searlyinvolvementwithRavel:
MyhusbandmetRavelforthefirsttimewhenheplayedValsesnoblesandGaspardinaconcertofmodernmusicattheVieuxColombierinParisin1922.RavelwassoenthusiasticthatheaskedmyhusbandtomakesomepianorollsofhismusicinLondon.24
CasadesussharedtheconcertplatformwithRavelonseveraloccasions,andwas
entrustedbythecomposerwiththetaskofperformingthemorechallengingsolo
piecesincludingGasparddelanuit,the‘Toccata’fromLeTombeaudeCouperinand
22HenrietteFaure,MonmaîtreMauriceRavel(Paris:ATP,1978).
23VladoPerlemuterandHélèneJourdan-Morhange,Raveld’aprèsRavel(Lausanne:EditionsduCervin,1957;5/1970).Augmentedre-edition:Raveld’aprèsRavel,suividesRencontresavecVladoPerlemuter,ed.JeanRoy(Aix-en-Provence:Alinéa,1989).Englishedition(fromtheabove1970volume):RavelaccordingtoRavel.Englishtrans.FrancesTanner,ed.HaroldTaylor(London:Kahn&Averill,1990).24GabyCasadesus,MemoirsofRavel.PublishedinPianistsatPlay,ed.DeanElder,p.72.
201
thefinalmovementofSonatine.25InaseriesofinterviewswithDeanElder,
Casadesusoutlinedtheessentialqualitiesthatdefinedhispianism:
Firstcomesthesound,notthetechnique,andthen,thelegato;don’tmakethepianotoopercussive.Andégalitéisveryimportant.26
CasadesusalludestothesubtledifferencesbetweenhimselfandotherFrench
pianistsofhisgeneration,includingPerlemuterandCortot,butgoesontocitetheir
unitedfondnessfor‘latouche’,touchandtheimportanceofgoodpedalling.27Healso
advocatedplayingclosetothekeyswithnottoomucharticulation,distancing
himselffromtheplayingstyleofMargueriteLongofwhomheremarked:‘Sheplayed
verywellbutverydrily–thecontraryoflegato–herplayingwasbrilliantbutnot
artistique’.28
TheearliestsurvivingrecordingofLeTombeaudeCouperincomesfroma
pianistwhodidnotbelongtoRavel’sinnercircle,nordidshestudywithLongor
Cortot.MadeleinedeValmalètewonapremierprixintheclassofIsidorPhilipp,a
distinguishedcolleagueofLongandCortotattheConservatoire.Accordingto
Jeanne-MarieDarré,Philipp’steachingmethodologywas‘inlinewithMadame
Long’swithlessarmandshoulderthanCortottaught’.29Inaninterviewwiththe
pianistandwriterCharlesTimbrell,JacquelineBlancard,whoalsostudiedwith
Philipp,talksofhis‘realgeniusforteachingsuppleness,firmness,rhythmic
exactitudeandarticulation’;thesequalitiesresonatethroughoutValmalète’s
recording,aswillbedemonstrated.30
25RobertCasadesus:‘Ahyes,IknewRavelbetween1922and1930.WeplayedtogetherontourinSpain,Switzerland,andFrance,startingtheprogram[…]alwayswithMaMèrel’Oye’.RavelplayedthetoppartandIplayedthebass’.RobertCasadesusinconversationwithDeanElder,9January1970.DeanElder,PianistsatPlay(London:Kahn&Averill,1986),p.33.26RobertCasadesusinconversationwithDeanElder,9January1970,pp.27-34.27Ibid.,p.2928Ibid.29Timbrell,Frenchpianism,ahistoricalperspective(London:Kahn&Averill,1999),p.8130Ibid.,p.81.
202
LeTombeaudeCouperin:TheRecordings
‘Prélude’
Ravelopenshissuitewithabrilliant‘Prélude’thatischaracterizedbychanging-note
patternsalternatingbetweenthehandsinmotoperpetuotexturesusingimitation,
sequenceandrepetitiontechniques.ThetonalityhoversbetweenEminorandG
majoralthoughbothleadingnotes(DsharpandFsharprespectively)are
consciouslyavoidedlendingamodalflavourtotheharmoniccolour.Ravel
immediatelytapsintoasenseofmemoryandrecollectionfromtheoutset,makinga
subtleconnection,boththematicallyandtexturallywiththeValsesnobleset
sentimentales,hispreviousmajorworkforsolopiano.Theright-handfiguration
tracesthesameintervallicshapeastheopeningthemeof‘Valse3’.Additionallythe
accompanying‘E’pedalnotesrecallthemusicboxeffectconjuredin‘Valse3’
(Example4.1).
Example4.1
a)LeTombeaudeCouperin,‘Prélude’,bars1-2
203
b)Valsesnoblesetsentimentales,‘Valse3’,bars1-2
Theexpressiveparametersofthe‘Prélude’reflecttheeighteenth-century
performancepracticesofclarityoftouch,evennessofexecutionandsubtledynamic
contoursusinganarrowkeyboardrangeinlinewiththatoftheharpsichord.
AccordingtoMargueriteLong,Ravel’sprincipalconcernwasthatallthenotes
shouldbeclearlyaudibletoachieveasatisfyingsynthesisofclarityandfluidity.31
LongalsorecallsRaveladvisingotherpianistsnottoplaythe‘Prélude’asquicklyas
shedidasonlyshecouldberelieduponto‘playallthenotes’.32Regrettablythereis
norecordingbyLongtoverifytheseassertionsandmuchofhercommentaryinAu
pianoavecMauriceRavelsmacksofmorethanahintofself-mythologizing,especially
whenshediscussesLeTombeaudeCouperinandtheConcertoinG.Thepublished
temporecommendationofdottedcrotchet=92providedinboththeDurandand
PeterseditionsistakenfromthemarkingRavelgaveforhisorchestralversionof
thispiece(Durand,1919),althoughaccordingtoRoyHowatthemetronome
indicationsforallsixmovementsofLeTombeaudeCouperininthesolopiano
versionwerelateradditionstothepost-1950prints(Durand),reportedlyatthe
instigationofLong.33
31MargueriteLong,AupianoavecRavel,pp.141-7.32Ibid.33Howat,TheArtofFrenchPianoMusic(NewHavenandLondon:YaleUniversityPress,2009)
204
Inhisorchestrationofthe‘Prélude’Ravelassignedthemajorityofthe
figurativewritingtothewoodwindinstruments,andpredominantlytothereedy
tonesoftheoboe,coranglais,clarinetandbassoon(thefluteissparinglyusedat
climacticmoments)whichimpliesthathewaslookingforarichfocussedsound.To
emulatethisthepianistneedstoadoptaweightyfingertouchbyplayingdeepinto
thekeybed.JacquesFévrier’sperformanceistothecontrary,reflectingmuchof
Long’steachinginitshyper-articulate,light-fingered,andsparselypedalledqualities.
Itisalsoslowerthanmostperformanceslastingoverhalfaminutelongerthanthe
fastesttemposetbyMadeleinedeValmalète(seeTable4.2).Hisdetached
fingerworkcompromisesthefluiditythatmanyoftheotherperformancesachieve
throughamorelegatoapproach.Bycontrast,SamsonFrançoiswhoalsostudied
withLongdemonstratesfluidevenpassageworkofsupremeclarityinatempothat
capturesRavel’smarkingVif.FrançoissubsequentlyworkedwithAlfredCortotand
thehallmarksofthelatter’sinterpretivepracticesarealsoreflectedinFrançois’s
performanceofthe‘Prélude’withexquisitetouchesofrubatoanddislocationatbars
61-70thatneverlosesightofthemelodicline.
InhisCoursd'interprétation,Cortotadvocates‘alivelytempowithoutbeing
toorapid’andclarifiesthisbyreferringtoRavel’schoiceoftimesignature12/16
whichhesuggestsimpliesthesemiquaverhasbeatvalue.34YvonneLeféburereflects
thiswithhercrystallinetouchandevennessoftoneacrossthesemiquavergroups,
whereasanotherofCortot’sstudents,MarcelleMeyeremphasisesthefirstofeach
groupofsixsemiquavers,allowingtheremaindertoblendintothebackground.
pp.259-60.34AlfredCortot,AlfredCortot:Coursd'interprétation,recueillietrédigéparJeanThieffry(1934).Englishedition:AlfredCortot:Studiesinmusicalinterpretation,trans.RobertJacques(1937)pp.86-89.
205
InMonMaîtreMauriceRavel,HenrietteFaureimpartstwocrucialnuggetsof
informationregardingtheinterpretationofLeTombeaudeCouperin.Firstlythat
Ravelwantedallthegrace-notestobeplacedonthebeat,withthestrongestaccent
ontheinitialnoteoftheornament,inaccordancewitheighteenth-century
practices.35Ravelinsertsafootnoteinthesolopianoscoreatthebeginningofthe
‘Prélude’,‘Forlane’,‘Rigaudon’and‘Menuet’tothiseffectandintheorchestral
arrangementhegoesonestepfurther,addingaccentstothefirstgrace-noteeach
time.Onlyintheorchestralversionofthe‘Menuet’doesheabstainfromincluding
theseaccents.Faureisveryconsistentonthispointandcolourshergrace-notesina
varietyofwaysdependinguponthecontext.Inbar2,theybarelyregister,sounding
likeaccentedvibrations,whereaswhenthegrace-notesprecedeadottedcrotchetas
atbar22,theybecomemorearticulate,andatbar38theyareexpandedand
integratedintothemelodicline.Perlemuteradoptsasimilarapproachalthoughhis
overallsonorityforthis‘Prélude’differswidelyfromthatofFaureaswillbe
evidencedbelow.
ItissomewhatsurprisingtofindthatLefébureandRobertCasadesus,both
Ravelprotégésandhabituallypernicketyovernotationaldetails,arelessprecise
regardingtheplacementofthegrace-notes.Leféburebeginsherperformanceon
trackbutassheapproachestheclimacticpointsatbars26-28and76-80,she
intensifiesthesoundandlengthensthegrace-notessothattheysoundbeforethe
beat.Casadesusfocussesontheclarityofarticulationofhisgrace-noteswithinhis
mellifluoussonorityandhisaccentsfallinvariablyonthelastnoteofthegrace-note
group.OneofthemostfaithfulinterpretationsinthisrespectcomesfromMadeleine
35‘[…]Ilvoulaitdanschaquepiècesansendérogerlesornamentsougruppettosprissurletemps’.Faure,MonMaîtreMauriceRavel.p.87.
206
deValmalète,apianistmuchadmiredbybothRavelandCortot,althoughthereisno
extantinformationtosuggestthatshesoughtRavel’sadviceontheinterpretationof
LeTombeaudeCouperin.Sheisconsistentinherplacingofthegrace-notes,
combiningfocusandfluencythroughout.
ThesecondinstructionimpartedtoFaurebyRavelwasthatthepianist
shouldobservethephrasemarkingsbyallowingtimeforshortbreaths,whichhe
calledrespirationsbetweensuccessivephrases.36Thisfactiscorroboratedbyseveral
referencestorespirationsinVladoPerlemuter’sworkingeditionofLeTombeaude
Couperin.37Ravel’sautographscoreprovidesarareinstanceofthecomposer
offeringtechnicaladviceonhowthismightbeachievedbyusingeffectiveif
unconventionalfingeringpermutations.Inbar7ofthe‘Prélude’hemarksthefinal
noteoftheright-handphrasewithafifthfinger,whichmeansthepianistmust
repositionthehandtoplaythenextphrase,therebyachievingtheappropriate
punctuationandnuance(Example4.2).ThisfingeringisreproducedinRoger
Nichols’editionforPeters,butomittedintheDurandedition.
OnegetsastrongsenseoftheserespirationsinFaure’sperformancealthough
herinterpretationseemsmoreeighteenth-thantwentieth-centuryinscopewith
sparsepedallingandanevennessoftouchcoupledwitharealclaritytoher
fingerwork.Faure’stonecoloursaredrythroughoutandonecansensethe
36‘[…]lerespectabsoludesrespirations’.Ibid.,p.88.37BibliothèquenationaledeFrance,Catalogueno.IFN-55000857.
207
Example4.2:‘Prélude,bars7-8
over-ridinginfluenceofherpianoprofessorattheParisConservatoire,Louis
Diémer,apianistoncereferredtoasa‘dryasdustplayerwithahardrattlingtone’.38
DiémerspearheadedtheearlymusicrevivalinParisduringthelatenineteenthand
earlytwentiethcenturies,performingrecitalsonboththepianoandharpsichord,as
wellaseditingseveralanthologiesofkeyboardworksbytheFrenchclavecinistes.As
CharlesTimbrellnotes,Diémer’sthirty-twoyeartenureattheParisConservatoire
producedaremarkablyheterogeneousgroupofstudentsandteachers.Thecontrast
betweenFaure’sinterpretationofthe‘Prélude’andthatoffellowDiémerstudent
RobertCasadesus(tobediscussedbelow),whowerebothprivytoRavel’s
interpretiveinsights,highlightstheintriguingdiversityofperformancepractices
thatcanemergefromthesamepedagogicalbackground.39
TheversatilepianismofMadeleinedeValmalètecapturesRavel’srespirations
withconviction.Despiteherbrisktempoofdottedcrotchet=96sheallowsplentyof
timetobreatheandplacesallhergrace-notesonthebeatwithperfectlyjudged
accentsthatlaunchthefigurationswithplayfulnessandvibrancy.Herleft-hand
figurationsareexecutedwithharmonicclarityusingminimalpedalling.
38CommentmadebypianistMarkHambourg,FromPianotoForte,AThousandandoneNotes(London:Cassell&Co.,1931),p.162.39Timbrell,FrenchPianism,p.52.
208
VladoPerlemuterrejectedthedryhigh-fingeredbrillianceofFrenchpianistic
pedagogyasdisseminatedthroughAntoine-FrançoisMarmontel,LouisDiémerand
MargueriteLong.Onecantellimmediatelyfromhissoundthathispianismisrooted
withinadifferentpedagogicalschoolcombiningtheclarityofMoritzMoszkowski
withthedepthoftoneofCortot:
Iamstillfaithfultotheschoolofplayingatthebottomofthekeysnotonthesurface.ThetouchneededtocreateallkindsoftoneistheonetheFrenchcall‘enforcerdanslestouches’–gentlypressingthekeysdowntothekey-bed.Byproducingawiderangeofsonorities,theperformancegainsinintensityandoneisabletocommunicatethemusicalintentionandtheinnerélan.40
Thisismuchinevidenceinhisperformanceofthe‘Prélude’,whichisconceivedwith
awarm,fullandevensound,articulateandlegatothroughout.Hisdynamicsareless
markedthanValmalèteinthatheoptsforlong,sustainedphrases.ForLefébure,to
someextentlikeFrançois,elementsofLongandCortot’steachinginformher
interpretationthatcombinesclarityandnimblefingerswithbrightcoloursand
characterfulnuances.SheisconstantlyalivetoRavel’sharmonictwistsandturns,
creatingasatisfyingbalancebetweenmelodicprojectionandpolyphonicvoicing.
Ravel’sscoreofthe‘Prélude’41providesonlyonepedalindication,onthefinal
flourishandtremolo.Neverthelessthephrasemarkingsoftenalludetoaneedfor
constantandvariedapplicationsofthesustainingpedal,whethertosustain
harmoniesasatbars28-29,oratinstanceswherepedalnotesareslurredto
reverberate.ThatRobertCasadesussensesthisisreflectedinhisperformancethatis
theveryessenceoffluidpianism.Forphrasedpassagework,Casadesusemploys
fingerlegatounderpinnedbylightapplicationsofthesustainingpedal.In
passageworkwhereRaveldoesnotindicatephrasingCasadesusresortstoanon
40VladoPerlemuterinconversationwithCarolaGrindea,GreatPianistsandPedagoguesinconversation(London:Kahn&Averill,2007),p.32.41Paris:Durand,1919.
209
legatotouch,apracticeheadoptselsewhereinRavel’spianoworksasdemonstrated
inthe‘Valse1’fromtheValsesnoblesetsentimentales(Chapter3).
YvonneLeféburetakesthecontraryview,voicedduringatelevision
interviewwhereshereferstoanoccasionwhenRavelendorsedherunderstanding
ofhisphrasemarksas‘musicalslursbutnotlegato’.42Thiswasinthecontextofthe
openingbarsofJeuxd’eauwheresheplayedtherighthandfigurationswithalight
nonlegatotouchwhileunderpinningthemwithvibratopedal.Accordingto
Lefébure,Ravelexclaimed:‘That’sit;continuethetradition!’43BothLefébureand
PerlemuterplacedhugeimportanceonpedallingtechniqueinRavel’spianoworks.
PerlemuterspokeofhowduringtheirworkingsessionsRavelwentintopainstaking
detailswithregardtothepedallingintheValsesnoblesetsentimentalesandLefébure
referredtopedallingasher‘speciality’.44
Intermsofpedagogicalheritage,oneofthemosteclecticinterpretationsof
this‘Prélude’comesfromMarcelleMeyer.LikeLefébureandFrançois,Meyerbegan
herformativepianostudieswithLongandcontinuedhertrainingwithCortot.A
publicityphotographofMeyeratthepianohighlightstheLongianqualitiesinher
techniqueinthatherknucklesarekeptaslowaspossible,withthefingersraised
highup,seeminglypoisedtostrikethekeyslikehammers.45Thatthissolidlyrobust
techniqueisthenputattheserviceofanunfailinglyfluidlineisconveyedinthis
performance.AsRogerNicholshasstated,MeyerbroughtaWagnerianrangeof
dynamicstoherperformancesofthesoloharpsichordworksofRameau,Couperin
andScarlatti,althoughthescopeofherinterpretationswasalwaystemperedtothe
42‘Cesontdesliaisonsmusicalesmaiscenesontpaslesliaisonspourlelegato,maispourlejeudepiano’.YvonneLefébureteacheshowtoplayRavel,StGermain,1974,<www.youtube.com/watch?v=L06_enYnmBE>43Ibid.44YvonneLefébure,BookletnotestoherrecordingofLeTombeaudeCouperin.FYCD018,(1975).45PhotographfeaturedinthemagazineClassica-Répertoire,October2005,p.56.
210
music’sneeds.46ThisreferencetoWagnermakesthetellingconnectionwithMeyer’s
interpretivementorAlfredCortot,astaunchWagneritewhohadconductedthe
FrenchpremièreofGötterdämmerunginParisin1902.SignificantlyCortotsingled
outhisapprenticeshipasanassistantconductoratBayreuthastheperiod‘during
whichtheinstinctivetendencythatbestexplainsmynatureandaimsasan
interpreterhaddeveloped:mytasteforlinkingtheevocationofamasterpiecewith
itsgeneratingprinciple’.47
Meyerpaysparticularattentiontothelyricalqualitiesofthefigurationsinthe
‘Prélude’,andinsustainingthemusicallinethroughout.Herexecutionofthegrace-
notesdoesnotaccordwithRavel’srequestoutlinedaboveassheinvariablyplaces
thembeforethebeat,butMeyer’spracticeoflyricisingthegrace-notes,thus
incorporatingthemintothemelodygivesherperformanceaChopinesquefeel,again
alinktoCortot’spianism.ThatisnottosaythatMeyer’sreadingisovertlyRomantic.
LikePerlemuter,shecombinesrhythmicsteadinessandcrisparticulationwitha
warmsoundandgentlygradeddynamicarcs.InanarticleforLeMonde,entitled
‘MarcelleMeyer,l’intégralederêve’,shewasdescribedas:
theperfectincarnationandtheveryquintessenceoftheFrenchschoolofpianismthatembracedelegance,rigourandpoetry.48
ThisremarkcouldequallyapplytoMadeleinedeValmalèteasintheir
interpretationsofthis‘Prélude’bothpianistsdemonstrateadexterityandfluency
thatisremarkablymoderninfeel,adoptingswifttempibutallowingroomfor
expressivegestures.WhatmakesMeyer’sperformancemoreunusualisherskilful
46RogerNichols,MarcelleMeyer.BBCRadio3documentary,BritishLibrarySoundArchiveB/4750/1(1989).47‘Legoûtderelierl’évocationd’unchefd’oeuvreàsonprincipegénérateur’.BernardGavoty.Quotedin‘AGreatFrenchMaster:AlfredCortot’,bookletnotestorecordingEMI2C153-03090/6.Englishtrans.DorothyCarringtonandHenri-LouisdelaGrange.48‘L’incarnationparfaitedecetteécolefrançaisedupiano,dontellepossèdelaquintessence–élégance,rigueur,poésie’.Marie-AudeRoux,LeMonde,27November2007[n.p.].
211
useofthepedalsthatbringsanairoftransparencyandflexibilitytohertonecolours.
Meyer’sstudieswithRicardoViñesmusthaveprovidedherwithuniqueinsightsinto
thecultivationofsonoritiesintheworksofRavelandDebussy.ElaineBrody
proposesthatViñeswasRavel’smusefromtheverybeginningandthatheplayedan
integralpartinthecomposingandpre-performanceprocesseswitheachofRavel’s
compositionsupto1910,nottomentionhispivotalroleinpremieringRavel’smost
virtuosicandgroundbreakingscores,includingJeuxd’eau,MiroirsandGasparddela
nuit.49FrancisPoulenc,whoalsostudiedwithViñes,statedthat:‘Noonecould
betterteachtheartofusingthepedalsasanessentialfeatureofmodernpianomusic
thanViñes’.50Poulencgoesontotalkofluminosity,noblurrededges,fleeting
images,delicacyandcolourinViñes’performance.51
ViñesdidnotrecordanyofRavel’spianoworksbuthiscommandoftextural
clarityandrhythmiccontrolcanbeheardinhiselectrifyingrecordingofClaude
Debussy’s‘Poissonsd’or’.52OnecatchesaglimmerofDebussyantonecolourin
Meyer’splayingofthefinalflourishofthe‘Prélude’,afingeredglissandotracinga
pentatonicscalethatascendssixoctaves.Meyersubmergestheindividualnotesina
haloofsoundthatrecallsasimilarpassagefromDebussy’spianoPrélude‘Voiles’
(bars42-43).
49ElaineBrody,‘ViñesinParis:NewLightonTwentieth-CenturyPerformancePractices’.AMusicalOffering:EssaysinhonorofMartinBernstein,ed.E.H.ClinkscaleandClaireBrooks(NewYork:PendragonPress,1977),pp.45-62.ReferencedinChapter1.50RobertPhilip,‘PianistsonrecordintheEarlyTwentiethCentury’.CambridgeCompaniontothePianoed.DavidRowland(Cambridge:CambridgeUniversityPress,1998),p.79.51Ibid.52ColumbiaJ5645.LPrecording(1930-1).
212
‘Fugue’
‘ReleasetheElysiansentimentfromthesepages’.53 AlfredCortotThisesotericbutevocativeinstructionfromCortotresonateswiththenatureof
Ravel’sopeningmaterial,thefuguesubjectcomprisingdelicatelynuancedmotivic
fragments.Asinthe‘Prélude’,RavelrefusestopinhimselfdowntothekeyofG
majororEminor,allowingtheharmonytoembracemodalandchromatic
inflections.Thesubjectandcountersubjectaresubtlycontrastedincharacterand
emotion.Theformerisbuiltupofaseriesofsighingquaverpatternsoftonesand
triadsseparatedbyquaverrestswithpreciseinstructionsregardingarticulation
(accentsandstaccatodots)andshape(phrasemarkings),whilethelatterweavesa
mellifluouslyricalthreadthatintroducestripletquavermovementandtiesto
complementthesubject’sdetachednature.Onceathirdstrandhasenteredinbar5
tocompletethefugalexposition,Ravelproceedstodevelopthecontrapuntal
textures,usingtextbookfugaldevices,suchasimitation,inversionandepisodic
writingwiththetessituraremainingwithinanarrowfour-octaverangethroughout.
Frombar35onwardsRavelintensifiesthepartwritingbyacceleratingthe
imitativeentriesusingstrettotechniqueswithallthreevoicesengaginginaclose-
knittrialoguethatinvolvesmuchcrossingoveroffingersandhands.Andyetthanks
tothequaverrestrespirationsandarticulationpointsthetexturesalwaysremain
punctuatedandaerated.Theinterweavingofthecountersubjectmaterialacrossall
threevoicesatbar54,followedbythesubject’sfinalappearanceinstrettoata
quaver’sdistanceinthefinalbarsareafinalreminderofRavel’sfascinationwiththe
intricateinternalmechanismsofautomata.
53AlfredCortot,AlfredCortot:StudiesinMusicalInterpretation(1937),pp.86-89.
213
AnintriguingharmonicadjustmentbyHenrietteFaureinherperformance
deservesflaggingupatthispoint.Inbar43Ravel’sbasslineinthepublishedscores
descendsB-A-G-A-DthuslandingmomentarilyonaV-Iperfectcadence.Faureplays
B–A-G–Fsharp-D,therebyalteringtheendingtoaiii–Imodalcadence(Example
4.3).Faure’sadjustmentseemsmuchmoreintunewithRavel’scommonpractice
regardingchordalprogressionsatcadencepoints,whereheinvariablyeschews
tonal(andespeciallyperfect)cadencesinfavourofmoreremotepossibilities.54Did
RavelhimselfsuggestthischangetoFaure?
Example4.3:‘Fugue’,bars43-44
Thereareotherharmonicdiscrepanciesinthe‘Forlane’thatcannotbeerrorsofthe
momentassheplaystherepeatsidentically.MarcelleMeyeralsomakesaharmonic
adjustmentinthe‘Prélude’inbar28wheresheplaysaGinsteadofthenotatedE,
reducingRavel’seleventhharmonytoaninth.Shereproducesthischangeonthe
repeat,butplaystheeleventhharmonyinthecorrespondingplaceatbar80.
Threefactorsunderpintheinterpretationofthe‘Fugue’,namelythe
articulationofthesubjectandcountersubject,thetexturaldelineationofthethree
54Anotherprominentexampleofthisiii–IcadenceoccursattheendofthefirstmovementoftheSonatine.
214
voices(thecounterpoint)andtheoveralltempo.Dealingwithtempofirstly,Ravel
marksthispieceAllegromoderato,andthepublishedtempoadvocatescrotchet
=84.Février,Perlemuter,Casadesus,Lefébure,FaureandMeyeralladheretoa
pulsebetween84-90,withtheirperformancesreflectingmoreofRavel’smoderato
thanAllegro.BycontrastMadeleinedeValmalètecapturestheAllegroandmoderato
withaflowingpulseofcrotchet=108-112.SamsonFrançoisgoestotheopposite
extremeevokingareflectivemelancholicmoodatcrotchet=66renderinghis
performancealmost1¼minutesslowerthanValmalète(seeTable4.2).
InMonMaîtreMauriceRavel,FauredocumentsRavel’svisionregardingthe
articulationforthis‘Fugue’inthatitwastobeplayedwiththefingerswithno
movementfromthewrist.Allthephraseendingsweretobeimplementedbylifting
thefingersalone.ThefirstDurandedition(1918)andallthesubsequentreprints
bearnofingeringindicationsforthe‘Fugue’,butasRogerNicholspointsoutinhis
UrtexteditionforPeters,Ravel’sownscorewasheavilynotatedwithfingering
suggestionstoensureasmuchfingerlegatoaspossiblebeforeresortingtothe
sustainingpedal.Ravelalsoprovidesappropriatefingeringsatrespirationpointsin
themusic.Aprimeexampleofthiscanbeseeninbars13-15wherethelasttwo
quavergroupsintherighthandofbar13arebothtobeplayedwith2-4fingering
facilitatingthelift,whereasforthesamesequenceinthefollowingbar,whereRavel
carriesthelegatophrasemarkingovertobar15,hesuggests2-4followedby3-5
(Example4.4).
215
Example4.4:‘Fugue’,bars12-15(treblestave)
Raveldidnotofferanypedallinginstructionsintheautographcopy,althoughaswill
becomeevidentallthepianistsusedvariousdegreesofpedallinginthepursuitof
colourandsonority.
Inmyownstudiesofthe‘Fugue’,IhadaccesstotheworkingscoreofArturo
BenedettiMichelangeli(1920-1995),apianistrenownedforhisscrupulous
attentiontothecomposer’sindicationsandforhisflawlesspianism.55Everysingle
notehadbeenfingered,incorporatingmanyre-distributionsbetweenthehandsin
ordertopreserveRavel’sphrasing,articulationmarksandrespirations.Formethis
wasahugeaidinthememorizationprocess,andIfindmyselfreturningtothis
challengingpiecewithanalmostphotographicmemoryofthefingerplacements.
MargueriteLongseemstohavehadissueswithperformingthe‘Fugue’from
memoryandoftenleftitoutwhenperformingthecompletesuite,asverifiedbya
referenceto‘twentyminutesdurationwithouttheFugue’inhercorrespondence.56
Thefinger-basedtechniquethatRaveladvocateswouldseemtoresonate
withtheLongschoolofplayinganditisLong’sstudentJacquesFévrierwhocaptures
Ravel’sdesiredsonorityandarticulationforthispieceinhisperformanceifweare
toreadthescoreinaliteralsense.Févrierismeticulouswithregardtothequaver
rests,hisstaccatiarecrispandhesucceedsinpreservingthelinethroughtherests
withoutlosingsightoftheinnocenceandcapriciousnessimplicitinthemusic.55TheauthorwasgivenaccesstoMichelangeli’sannotatedscoreofLeTombeaudeCouperinbyNorettaConci-Leech(b.1931),withwhomtheauthorstudied.56MargueriteLong’spersonalscoreofLeTombeaudeCouperin.FondsMargueriteLong,MediathèqueMusicaleMahler.
216
Equallyhiscountersubjectisexecutedwithsmoothfingerlegatohighlightingthe
contrastincharacterwiththesubject.InthisregardFévrier’sconceptioncomesvery
closetobeingatruereflectionofthecomposer’sintentions,notonlyforthe‘Fugue’
butforRavel’sadviceonperformingallhismusic.57
HenrietteFaure’sarticulationofthesubjectisalsoincisiveintheopening
barsofthe‘Fugue’butasthetexturethickenssheislessconsistentinapproach.
Mostofthepianistsunderdiscussionallowthesoundtolingeronthroughtherests
asthoughlookingtosustainthesubjectwithalongmentallegato.EvenCasadesus,
whosepracticeofmakingacleardistinctionbetweenphrasedorlegatoand
unphrasedornon-legatopassageworkinRavel’spianoworkshasbeenhighlighted
previouslyinrelationtothe‘Prélude’,constructshisinterpretationfroman
overridinglegatolinewherethethreevoicesmergeintoaconfluencebackedby
gentlygradeddynamicarcs.Meyerisanothercaseinpoint,andwhereFévrieris
simpleandunderstated,sheisdramaticandprofound.SamsonFrançoisdoes
observethequaverrestsalthoughhisdifferentiationbetweenaccentsandstaccatiis
considerablysoftened.InhisperformanceFrançoissoundsasthoughheismore
interestedinexploringtheharmonicprogressionsthatemergefromthe
contrapuntalwritingthanthefugaldiscourseitself,andhistonecolourismeasured
andweightyrenderinganaffectivepoignancyanddepthtohisreading.Incontrast
Lefébureapplieslightvibratopedallingthroughoutherperformance,imbuingthe
polyphonywithaglisteningtransparency.Inthesleevenotestoherrecording,she
describedherapproachthus:‘threemetallicthreads,theirglistensoftenedand
subdued,combineintopatternsofpurepolyphony’.58
57Février’srecollectionsarequotedinChapter3,p.153andn.14and15.58YvonneLefébure,SleevenotestoherrecordingofLeTombeaudeCouperin.FYCD018(1975).
217
AlfredCortothadplentytosayaboutthetextualandthesub-textualelements
ofthe‘Fugue’:‘focusonthecharacter–melancholy,sorrowful;Ravel’smusicisfull
ofunobtrusiveemotionthatweoughttoperceive;beginmysteriouslyanddistant;
onemustguardagainstapedanticanxiety;donotoveremphasizethevoices’.59In
Meyer,FrancoisandLefébure’shighlypersonalinterpretationsonecansense
Cortot’sinfluenceencouraginganddaringthemtogobeyondthenotestodiscover
thatunobtrusiveemotionandpenetratethehiddendepths.Meyerseemstobe
respondingmoreinstinctivelythanintellectuallytothefugalwriting.Hersubject
entriesareplayedwithdiscretionavoidinganyovertcontrapuntalvoicingandshe
gradesthedynamiccolouringinlong-breathedphrases.Herapproachisneoclassical
intone,withaconsistenttemporightupuntilthelastsectionwhichsheinjectswith
amerehintofreflectionandplayfulness.Lefébure’spianismowesmuchofits
characterandcolourtoheracuteearforpolyphonictextures.RegardingCortot’s
advicetoavoidoveremphasisingthevoicessheannounceseachsubjectand
countersubjectentrywithincisivenessbutafterthefirstfewnotessheallowsthe
remainderofthematerialtobesubsumedintothetexture,achievingasubtleblend
ofnuancesthatdrawparallelswithCortot’s‘Elysian’sentiment.
ForCortot,thecountersubjectismoreimportantthanthesubjectinthis
Fugue.60Itiscertainlymorelyricalandrhythmicallypliablethanthesubject,and
thisissomethingthatPerlemuteralsoexploresinhisrecording.Perlemutertendsto
expandthetripletfigurations,hintingataninnerexpressionthaterrsonthe
nostalgicattimes.Manyofthepianistshereunderdiscussionavoidthetrapof
overemphasizingthefugalentries,preferringacalmunobtrusivedemocracy
59AlfredCortot,AlfredCortot:StudiesinMusicalInterpretation,p.86-89.60Ibid.
218
betweenallthreestrands.Theverynatureofboththesubjectandcountersubject,
theiremotionaldiversityunderpinnedwithdifferingarticulationandexplicit
dynamicmarkings,callstomindRavel’smantra‘Idonotaskformymusictobe
interpreted,onlytobeplayed’,andthatthemostsuccessfulperformancesarethose
thataimforasimpledirectperformanceofthiselusivepiece.
FromthisperspectiveitisValmalètewhopresentsthemoststraightforward
reading.Sheconstructsherperformancewithastonishinglucidityinthather
dynamiccolouringisweddedtothefugalstructurethroughout,makingtotalsense
ofRavel’scounterpoint.Valmalète’snuancingofthesubjectisthoughtfuland
inspiredanditisworthexaminingtheextraordinaryinsightshebringstoRavel’s
text.Forthepianissimoopeningthesubjectislightandairy,butastheentries
descendthroughthetrebleregisterValmalèteincreasesthedepthoftone.Herbrisk
tempoaddsanairofnonchalancetothecharacter,andabriefmomentofrubatoto
negotiatetherhythmiccounterpointacrossbars8-9isperfectlyjudged.The
pianissimoentryatbar15recapturesaninnocenceandintimacyinlinewithRavel’s
modalprogressions,andtwobarslatersheappliesatadmorefingerpressureto
warmthedynamicfrompptop.Forthesubject’sfirstappearanceinitsinverted
formatbar22,sheadjustsherarticulationtoaddweighttothefirstquaverand
lengthensthestaccatosecondquavergivingthissectionfrombar22-34anintensity
thatmakesitfeellikeagrittydevelopment.Onegetsthesensethatsheisthinkingof
the‘Fugue’inthreebroadsections-anexposition(bars1-21),adevelopment(bars
22-34),andarecapitulationfrombar35wherethesubjectmaterialregainsits
capriciousinnocence.Eveninthecodafrombars58-62shemanagestobringher
interpretationbacktowhereshestarted,withbothsubjectandcountersubjectbeing
playedoutwithunaffectedsimplicity.
219
‘Forlane’
‘[…]amusicalcurveofveryunusualdelicacy’.61 AlfredCortot. Withthe‘Forlane’,RavelrevisitsthesophisticatedharmoniclanguageoftheValses
noblesetsentimentales,exploringdisparatesequencesofchordsusingsubtle
chromaticshiftstolinktheharmonicprogressions,withintheframeworkofa
Baroquerondeau(ABACADA).Phrasesmostlyadheretoconventionaltwo-,four-,
andeight-barpatternswheretheliltingrhythmof6/8canlullthelistenerintoa
comfortablereverieuntilRavelchoosestoextendorforeshortenaphrase,orthrow
inacross-accent,therebyconfoundingexpectations.Inadditionthesecondary
sectionsB(bar29),C(bar63)andD(bar124)allstartasthoughonthemainbeat
givingtheillusionthatthehalfbarpointisthemainbeat.
GiventhatRavel’s‘Forlane’owesitsoriginstoCouperin’smodel,the‘Forlane’
fromthefourthConcertRoyal,itisworthexaminingthewaysinwhichalleight
pianistsaddressthetaskofrealisingeighteenth-centuryperformancepracticesin
theirtwentieth-centuryinterpretations.62Ravelsetstheballrollingwitharequest
thatthe‘Forlane’beplayedstrictlyintempothroughout,andjustincasethepianist
feelstheurgetoseethefinalbarsasanostalgicreflection,hepressesthepointwith
histrademark‘sansralentir’inbar161.Thepublishedtempomarkingofdotted
crotchet=96isreproducedfromtheorchestraltranscription.However,themajority
ofpianistsunderinvestigationhereoptforamuchslowerpulseintheirrecorded
performances.AlfredCortotinhiswritingsalsourgescautionregardingtheoverall
61Ibid.62ForadetailedcomparisonofCouperinandRavel’s‘Forlanes’,seealsoBarbaraL.Kelly‘Musicalengagementwiththepast’withinthechapter‘HistoryandHomage’inDeborahMawer(ed.),CambridgeCompaniontoRavel(Cambridge:CambridgeUniversityPress,2000),pp.19-22.
220
temposothatthepulseretainsa6/8liltasopposedto2/4.63MarcelleMeyer’s
tempo,dottedcrotchet=84,isrock-solidthroughoutevenwhenmovingfrom
sectiontosection.Février,Valmalète,FaureandPerlemuteralsofavourthistempo.
ForPerlemuteritprovidesthemeanstoplacethecadencesusingdiscreterubato
withoutlosingtrackoftheoveralltempo.HealsocapturesCortot’s6/8feelby
lengtheningthedottedsemiquaverinthethemetoproducesmoothlong-breathed
phrases.EvenmoreleisurelyisthereadingofSamsonFrançois,althoughhisquirky
characterisationhasaneighteenth-centuryfinesseaboutitfromtheneatlyclipped
dottedrhythms,sparingpedalsandconsummatefingerworktotheeffectiveuseof
rubatotoilluminateRavel’schromaticharmonies.
LefébureandCasadesusaretheonlyoneswhoattempttheorchestraltempo
intheirrecordings.BothpayfastidiousattentiontoRavel’sphrasemarkings,andthe
dottedrhythmsaresprightlyandenergetic.However,Lefébure’sfascinationwith
Ravel’sharmoniesmeanthatsheisconstantlytakingtimeovercadencesandthe
placingofbassnotes,andhertemporeducestomatchthatofMeyer’scrotchet=84
especiallytowardsthefinalsectionfrombar140onwards.Casadesus’sperformance
isimaginativelyphrasedinaccordancewithRavel’sinstructions,achievingaperfect
balancebetweenconciselineararticulation(bar1)andsmoothmellifluousness
(bars19-21),buthereducesthetempomarkedlyfrombar148onwardsand
succumbstothecardinalsin,atleastforRavel,ofslowingdownevenmoreforthe
finalbars.
Asregardsthecultivationofsonority,thearticulationoftextures,pedalling
anddynamiccolouringinthe‘Forlane’itisimpossibletodivorcethesolopiano
63Ibid.
221
versionfromRavel’sskilfulorchestration.64AlfredCortot’steachingofthe‘Forlane’
focussedintentlyuponthisaspect,comparingRavel’sphrasemarkingsinthepiano
scoretoviolinbowingsandurginghisstudentstosearchfororchestralsonoritieson
thekeyboardbyexperimentingwithvariousdegreesofattackandstroke.
Perlemuter’sworkingscoreofthe‘Forlane’islitteredwithorchestralreferences,for
exampletheevokingofafluteatbar71.65AnotherofCortot’sstudents,Yvonne
Lefébure,demonstratesthisempathywithorchestralsonorityfromthevery
beginning.Assheherselfdeclaredinthesleevenotesthataccompanyherrecording:
‘Itrynottoplaythepianobuttoplaytheorchestra’.66
WhereRavel’sorchestrationoftheprincipalthemeistransferredfromViolin
1inbar1totheOboeinbar8,Leféburerespondsbyadoptingasubduedcolourin
bar1followedbyamorepenetrativesoundandaweightyaccentontheDsharp
half-waythroughbar8.Cortotalsoadvocatedpedallingeachharmonytomaximize
thevibrationswithoutalteringtheclarityoftheprogression.Table4.4demonstrates
thefine-tunedapproachtakenbyRaveltoimbuetheopeningsectionoftheForlane
withawealthoforchestralcolour,albeittemperedbyeconomyofmeanstoretainan
eighteenth-centurybalanceandreserve.
64SeealsoHowat,‘SophisticationinLeTombeaudeCouperin’withinthechapter‘RavelandthePiano’inDeborahMawer(ed.),TheCambridgeCompaniontoRavel(Cambridge:CambridgeUniversityPress,2000),pp.88-93.65Ibid.66FYCD018(1975).
222
Table4.4:‘Forlane’:Ravel’sorchestrationinbars1-25(selectedexamples)BarNos. Instrumentationofprincipal
themeDetailsofinstrumentalcolourinaccompanyingtextures
1 Violin1 Chromaticcountermelodyplayedbycoranglais
9(fig.[1]intheorchestralscore)
Oboe Secondbeatofbar9-combinationofheldnotesinwoodwindandhornswithviolin2andviolaprovidingpizzicatoaccents
13 FluteandViolin1(toplineofdivisi)
Chordsfromupperwoodwindandstrings(arco)andharp
15 OboedoublestheFlute(Violin1dropsout)
Upperstringschangetopizzicato,harpdropsout,andlowerwoodwindadded
19(fig.[2]intheorchestralscore)
Flute Stringsandharp
22 Clarinet Stringsandharp25 Violin1 Asatbar1 ItisRavel’sinstrumentationwithinhisaccompanimentaltexturesthatyields
hismostinventiveandsubtlecoloristiceffects.Forexample,inbars1-4the
orchestrationsinglesoutachromaticcountermelodythatisembeddedwithinthe
accompanyingharmoniesinthesolopianoversionandRavelunderlinesits
significancebyassigningittothedarktonesofthecoranglais(Example4.5a
andb).
Acomparisonbetweenthedottedminimbassnotesinthesolopianoscoreat
bars6and10andtheirrealisationintheorchestralversionshedslightuponhow
onemightcreatetheappropriatesonorityonthepianousingthefingersandalso
howtoretainthebassnotesusingthesustainingpedal.Inbar6,anincisiveweighty
fingerattacktothebottomofthekeybedsustainedbythepedalacrossthewhole
barsitswellwiththerichtonesofthebassoon,whereasatbar10afingerattack
223
aidedbyawristmovementthatcatchesthebottomofthekeyforasplitsecond
beforerebounding,togetherwiththepreciseliftingofthesustainingpedalafterthe
fourthquaver,helpstoevokethediaphanoustimbreofthedoublebasses(Example
4.5,markedwitharrows).
Example4.5
a)‘Forlane’,bars1-10(solopianoversion)
b)‘Forlane’,bars1-10(orchestralversion)
224
Ravelpersistswithhisinstructiontoplacetheornamentsonthebeat,andas
withtheirperformancesofthe‘Prélude’,Valmalète,PerlemuterandFévrier
maintainanexemplaryapproach.FaureandCasadesusareinconsistentinthis
regard,mostnoticeablyintheFsharppedalsectionatbars80-88wheretheir
gruppettifallbeforethebeat.FaureisrespectfulofRavel’srespirationsandmakea
pointofunderliningtheirregularphraseshapesandcross-accentsusingsubtle
dynamicgradationstoconveytheelegantandrefinednatureofthisdance.
Casadesusbringsacertainnonchalancetohisperformancewithclippeddotted
rhythmsandclearlydefinedphrasestructures.
Cortot’scommentsregardingthe‘Forlane’areparticularlyilluminatingwith
regardtophrasingandcolour:‘Pronouncetheuppervoiceclearly,carryingoutthe
ideaconsistentlyintheswayingrhythm’.67MarcelleMeyertakesthislinear
approachtoahigherlevelanditseemsasthoughRavel’sphrasemarksarenota
67AlfredCortot,AlfredCortot:StudiesinMusicalInterpretation(1937),pp.86-89.
225
sourceofpunctuationforher.Herperformanceissmooth,underpinnedwith
copiousamountsofpedal.Aprimeexampleofthisoccursatpedalpointssuchasbar
10wheresheretainsthesustainingpedalwellbeyondthedottedminimthatis
marked.ThisisincompletecontrasttoJacquesFévrier’slightlypedalled
performanceinwhichheachievesatransparencywithinthechordsandstill
managestosustainthebassnotesfortheircorrectlengthwithoutundueblurring.
EquallysoLefébure’sperformanceislightandairy,thedottedrhythmshortand
crisp.Hertouchisextremelyeventhroughoutimpartingacrystallineclaritytoher
chords,thusenablinghertoextractsnippetsofcountermelodyfromtheharmonic
texture.
AlleightpianistsbringtheirindividualvoicestoRavel’sprintedscoreofthe
‘Forlane’andnowhereisthismoreevidentthaninthecentralBminorsection
betweenbars64and95.AtthispointRavel’swritingispareddowntoachordal
texturesetwithinthetrebleregisterwithnophrasemarkingsotherthanafewslurs.
ForCasadesusthisoffersanopportunityforacompletechangeinarticulationfrom
thelegatophrasingofthepreviouspassageresultinginanuancethatisdryandvery
staccato.Thecrotchet-quaverpatternbecomestwoshortquaversseparatedbya
restwithminimalapplicationofthesustainingpedal.Thispianisticnuance
compareswellwithRavel’sorchestralsonoritywiththeflutes,oboesandclarinets
playingtheprincipalmaterialunderpinnedbyharpandstringharmonicsand
pizzicati.
Inbars72-78,theleft-handpassageworkconsistsofpedalnotesandafew
arpeggiatedfigures.WhatRaveldoesintermsoforchestralcolourisinspired,
combiningmutedtrumpetsandpizzicatosecondviolinsinunisonwithadditional
coloursuppliedbyharpharmonics;inbars76-77thesecondviolinsarereplacedby
226
theviolas.Casadesus’paletteofpianisticsonoritiesatthispointreflectsanempathy
withRavel’sorchestralsoundworld.Inbars80-88thetouchheadoptsforthepedal
Fsharpsinthelefthandalternatesbetweenaccentedstaccationthehalf-barsand
tenutionthebarline.Thissubtlechangeinarticulationhelpstore-establishexactly
wherethebarlinefallsinthissection,especiallyasitsoundsasthoughRavelhas
writtenthewholepassagehalfabaroutofkilter.AttheotherextremesitsMeyer,
whosesoundremainsconsistentlymellow,legatoandreverberantthroughouther
performanceofthissection.Table4.5illustrateshoweachpianisthasconstructed
theirinterpretationthroughvaryingdegreesoftouch,pedallinganddynamiccolour.
Table4.5:‘Forlane’:Interpretivechoices(articulationandpedalling)in bars64-95Pianist Interpretationofbars64-95Casadesus Dry,staccatocrotchetsandquaverswithminimal
pedallingandtouchesofarticulationValmalète SameapproachasCasadesusbutcrotchetsplayed
tenutoFaure Tenutocrotchets(pedalled)andlightquaversFrançois Expressivearticulateplaying,lightlypedalled.A
markedhike-upintempobetweenbars84-88Lefébure Brightarticulatesound.Lightlypedalledthroughout
withnomarkedchangeinsoundFévrier Delicateandarticulatesound.Longerpedalsthan
LeféburePerlemuter Smoothpedalledthroughout.Grace-notesunclear
between84-88Meyer Treblelinebroughttothefore.Createsahaloof
soundwithlongpedals.
227
‘Rigaudon’
The‘Rigaudon’inhabitsanaltogetherdifferentworldfromtherefined‘Forlane’and
althoughRaveltookhisinitialinspirationfromCouperin’s‘PremierTambourin’from
theTroisièmeConcert,therumbustiousnatureoftheopeningsectionofthe
‘Rigaudon’recallstheebullientEmmanuelChabrier,inparticularhisJoyeuseMarche
forpiano(1891)whichRavelknewintimately.Thefourresonantextendedchordsat
theoutset,whichCortotcomparedtoablareoftrumpets,68seemasthoughthepiece
isabouttoendbeforeithasbegunwithanemphaticperfectcadence,V13-I,but
Ravelploughsonwitharhythmicallytautthemethatforeshadowstheopening
materialofthe‘Toccata’.
Thefirstsection(bars1-36)ofthe‘Rigaudon’derivesmuchofitsmeaty
characterfromcloselyalignedtextures,octavedoublings,barefifthsinthebass
registeratcadentialpoints,andmuchparallelmovement.RobertCasadesus
recognizedwhathetermeda‘Basquesportiness’inRavel’spianoworks,aquality
thatCasadesusrealiseswithconvictioninhisperformanceofthe‘Rigaudon’.69
AlongsideCasadesus,theperformancebyMarcelleMeyermustbesingledoutforits
vibrantcolours,afactnotsurprisingwhenoneconsidersherbrilliant
interpretationsofthepianoworksofChabrier.70Lefébure’sgutsyperformanceis
alsofullofrobustpianism,capturingasatisfyingbalancebetweentheplayful,the
melancholicandthedownrightboisterous.Asever,Perlemutertreadsamidway
pathbetweenRavelandCortotinhischaracterization,rhythmicallytautand
68Cortot,AlfredCortot:StudiesinMusicalInterpretation,ed.Thieffry,trans.Jaques(1937)p.88.69RobertCasadesus:FrenchSingersandPianists.DevisedandpresentedbyRogerNichols,(BBCRadio3,14September1989).CDrecording:BritishLibrarySoundArchiveNo.B4744/1.70MarcelMeyer,CompleteStudioRecordings1925-1957.CDreleaseEMIClassics0946384699-2-6(2007).
228
responsivetoRavel’smeticulousdetails,whilsthiswistfulshapingoftheright-hand
melodyinthemoinsvifsectionisCortotpersonified.
Theopeningsectionofthe‘Rigaudon’requiresastrongmuscularfinger
techniquewhichMeyer,LefébureandValmalètedisplaywithconsiderablepanache.
Whatisparticularlytellingisthattheirrecordedperformancesarecreatedonthree
differentmakesofinstrument.MentionhasalreadybeenmadeofMeyer’shighly
developedfingersandthewaysinwhichsheextractsarichsoundfromherPleyel
piano,aninstrumentnotedforitscarryingpower.AtelevisedrecordingofLefébure
performingthefinaleofRavel’sConcertoinGcapturesherhyper-articulate
techniqueandhercrouchingbodyposture.71Theaccompanyingbookletnotesto
Lefébure’srecordingofLeTombeaudeCouperinprovidesspecificdetailsofthe
pianosheused,Steinwaynumber423540,whosebrightresonanttonesmatch
perfectlywithLefébure’sbroadcanvasofsonorities.Onthesleevenotesto
MadeleinedeValmalète’srecordingofLeTombeaudeCouperin,herdigitalprowess
wasdescribedthus:‘[…]herhandsweresmallbutpowerful,hercompactfingers
endinginlittlefleshypads.Herfingeringswerefearlessandoftenspectacular’.72
Valmalète’splayingdemonstratesafacilityandevennessofexecutioncoupledwith
eloquentmusicalexpressionthatisneveroverstated.Theimageonthesleevecover
hastheyoungValmalèteinmid-performanceonanÉrard,themakeofpiano
favouredbyRavelandtheinstrumentonwhichheshapedanddevelopedhis
pianism.73
71YvonneLefébureteacheshowtoplayRavel,StGermain,1974,www.youtube.com/watch?v=L06_enYnmBE.[AccessedJanuary2014]72ArbiterRecords144.Authorunknown.73Ravel’sÉrardgrandpiano(serialnumber96117,madein1908)ispreservedathishome,LeBelvédère,inMontfortl’Amaury.ForfurtherinformationseeHowat,TheArtofFrenchPianoMusic,p.335.
229
ThecentralMoinsvifsectionofthe‘Rigaudon’frombars37-93providesa
completecontrastintextureandmoodfromtheprevioussection,withasinuous
melodythatsitsinsidealightlyscoredleapingostinato.Ravel’sinterpretivevision
forthispassageisambiguousasheinsertsonepedalindicationatthebeginningof
theMoinsvifandomitstodenotethepointofrelease.Févrierreduceshistempoto
crotchet=80andplaysthewholepassagewithvirtuallynopedal,usingawide
paletteoffingerarticulationsforhisright-handmelody.Faurealsoprovidesadry
accompanimenttohermelodyalthoughsheusesdiscretepedallingtohighlightthe
movementofthebassline,forexampleitsdescentthroughbars45-50.Inthisregard
bothFévrierandFaure’sinterpretationscomeclosetoemulatingRavel’sorchestral
sonorityatthispoint,wherethetreblesoloissharedbetweentheoboeandcor
anglaiswithpizzicatoaccompanimentfromthestrings(Fig.7intheorchestralscore
andbar37inthepianoscore).WhenRavel’sorchestrationchanges,atFig.9(bar69
inthesolopianoversion),tothesoftertonesofthefluteandclarinetaccompanied
byharpchordsandsustainedcellochords,Faurerespondswithaslowerfinger
attackthatsoftensthemelodiclineandsheuseslongerpedals.
Faure’stempoofcrotchet=96isalsoadoptedbyPerlemuterwhoprefersto
readRavel’spedalmarkascontinuouswhilstremainingmindfuloftheright-hand
phrasing.BothCasadesusandFrançoisbringamoresubjectivequalitytotheir
readings.Casadesusoptsforasonoritywheretheright-handmelodyand
accompanyingchordsaremergedusingvibratopedallingtomaintainapermanent
hazethatiseffectiveinsettingtheMoinsvifsectionintoreliefagainstthebombastof
theoutersectionsofthe‘Rigaudon’.Histemporemainsconstantthroughoutat
crotchet=104andismatchedbyFrançois.Howeverthelatter’sinterpretationis
deeplypersonalandexpressive,employingaffectiverubato,dynamicsubtletiesand
230
inspireduseofthepedallingtocolourtheharmonies.Meyer,LefébureandValmalète
alsointerpretRavel’stempoinstructionsofMoinsvifasaslightreductionto
approximatelycrotchet=104,therebyretainingaforwardmomentumintheir
performances:Allthreehighlightthecapriciousnessofthissectionandthequirky
irregularityofRavel’sphrasestructuresbutValmalète’sadherencetoRavel’sgrace-
noteplacementsonthebeatvalidatesherinterpretation.
‘Menuet’
‘AmongtheolddancestheminuetattractedRavelaboveall’.74 HélèneJourdan-Morhange
Ravelcomposedfourextraordinarilydiverseminuetsforsolopianoduringhis
lifetime.Withthefirstthree,itisasthoughhesetouttoredefinetheclassical
Minuet,employingmodalandchromaticharmoniesintheMenuetAntiqueof1895,a
refinedinterplayofcross-accents,hemiolasandtiednotesacrossthebarlinesin
‘MouvementdeMenuet’fromtheSonatineof1903-5andamasterfulcontrolof
contrapuntaltextures,nottomentionahair-raisingchromaticharmonicsequence
(bars38-43)intheMenuetsurlenomdeHaydnof1909.
Inthe‘Menuet’fromLeTombeaudeCouperinRavelfocuseshisattention
uponclarityofexpression,cleanlinesandacleardistinctionbetweenmelodicand
harmoniccomponents,makingthis‘Menuet’moreinlinewithitsclassical
antecedent.ItisintheexplorationoftouchandnuancethatRavelseemstoexercise
hisinventiveness,ashisnotationtakesonapointillisticdimension,elicitingamyriad
oftonalcoloursassembledwithinintriguingandunorthodoxphrasings.For
example,thefour-barmelodypresentedintherighthandattheoutsetisinitiallyun-
phrasedwitheachbeatmarkedtenuto(bar1),whilstthefollowingthreebarsare
groupedtogetherunderasinglephrasemark.Simultaneouslythelefthandisgiven74Jourdan-Morhange,RavelAccordingtoRavel,p.76.
231
overtocontrastingarticulations,includingdetachedbutphrasedcrotchetsinthe
firsttwobarsfollowedbylegatocountermelodiesunderpinnedwithsyncopated
bassnotesinthelefthandthatseamlesslylinktheendofthefirstphraseatbar4
intothenextfour-barphraseinbars5-8.Withgrace-notesandpedalnotesthat
highlightthesecondbeatofthebarthroughoutthis‘Menuet’,Ravelmakesasubtle
connectionwithamorestatelydanceintripletime,thesarabande,thatis
particularlytellinginthebasslineofthecentral‘Musette’.
AlfredCortotreferstothecharacterofthis‘Menuet’asincorporating
‘lightness,soberjoyandplacidgrace’andisparticularlyeloquentinhiscounselto
‘embroidertheornaments’.75PerlemutercertainlycapturestheCortotideal,
combiningasumptuouslyricismwithorchestrallyinspiredcoloursandarelaxed
tempothatallowstheornamentstofallunhurriedlyintoplacejustasRavelinsisted,
‘surletemps’.MadeleinedeValmalèteleadsthewaywithregardtobrisktempiand
atacrotchet=126herreadingislight,playfulandrefreshing.JacquesFévrieris
faithfultoallthearticulationmarksanddynamicgradations,butratherdryinthe
executionandrigidwithregardtotempo,withminimalplacementatthecadences.
Meyerisalsounwaveringinheroverallpulse,evokinganairofcooldetachment.
Whatismostunusualanduniquetoherinterpretationisherconstantuseof
dislocationwherethelefthandanticipatestherightbyawhisker,coupledwith
touchesofrubato.Shepersistswiththispracticeinthecentral‘Musette’whereher
toneissmooth,combiningsoftcolourswithblurredpedalsthatconjureupahaloof
sound.Atthereturnofthe‘Menuet’frombar73,theoverallfeelisalmost
improvisatorysuchisthefreedomsheimpartstotherhythmicshapingofthemain
theme.
75AlfredCortot,AlfredCortot:StudiesinMusicalInterpretation,pp.86-89.
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Oneofthemainchallengesinthe‘Musette’isthecontrolledexecutionofthe
chorale-likemelodyarrangedinfour-partchords.Ravelsurroundsthiswithpedal
notesandthereismuchhand-crossingtonegotiate.Casadesusbeginswithaneven
transparentppsoundusingonlythefingersandpedals.Hegraduallyappliesmore
armweightfrombar49tofilloutthetexture,invokinganimpressivegrandeurand
majestyattheclimaxofthepassageatbar57.ConverselyPerlemuterislyricaland
nostalgicintone,singlingoutthetreblelinethroughoutwithafullsonoritywhile
subduingtheaccompanyingtextures.Françoisimpartsanelementofmysteryby
underliningthethumbedmelodiclineatthecentreofthetexture.Ashemoves
throughthe‘Musette’thisthemeisalmostsubmergedwithintheaccompanying
ostinatithatbecomemoremenacingasthetexturesbuildfrombar49onward.Allin
allitisaverydramaticinterpretation.Lefébure’sreadingofthissectionis
particularlyimaginative,employingawidedynamicrangeandbringinganairof
dignitythathighlightstheprocessionalelementofthe‘Musette’.Shemovesstraight
throughintothe‘Musette’fromthe‘Menuet’maintainingthesametonecolour,and
beginsherbuild-upatbar49fromthecentreandbassofthetexture,givingdepth
andemotionalbreadthtoherascent.Fortherestatementofthe‘Musette’themeat
bar65,sheemphasizesthethumbmelodysothatwhenthe‘Menuet’themejoinsin
threeoctavesaboveinbar73,shegeneratesarealsenseoftexturalandtemporal
spaceasthoughreconnectingwiththepastatadistance.
ForCortotthecodasectionshouldinhabitadifferentmoodfromthatofthe
main‘Menuet’:‘itsrhythmceasestobethatoftheminuetandacquiresthecharacter
ofanaubade,atenderreverie’.76InthisregardPerlemuter’sperformanceistimed
andnuancedtoperfection.Frombar104heexpandsthetreblemelodyusinglong
76Ibid.
233
tenutophrases,coupledwithrubatoinbars114and116-7.Thesubtledynamic
withdrawalissmoothlygradedinbars111-120andinthefinalfourbarshe
reproducesRavel’sdetailedpedalling,articulation,dynamicsandtempoadjustments
totheletter.
‘Toccata’
Ravelcompletedhishomagetotheeighteenthcenturywithathrilling‘Toccata’that
traversesthewholegamutoftheFrenchharpsichordtraditionaswellasmore
contemporarypianism,fromtheembroideredfiligreeofDaquin,Rameauand
Couperin,viathescintillatingdexterityofSaint-Saëns,tothebrilliantcoloursand
nuancesofChabrierandDebussy.Incontrasttotheorchestrallyconceived
pyrotechnicsof‘Scarbo’fromGasparddelanuit(1908),Ravel’s‘Toccata’isatourde
forceinkeyboardtactility.Theeffervescentmotoperpetuotexturesembrace
innumerablepermutationsthatcombinerepeatednotes,changingnotefigurations,
arpeggiosineveryconfiguration,chordclusters,hand-crossingatlightningspeeds.
Thesetechnicaldifficultiesarefurtherintensifiedsincenotonlyaremelodiesand
pedalnotesrequiredtobesustainedinlongarcsbutalsoRavel’sintricate
passageworkhastobeexecutedforthemostpartwithinappdynamic.Eveninthe
climacticfinalpagesthefortesandfortissimoshavetobeunderstoodinaRavelian
context,invariablyemergingfromhisexplosivecrescendiandequallyrapid
withdrawalsindynamic.
AccordingtoYvonneLefébure,Ravelhadmisgivingsaboutthe‘Toccata’:
Heoncesaidtome,'aspianowriting,thefinaleofmyconcertoishowIshouldhavelikedmyToccatatobe,butfailedtomakeit.Thelastpageisdownrightclumsy,toodifficult',andtomysurpriseheadded,'Ifyouplayit,dotrytodisencumberthewritingabit.'"77
77QuotedinNichols.Ravel,p.195.
234
Thelaststatementisastoundingcomingfromacomposerwhowassoprotectiveof
hisworkandwhoseprincipalobjectiveasanartistwas‘technicalperfection’.78
Leféburedoesnotmakeanyobviousadjustmentsinherrecordingotherthanplay
thefirsttwosemiquaverchordsinbars221and224simultaneously,possiblyinline
withRavel’snotationatbar227.Herperformanceofthelastsectionfrombar218is
truly‘éclatant’andextraordinary,consideringshewasseventy-sevenyearsofageat
thetimeshemadethisrecording.PianistJeanne-MarieDarré,whostudiedwithLong
andPhilipp,recalledaskingRavel:
Maître,howshouldoneplayyourToccata?’Andheanswered“Asfastaspossible,butsothatonehearseachnote!”Whathesaidstayedwithme.Ireturnedhomeandworkedveryhardtoplayitatthatspeed(144)andI’vealwaystoldthistomystudents.79
Ravel’sdisciples,CasadesusandPerlemuterbothmaintainbrisktempiof
crotchet=138.HenrietteFaureisslightlymorereservedatcrotchet=132,allowing
timetoarticulatethebarlinesanddirecttheharmonicmovementbyholdingonto
thechords.Heracknowledgementofeighteenth-centurykeyboardpracticesandin
particularthetouchandnuanceoftheharpsichordcanbefeltinherfine-tuned
balancingofsonoritiesacrossRavel’sfigurations,mostnoticeablefromthe
beginningofthefinalbuild-upatbar191.Wheremostpianistsfocusupontheupper
melodicline,Faure’sfingersmoveevenlythroughthetextureunderliningthe
tensionbetweenmelodyandharmonyandespeciallythepedalbassnotes.She
appliesthesustainingpedalsparinglybuteffectivelyandherreadinghasamodesty
anddirectness.InthissenseFaure’s‘Toccata’isperfectlypoisedinitsroleasthe
concludingmovementofasuiteofpiecesinspiredbyeighteenth-centurymodels.
78Roland-Manuel,LettresdeMauriceRaveletdocumentsinédits.ReproducedinOrenstein,RavelManandMusician(NewYork:ColumbiaUniversityPress,1975,revisedNewYork:Dover,1991),p.118.79Jeanne-MarieDarréinconversationwithDeanElder,PianistsatPlay,p.84.
235
RobertCasadesus’interpretationalsoleanstowardthekeyboardstyleofthe
clavecinistes.Hepolariseshissonority,usingadry,articulateandnonlegatotouch
forthetoccatapassagesreservinglongresonantpedalsforRavel’sphrasedmelodies
asatbar57.Intheclimacticfinalpages,Casadesus’normallyelegantpianismseems
todeserthiminthathefailstopreparethelongcrescendosthatbegininbar191,
andasaresulthereachesafortissimodynamictooearly.Whereotherpianistsgrade
thecolouringofRavel’slongfortissimofrombar219onwardswithchangesofpedal
andharmonicdelineation,Casadesusploughsonrelentlessly.UnlikeRavel,
CasadesusdidnotfavourtheÉrardpiano,preferringinsteadthedeepkeyactionand
richsonoritiesoftheSteinwayinstrumentsbythispointinhiscareer(1951).80It
couldbethatthereverberantpowerofaSteinwaymadeitdifficultforCasadesuson
thisoccasiontocontrolRavel’sintricatetexturesinthe‘Toccata’.Forthosepianists
underdiscussionwhooptedforthelighteractionsoftheFrenchpianomakers,Érard
andPleyel,lifewasconsiderablyeasierinthisregard.
YvonneLefébure’snimblefingersdispatchthe‘Toccata’withenergyand
verveandthistogetherwithhersparinguseofthepedalconnectsherinterpretation
unequivocallytohistoricallyinformedpractices.Forexample,inbars78-80she
resiststhetemptationtobindthefigurationswithlongpedals,optinginsteadfora
sprightlyunpedallednonlegatotouchmakingacleardistinctionincharacter
betweenthistoccata-like(unphrasedandmotoric)passageandtheprevious
passage(expressiveandphrased).
Valmalète’sperformanceofthe‘Toccata’,likeLefébure,hasspirit,power,
spaceandélan.Howeverthemoststrikingaspectofherpianismistheabilityto
80InformationsuppliedbyRogerNicholsinFrenchSingersandPianists,‘RobertCasadesus’,BBCRadio3broadcastB4744/1,September1989.
236
negotiateRavel’sbusytextureswhilstretaininghissubtlynuanceddynamics.The
pianissimosneverlosedefinitionandRavel’sexplosivecrescendosthatimmediately
pullbacktoaporppallregisterinValmalète’sperformance;consequentlyherfand
ffpassagesareradiantandimpactful.TheeasewithwhichValmalètecarriesoffthis
mostdemandingaspectofRavel’spianism,mayhavesomethingtodowithher
choiceofinstrument,theÉrardwhoselightactionandexcellentresponsestofast
repetitivemovementsmakeittheidealpianoonwhichtorealiseRavel’stransparent
textures.Thiscanbefeltinthemoremelodicsectionssuchasbars94-121where
Valmalètesucceedsinprojectingthemelodynoteswithdelicateexpressivityabove
thecascadesofharmonynotesusingvaryinggradesofpedal.
EquallypersuasiveisthevirtuosicperformancebyMeyer.Heropening
dynamicalsogetsrightdowntoppasthoughshewasplayingunderherbreathand
howshemaintainsthisacrossthefirsttwopagesisingenious.Shefocusesonthe
thematicmaterialplayedbythethumbsandforefingersofbothhandsatthecentre
ofthetexturewhichsheplaysusinganevenlegatotouchwithherfingersdeepinto
thekeys,whiletheaddednotesplayedbytheotherfingersarelightlyarticulatedas
thoughprovidingharmonicpunctuation.Inthiswaythetexturesavoidbecoming
leadenandshecancontrolthesuddencrescendosanddiminuendos.Oneofthe
hallmarksofMeyer’spianismisherwide-ranginguseofsustainingpedaltechniques
appliedskilfullytodistinguishbetweenthetoccatasectionsandthemoreexpressive
passages.Forexample,thetransitionfromthemotoricstaccatopassageworkinbar
93totheremotekeyofDsharpminorandthegossamer-liketexturesiseffectedby
animmediatetransferfromincisivefingerworkandnopedaltoclosesmooth
embeddedfingersonoritybathedinlongpedals.InthisregardMeyer’ssonorityis
237
morenuancedthanthatofValmalèteandLefébure,andoncemoreoneperceivesa
glimmerofDebussyantimbreinherinterpretations.
FordazzlingpyrotechnicsonaLisztianscalenoonecomesclosetoFrançois’s
fearlessinterpretation.Heisolatesthemotoricfeaturesanddistinguishesthemfrom
theexpressiveelementsimplicitinthe‘Toccata’.Thetemponeverflagsfora
moment,evenduringthecentralDsharpminorsectionwhereFrançois’shapingof
themelodyunfoldsnaturally,underliningoneofhisinterpretivecredos:‘I’venever
workedatvirtuosity,themostimportantthingformeisthemelody’.81Incontrastto
MeyerandValmalètewhoarefarsubtlerwithregardtoRavel’spianissmosandthe
pacingofcrescendosandoverallmomentum,François’spaletteofcoloursisbold.No
wonderoneofhispupilsattheÉcoleNormaledeMusiquereferredtoFrançoisas
the‘VanGoghofthepiano’.82
LeTombeaudeCouperinasRavel’shomagetoFrench‘keyboardism’
InhisAutobiographicalSketch,RavelreferstoLeTombeaudeCouperinas‘ahomage
directedlessinfacttoCouperinhimselfthantoFrenchmusicoftheeighteenth
century’.83WiththecoreprinciplesofFrenchpianismhavingevolvedfrom
eighteenth-centurykeyboardtechniquesitisnotsurprisingtodiscoverthatthe
pedagogicalpracticesofDiémer,Long,andPhilippsitattheveryheartofthe
majorityoftheserecordedperformancesofLeTombeaudeCouperin,evidencedby
clean,evenfingerwork,astrongrhythmiccore,finelygradeddynamicsanddiscrete
81‘Jen’aijamaistravaillélavirtuosité:l’important,c’estlamélodie’.QuotedinJeanRoy,SamsonFrançois-lepoètedupiano(Paris:Lyon,1996),p.101.82‘VanGoghdupiano’.QuotedinJérômeSpicket,Scarbo-leromandeSamsonFrançois(Lausanne:VandeWelde,1985),p.25.83Roland-Manuel,‘UneEsquisseautobiographiquedeMauriceRavel’(1928),LaRevuemusicale,19,specialissue(December1938),pp.17-23;reproducedinOrenstein(ed.),MauriceRavel:Lettres,pp.43-7:Ravel,‘AnAutobiographicalSketchbyMauriceRavel’,inOrenstein(ed.),ARavelReader,pp.29-37.
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useofthepedal.However,whenitcomestoquestionsofinterpretationrelatingto
sonority,nuanceandexpression,thepictureexpandstorevealadiversityof
approachesfromalleightpianists.FaureandFévrierfavouradry,articulateand
sparinglypedalledsonoritythatremainsclosealignedtothepianismofDiémerand
Long,whereasCasadesus’playinghasafluidMozartianclarityaboutit,coupledwith
sharplycontrastedphraseshapes,articulations,andpedallingchoices.Casadesus’
approachfoundfavourwithRavelasManuelRosenthalrevealedinthefollowing
statement:
Iftherewasapianist[…]whoseinterpretationsRavelvaluedaboveallothers,Ithinkthatwouldbe[RobertCasadesus].Hewasthemostcompletemusician.Hecomposedalotandwasthemostscholarlyofallthepianists.HehadthetechniquethatIimagineRavelhadinhisyoungerdays:apianisticsoundclosertotheharpsichord.Lessweightythannow:oneusedlesspedal.ThiswasCasadesus’style:verylittlepedal,allveryclear,veryprecise.ForRavel,Casadesus’Mozartinterpretationswereperfect.Ipersonallyfoundthemabitcool,butRavellikedthat.84
Lefébure,MeyerandFrançoisalsohonedtheirearlypianotechniquesinthe
Longianimagebutlatersawthisprescriptiveandsomewhatmimeticperformance
traditionaslimitingininterpretivescope.WithAlfredCortotastheirmentorand
musetheydiscoveredamorepersonalandimaginativeschoolofpianism,and
cruciallyasoundworldthatwasbothoutwardlyexpressiveandcolourful.Cortotdid
notsubscribetotheFrench‘reserve’inhisplayingandhisinfluencecanbeseenin
Lefébure’svibrantpolyphonicdiscourseandorchestralpaletteofcolourstempered
byherscholarlyrespectforRavel’stext.Meyer’sdexterouspianismandthe
kaleidoscopicrangeofnuancesinherrecordingarerefreshinglyunapologeticin
pushingtheboundariesofexpressivity.ItisSamsonFrançoiswhoembracesthe
84‘S’ilyaeuunpianiste[…]dontilaparticulièrementappréciélesinterprétationsjecroisquecefut[RobertCasadesus].C’étaitleplusmusicien.Ilabeaucoupcomposé,ilétaitleplussavantdetouslespianistes.IlavaitlatechniquequeRavelavaiteue,jesuppose,étantjeune:avecunesonoritéunpetitpeu‘clavecin’.Moinsemphatiquequ’àprésent:onmettaitmoinsdepédale.Casadesusétaitcommeça:trèspeudepédale,touttrèsnet,bienprécis,trèsaupoint.RaveltrouvaitqueMozartparCasadesusétaitparfait.Jeletrouvaistropfroid,maisRavelaimaitça’.MarcelMarnat,Ravel:SouvenirsdeManuelRosenthalrecueillesparMarcelMarnat,p.148.
239
nineteenth-centuryromanticismthatunderpinsCortot’spianisminhisunashamedly
poeticandvirtuosicperformance.VladoPerlemuter,whoseearlytechnical
groundingwasshapedbyMoritzMoszkowski,alsobenefittedfromtheinspired
pianismofCortot,aswitnessedbyhisrefinedtouchandeuphonioussonority.
PerlemuterplayedavitalroleinthedisseminationofRavel’sinterpretivethoughts
tosucceedinggenerationsofpianiststhroughoutthetwentiethcentury,andlike
RobertCasadesus,hewasheldupasthedefinitiveRavelianpianist,asthisstatement
byRavel’sclosefriendanddedicateeoftheViolinSonata,HélèneJourdan-Morhange
attests:
VladoPerlemuterisoneofthecustodiansofRavel’sthought.NoonecanplaymorelikeRavel.HavingworkedontheSonata,theDuoandtheTriowithRavelwhenIwasaviolinist,IrecognizeinPerlemuter’sinterpretationsalltheidiosyncrasies,allRavel’swishes:exaggeratedswells,crescendiwhichexplodeinanger,turnswhichdieonaclearnote,thegentlefrictionofaffectionatecats…andinallthisfantasy,stricttimeinexpressionandrigoureveninrubato.85
ListeningtoPerlemuterandCasadesus’recordingsofLeTombeaude
Couperinhighlightsthesimilaritiesanddifferencesintheirpianism.Theyboth
exhibitwhatHans-HeinzStuckenschmidtreferredtoasa‘Frenchspiritualstrength
thatisrootedinmoderationandclarity’86exemplifiedbyevennessofexecutionand
immaculaterhythmiccontrol.Converselytheirapproachestotouchandarticulation
revealfundamentaldifferencesstemmingfromCasadesus’coolclassicismas
opposedtoPerlemuter’slyricalromanticism.RoyHowatnotesthatforRavel
‘differencesofindividualandnationalstylefromperformerslefthimunworried:
85‘Aprèslesheurespasséesàdiscuterautantqu’àjouerdupiano,onpeutdirequeVladoPerlemuterestundesdétenteursdelapenséeravélienne.Onnepeutjouerplusravélien.Ayantcommevioliniste,travailléleSonate,leDuoetleTrioavecRavel,jereconnaisdansl’interprétationpianistiquedePerlemutertousles‘dadas’sij’osedire,touslessouhaitsravéliens:lessouffletsexagérés,lescrescendiquiexplosentencolère,lesgruppettiquimeurentsurunenoteclaire,lesfrôlementsdechattesamoureusesetdanstoutecettefantaisie,lamesuredansl’expressionetmêmedanslerubato…larigueur’.Raveld’aprèsRavel,pp.8-9.86Hans-HeinzStuckenschmidt,MauriceRavel:VariationenüberPersonundWerk(Frankfurt:Suhrkamp,1996),Englishtrans.BySamuelRosenbaum,(Calder&Boyles,1969)MauriceRavel:VariationsonhisLifeandWork,Introduction.
240
manyarethestoriesofhimendorsingperformancesquitedifferentfromhisown
conceptionsolongastheyshowedmusicalintelligenceandcoherence.’87These
referencestointelligenceandcohesionindisputablyapplytotherelativeoutsider,
MadeleinedeValmalète,inherintuitiverecordingofLeTombeaudeCouperinand
theclear-sightedwayinwhichshebringsRavel’snotationtolife.Inthissense,
Valmalète’sinterpretationwouldseemtoresonatemostdirectlywithRavel’sstance
ontheperformanceofhismusic,asrecalledbyMargueriteLongatamasterclassin
1925:‘Madam,don’tinterpretmymusic,justplayit,andbelieveme,that’salready
enoughofachallenge!’.88
87RoyHowat,TheArtofFrenchPianoMusic.p.321.88Ravel’scomment,madetoastudentduringamasterclassattheÉcoleNormaledeMusiquein1925,relatedbyMargueriteLongandquotedinJanineWeill,MargueriteLong-uneviefascinante’,p.91.
241
Chapter5
Ravel’sPlaceintheTwentieth-CenturyFrenchPianisticCanon
RavelthecomposerLeTombeaudeCouperinmayhavesignalledanendtoRavel’scompositional
involvementinthesolopianogenre,butforthelasttwentyyearsofhislifehe
wouldexplorepianisticsonorityinadiversebodyofworks,includingsongcycles,
instrumentalchamberworksandtwopianoconcertosasTable5.1demonstrates.
Table5.1.Ravel’spiano-basedcompositionsdatingfrom1920-1937YearoffirstPerformance
Title Scoring
1920 LaValse twopianos(fourhands)solopiano
1922 BerceusesurlenomdeFauré violinandpiano1924 Ronsardàsonâme voiceandpiano1924 Tzigane violinandpianoluthéal1926 Chansonsmadécasses voice,flute,celloandpiano1927 Sonataforviolinandpiano violinandpiano1932 ConcertofortheLeftHand pianoandorchestra1932 ConcertoinG pianoandorchestra1934 DonQuichotteàDulcinée voiceandpianoHecontinuedtojuxtaposeelementsofthemusicalpastandpresentalternating
betweenworksofimmensevirtuosityandtellingsimplicity,ashehaddonein1908
withGasparddelanuitandMamèrel’oye.InthesolopianoversionofLaValsethe
transcendentaltechniquesof‘Scarbo’fromGasparddelanuitarefusedwiththe
neoclassicalharmoniesoftheValsesnoblesetsentimentales.Contrastthiswiththe
twoworksthatfollowit,theBerceusesurlenomdeFauré(1922)withitssimple
chordalaccompanimentswhosemodalflavouralludesubtlytotheharmonicstyleof
thededicatee,andRonsardàsonâme(1924),whereRavelparesdownhispianistic
texturestobarefifthsplayedsolelybytherighthandthatweavearoundthevocal
242
line,evokingthesoundworldofsixteenth-centurycounterpoint.InTziganeRavel
replacedthepianowithanewlyinventedinstrument,thepianoluthéal,builtby
GeorgesCloetensandpatentedin1919.Cloetenshadconstructedamechanicalframe
thatcouldbeinsertedontothepianostringstransformingthenormalpianosound
intothatofa‘harp’and/or‘harpsichord’.1Combiningthetwocoloursproduceda
timbreakintothecimbalom,providingRavelwiththeperfectaccompanimentforthe
soloviolininthisbrilliantpasticheofHungariangyspymusic.Inyetanotherabout-
turn,thepiano’spercussivequalitiescometotheforeinthesecondoftheChansons
madécasses,‘Aoua!’,withrhythmicandmelodicostinatithatexplorebitonalclashes
anddissonantintervalliccombinations,whereasintheSonataforviolinandpiano,
Raveltapsintowhathetermsthe‘incompatibility’2ofthetwoinstruments,exploring
counterpointandmodality,therhythmicandharmonicnuancesofblues,anddry
neoclassicalchordalaccompanimentsinhispianowriting.
Ultimately,andarguablythemostextensiveexplorationofpianisticsonority
inallofRavel’skeyboardworkscanbefoundinthetwopianoconcertos.Composed
simultaneouslytheyareallthemoreextraordinaryinthattheyinhabittotally
differentpianisticuniverses.TheConcertoinGowesitsallegiancetotheclassical
pianismofMozartandSaint-Saëns,whilsttheConcertofortheLeftHandpitsthe
pianist’slefthandagainstthemightoftheorchestrainaDavidandGoliathconflictof
1TherekindlingofinterestinearlymusicinFranceduringthefirstdecadesofthetwentiethcenturyhadpromptedCloetens(aBelgianorganbuilder)tosearchforawaytocreateharpsichord(andharp)soundsonthepianobyinsertingcertaindevicesontothepianomechanism.RavelalsousedthepianoluthéalinhisoperaL’Enfantetlessortilèges(1920-25).Formoreinformationsee‘Aguidetothepianoluthéal’,CarolineRaeinconversationwithThierryManiquetattheMuséedelaMusiqueintheCitédelaMusique,CityofLight:Paris1900-1950(London:PhilharmoniaOrchestra,2015)<https://www.youtube.com/watch?v=n5VpzwrTkfI>[accessedJune2015].2AlexisRoland-Manuel,‘UneEsquisseautobiographiquedeMauriceRavel’,LaRevuemusicale(Paris:1938),pp.17-23.Englishtrans.DennisCollins,‘AnAutobiographicalSketchofMauriceRavel’,inArbieOrenstein(ed.),ARavelReader,p.32.
243
Lisztianvirtuosity.Togethertheseconcertosconstituteacomprehensiveguideto
Ravel’spianisticgenealogy,withinfluencesthatcanbetracedbacktohisearliest
experiences,thefluidpianismoftheStilebrillante,thevirtuosicpianowritingof
Thalberg,amelodicsensibilityinheritedfromMozartandChopin,Chabrier’svibrant
rhythmsandharmoniesandLiszt’sorchestrallyconceivedpianism.Atonepointin
theConcertofortheLeftHand,Ravel’sextendedarpeggiofigurationscallfora
displacementfingeringwherethewholehandmoveatlightningspeedacrossthe
pianoina1-2-3-5fingeringpattern,aninnovativetechniqueassociatedprincipally
withthepianismofJohannesBrahms,acomposerwhoRavelfamouslydismissedas
havingwritten‘aconcertoagainstthepiano’.3Tables5.2and5.3illustratethe
breadthofRavel’smodelsineachconcerto.
3UnsignedinterviewinDeTelegraaf,6April,1932.ReproducedinOrenstein,ARavelReader,p.494.
244
Table5.2.Ravel:ConcertoinG:Pianistictechniquesassimilatedfromothercomposers.Rehearsalnumberinfullscore
Composer Descriptionofpianowriting
Movement1‘Allegramente’
4-5 Gershwin Bluesharmonieswithenharmonicclashes
10 Scarlatti Leapingostinatiwithinmotoricpassagework
17 Saint-Saëns/Liszt Busyoctaveascentbetweenthehands18 Thalberg Three-handedtexture-innermelody
surroundedbychords26 Thalberg Three-handedtexture-innermelody
surroundedbytrill(treble)andarpeggiatedfigurations(bass)
Movement2‘Adagioassai’
Opening Mozart Simplemelodyandaccompaniment(latter’soom-pah-pahrhythmgentlyalludingtoRavel’spenchantforirony)
3-6 Mozart/Chopin/Saint-Saëns
Cantilenacountermelody
Movement3‘Presto’
1 Stravinsky/Thalberg Briskinnermelodyplayedbyalternatethumbssurroundedbybarefifthsandaugmentedintervals.
3 Gershwin Cross-rhythmicinterplaybetweenthehands
4 Liszt Semiquaverpassageworkwithaleapingchordalaccompaniment
6 Moscheles Handsengageinafast-movingcounterpoint
9 Chabrier Energeticandlivelytexture-parallelchordsreminiscentoftheJoyeusemarche
245
Table5.3.Ravel:ConcertofortheLeftHand:Pianistictechniquesassimilatedfromothercomposers.Rehearsalfigure Composer Descriptionofpianowritinginthe
Concerto4 Liszt Firstpianoentry(cadenza)akintothe
bravuraopeningpianostatementinLiszt’sPianoConcertoNo.1
8 Thalberg Three-handtexture-treblethumbmelody,innerchordsandarpeggiatedbassline
10-11 Liszt ExtendedarpeggiosincorporatingwideleapsasinLiszt’s‘LaCampanella’
17 Chabrier Rhythmicdriveandbrightlynuancedpassageworkincompoundtime
21 Chopin RareinstanceoffastcascadeofoctavesreminiscentofthefinalflourishinChopin’sÉtudeOp.10No.5
38 Brahms Arpeggiowritingsuggestsafingeringof1-2-3-5/1-2-3-5etc,atechniqueexploitedbyBrahmsinhispianoworksandspecificallyinhis51Exercises
43-46 Liszt FastmovingstridebasssimilartothoseusedbyLisztintheHungarianRhapsodies
50 Liszt/Thalberg/Chabrier Arpeggiatedtexturesexpandedtoaccommodatelargeareasofthekeyboard,coupledwiththumbmelodiesandinternalchords.RavelsignsoffinthefinalfivebarswithasalutetoChabrier.
RaveltheperformerandteacherRavelcontinuedtoperformhissoloworksinpublicwellintothe1930s.Aletter
writtentothepromoterofhisAmericantourin1928-29detailsthelistofsoloworks
thathewaspreparedtooffer,includingMenuetantique,PavanepouruneInfante
défunte,Sonatine(allthreemovements),‘Oiseauxtristes’and‘LaValléedescloches’
fromMiroirs,Prélude(1913),andLeTombeaudeCouperin(exceptingthe‘Fugue’and
246
‘Toccata’)4inadditiontothepianopartsofthesongcyclesHistoiresnaturellesand
Chansonsmadécasses,andtheSonataforviolinandpiano.Thepublicresponsestohis
performancesweremixed,rangingfrom‘polished,infinitelywhimsical’to‘itisa
traditionthatcomposersplaybadlyandnoonecancomplainthatRaveldoesnot
respectit’.5
Ravel’sperformancestylesasreflectedintherollrecordingsfrom1913,1922
and1928alsohighlightelementsofquirkinessandunpredictabilityoftenatodds
withhisnotatedinstructions.Thishasnotbeenhelpedbydistortedandunbalanced
transfersofthepianorollstoLPandCDformatduringthetwentiethcentury(as
discussedinChapter3).Neverthelesswiththeadventofsensitiverealizations
carriedoutonappropriatelypreparedpianosbyDenisCondon,KenCaswell,andin
particular,DenisHall,itisnowpossibletoappreciateRavel’sinterpretationsforthe
crucialinformationtheyimpartwithregardtohisperformancepracticechoicesthat
gobeyondhiswrittennotation.
Turningtotheinterpretationsofhisworksbyotherperformers,Ravelis
knowntohavefavouredseveralpianists(mostlyofFrenchorigin)atonetimeor
another,themostsignificantbeingRicardoViñes,MargueriteLong,Robert
Casadesus,HenrietteFaure,VladoPerlemuter,JacquesFévrier,YvonneLefébureand
MarcelleMeyer.ViñesplayedadecisiveroleintheformationofRavel’spianisticstyle
andasDavidKorevaarandLaurieJ.Sampselnote‘thereislittlequestionthatViñes’
brandofpianismdependentonhisexquisitepedallingandcommandofcolourhada
4Orenstein(ed.),ARavelReader(1990).LetterfromRaveltoBernardLaberge,11November1928.5SamuelChotzinoff,‘Music’,NewYorkWorld,27February1928;NormanDunfee,MauriceRavelinAmerica(DMAdissertation,1980).BothquotationsreproducedinNichols,Ravel,pp.292-3.
247
tremendouseffectonRavel’sdevelopmentasacomposer’.6RavelchoseViñesto
premierethemajorityofhispianoworksfromtheSérénadegrotesqueuptoGaspard
delanuit.ThepremiereofJeuxd’eauinApril1902wasadefiningmomentforFrench
pianisticimpressionism,inspiringandunleashingastreamofworksfromClaude
DebussyincludingtheEstampes(1903),Masques(1904)andL’islejoyeuse(1904)all
ofwhichwerealsopremieredbyViñes.HoweverbothRavelandDebussyseemto
havebecomedissatisfiedwithViñes’interpretationsoftheirworksaroundthesame
time.RavelreferredtoViñes’playingofGasparddelanuit(1908)asnot‘intheway
thecomposerintended’citinghisignoringofthenuanceandtempomarkings.7
LikewiseDebussycomplainedofViñes‘distortingtheexpression’whenperforming
thesecondseriesoftheImages.8
MargueriteLongprovidedtheperfectantidotetoViñeswithherclean,elegant
playingstyle,andfrom1910onwardsheactivelypromotedRavel’spianoworks,
givingthepremieresofLeTombeaudeCouperinandtheConcertoinG,andasthe
teacherofJeanneLeleuandGenevièveDurony(aged11and14respectively)who
premieredMaMèrel’Oye.9RavelcametoLong’sdefenceafterthepremiereofthe
ConcertoinG(whencriticHenriPrunièreshadpannedherperformanceas‘lacking
inspiration’)witharesoundingendorsementofherinterpretationstatingthat‘it
conformsinallparticularstomyownthoughtsanditshouldformthebasisofa
traditionforfutureperformance’.10Long’s1932recordingoftheConcertoinG
6 DavidKorevaarandLaurieJ.Sampsel,‘TheRicardoViñesPianoMusicCollectionattheUniversityofColoradoatBoulder’,Notes,SecondSeries,Vol.61,No.2(MusicLibraryAssociation,2004),pp.361-400. 7ExpressedinalettertoMichelCalvocoressiinMarch1922priortohisrecordingsessionsforDuo-Art.ReproducedinOrenstein,ARavelReader,p.219.8CharlesTimbrell,‘DebussyinPerformance’,TheCambridgeCompaniontoDebussy(Cambridge,CambridgeUniversityPress,2003),p.262.9Datesofpremieres:11April1919,5January1932,and20April1910respectively.10OpenlettertoHenriPrunières,Larevuemusicale,13April1932,p.320.Prunières’critiquehadappearedintheFebruary(1932)issue.Englishtrans.,RonaldWoodley,‘PerformingRavel:Styleand
248
demonstratesexcellentarticulationthroughoutandisplayedauthoritativelywith
stricttempitemperedwithajudicioususeofrubato.11
ItthereforeseemsthatRavel’sshifttowardsamoreclassicalstyleofpianism
inhiscompositionsfrom1910onwardswasalsoreflectedinhispreferredchoiceof
interpreters.ThepianistheselectedinsteadofViñestorecordGasparddelanuitat
the1922Duo-Artrecordingsessionswasthetwenty-three-year-oldRobert
Casadesus,whoseplayingstyleepitomisedtheFrenchqualitiesofbalance,fluidity
and,cruciallyforRavel,fidelitytothetextandanabilitytomaintainarock-solid
pulse(CasadesushadbrieflyservedasadrummerintheFrencharmy).Ravelwas
particularlyeffusiveregardingCasadesus’performanceofJeuxd’eauinapioneering
radiobroadcastdevotedtoRavel’spianoworksin1924.12AswithLong’sbrisk
interpretationofthe‘Prélude’fromLeTombeaudeCouperinRavelapprovedof
Casadesus’tempoforJeuxd’eau(quaver=160,asopposedto144asmarked).
EquallyappealingtoRavelwasthemellowplayingofVladoPerlemuterwhose
lyricalandmoresubjectivetonebroughtanaddeddimensiontohisinterpretations
ofRavel’smusic.BothPerlemuterandHenrietteFauregainedinvaluableinsightinto
Ravel’svisionforhisworksastheirrecollectionsoflessonswithhimattest.Ravel’s
attentiontodetailwasmicroscopicandrigorous,withintensesessionsspentfine-
tuningrhythmicindependencebetweenthehands,accentuation,pedalling,and
dynamicnuances.However,Ravel’smethodseemsnevertohavebeendraconianas
Perlemuterobserved:‘[…]hewantedonetoplayexactlywhathehadwrittenwithout
PracticeintheEarlyRecordings’,inDeborahMawer(ed.),TheCambridgeCompaniontoRavel,(Cambridge:CambridgeUniversityPress,2000),p.235.11MargueriteLong(piano);SymphonyorchestrawithPedrodeFreitasBranco(conductor),Paris:Columbia,April1932.CD,PristineClassicsPASC285(2011).12Theconcert/broadcasttookplaceattheSallePleyel,Paris,11June1924.RavelwrotetoCasadesus,saying‘DidItellyou,theothernight,thatJeuxd’eau(amongotherpieces)hasneverbeenplayedsowell?’Letterdated18June1924reproducedinOrenstein,ARavelReader,p.256.
249
itbecomingstiff(figé)’.13TherecordedinterpretationsofRavel’spianoworksby
bothFaureandPerlemuterdiscussedintheearlierchaptershighlighttheseessential
qualitiesthatRavelpromulgated,andyettheirperformancesdisplaymanysubtle
differencesthatbetraytheircontrastingpedagogicalbackground.Faurecuther
pianisticteethwitharch-classicistsLouisDiémerandMargueriteLong,whereas
Perlemuter’stechniquewashonedwithMoszkowski,whilsthisextrovert,nuanced
interpretationscanbetracedbacktohisstudieswithAlfredCortot.
Cortot’srelationshipwithRavelseemstohavebeencordialbutrather
guarded,andasKarenTaylorobserves:‘intheopinionofmanyFrenchmusicians
activebetweenthewar,CortothadlittleflairforthemusicofRavel-lessidiomatic
andnotofthesameexceptionalartisticinterestashisplayingofsayFauré’.14Itisnot
knownwhatRavelthoughtofCortot’s1923recordingofJeuxd’eau,15describedby
RonaldWoodleyas‘astunningperformance,retainingexceptionalqualitiesofclarity
andpianismandafinelyjudgedbalancebetweenvolatilityandrestraint’.16Cortot’s
openingtempoisevenfasterthanthatofCasadesusatquaver=168,withthe
performanceachievingastructuralfluiditythatWoodleynotesascreating‘thesense
ofanextendedimprovisationwithlinksbacktotheLisztiantradition’.17Marguerite
LonghighlightsthislastpointinhertreatiseLePianowhereshestatesthatRavel
‘demandedthatoneshouldplayJeuxd’eaulikeLiszt’.18Cortot’s1931recordingofthe
13‘[…]ilvoulaitquel’onjouâtexactementcequ’ilavaitécritmaisilnevoulaitpas,nonplus,quecesoitquelquechosedefigé.’CommentsourcedfromJeanRoy(ed.),Raveld’aprèsRavel,suividesrencontresavecVladoPerlemuter(Aix-en-Provence:Alinea,1989),p.98.14KarenM.Taylor,AlfredCortot:hisInterpretiveArtandTeachings,DMAdissertation(IndianaUniversity,1988).15NewYork:Victor,1March1923.16 Woodley, ‘PerformingRavel:StyleandPracticeintheEarlyRecordings’inMawer(ed.),TheCambridgeCompaniontoRavel,(2000),pp.226-7.17Ibid.18‘RavelestlecontinuateurdelatechniquedeLiszt.Ildemandaitquel’onjouâtJeuxd’eaucommeduLiszt.’MargueriteLong,‘Introduction’,LePiano(Paris:Salabert,1959),p.16.
250
Sonatine19isalsohighlynuanced,employinglingeringtouchesofrubatoandtempo
fluctuationsthatfeelsomewhatindulgentwhencomparedwithRavel’smost
restrainedapproachinhis1913rollrecording.ItwouldseemthatCortotwasmore
suitedtoRavel’sextrovertpianoworks(regrettablyhedidnotrecordMiroirsor
Gasparddelanuit)asdemonstratedinhisexuberantandhighlychargedrecordingof
theConcertofortheLeftHand.20UnfortunatelyCortotincurredRavel’sdispleasure
byrearrangingtheConcertofortwohands,anactthatimplieshemisunderstood
Ravel’sintentionsforthisworkandespeciallythewayinwhichRavel’sexploration
ofpianisticvirtuositystemsentirelyfromthesingularphysicalconfigurationsofthe
lefthand.
JacquesFévrier,whostudiedwithMargueriteLongandwasRavel’sfavoured
interpreteroftheConcertofortheLeftHand21cultivatedapianisticstylequite
distinctfromthatofCortot.Inhis1971recordingofthecompletesoloworkshe
demonstratesanempathywithRavel’sorchestralsoundworld,evokingthe
woodwindsonoritiesfromthe‘Forlane’ofLeTombeaudeCouperininhis
performanceusingadry,articulatesonorityandsparsepedalling.22Theperformance
styleofYvonneLefébure,whostraddlesthepedagogicalschoolsofbothLongand
CortotalsodemonstratesthisalertnesstoRavel’sorchestralpaletteofcolours,as
sheherselfmaintained:‘Itrynottoplaythepianobuttoplaytheorchestra’.23
Lefébure’sperformancestyle,combiningincisivefingerworkwithabigsoundthat
19Paris:Gramophone,May1931.20AlfredCortot(piano);OrchestredelaSociétédesConcertsduConservatoire,CharlesMunch,(conductor),Paris:Gramophone,12May1939.CD,NaxosHistorical,8.110613,(2000).21AccordingtoRogerNichols,Ravel,p.320.22LP,Adès7041-4(1971).23QuotefromYvonneLefébureintheaccompanyingbookletnotestoCDSolsticeFYCD018(1975)[authorunknown].
251
emanatedfromCortot’swholebodytechnique,wascapturedinafulsomereviewby
AmericancomposerandcriticVirgilThomson:
OneofMadameLefébure’smostimpressiveachievementsistheaccuracywithwhichshecanstrikewholechordsfromaheightof15”abovethekeyboardwithperfectbalanceandagreeabletoneatanyspeedandatanydegreeofloudnessorsoftness.24
WithMarcelleMeyer,thepedagogicalpictureexpandsevenfurthertoincorporate
notonlyLongandCortotbutalsoRicardoViñes.ThusherinterpretationsofRavel’s
pianoworksrunthegamutofFrenchkeyboardtechniques,combiningtheclarityand
dexterityoftheclavecinistes(RameauandCouperin),Chabrier’sbrightcolours,
Debussy’shalf-tintsandlongpedals,thebrisktempi,tensilestrengthandcool
detachmentofLesSix,andhermostRavelianattribute,apreoccupationwithmelodic
projection.
ThesheerdiversityofcompositionalstylesandpianistictechniquesinRavel’s
solopianoworks,coupledwiththewide-ranginggenealogicalbackgroundsand
performingstylesofthepianistsdiscussedwithinthisdissertation,makeitvirtually
impossibletopinpointoneinterpretativeformulathatfitsall.Whatemergesinstead
isanintriguingmélangeofperformancepracticesincorporatingontheonehand
Frenchclassicismrootedineighteenth-centurykeyboardtechniques(withLongat
thehelm)andontheothernineteenth-centuryFrenchromanticism(withCortotat
thehelm).ThreadsofcommonalitybindthesetwoopposingstrandsofFrench
pianismtogetherinthetempereduseofrubato,expressivepracticesgovernedby
clearlydefineddynamicgradationsandanapproachtoarticulationthatstemsfrom
orchestral(andvocal)colour,arhythmicacuitythatowesitsoriginstoeighteenth-
andnineteenth-centurycenturydancesandadeftbalancingoftexturesthatgivelight
andclaritytotheinterpretation.AtthecentresitsRavelwhoasthecomposer
24VirgilThomsonreviewingarecitalgivenbyLefébureinNewYork[n.d.].Ibid.
252
imbibed,memorized,reworked,reinventedandgavenewlifetothepianotechniques
ofhisforefathersinaseriesofstaggeringlyoriginalcompositions.
InashortfilmextractfilmedatLeBelvédèreinMontfortl’Amaury,Caroline
RaedescribesRavel’shomethus:
Eachroomisitsownuniverse[…]asyoutravelfromroomtoroomyoutravelinspaceandintime,soalmosttheboundariesofRavel’shousearelimitless…aslimitlessandwithoutboundariesashisownimagination.25
Inthesamewayeachpianoworkinhabitsitsownuniverse,invitingtheperformer
toexplorepianisticcolour,textureandtimbrefromafreshperspectiveatevery
opportunitywithintellect,taste,balanceandsensibilitywhilstalwaysmindfulof
Ravel’smantra:‘[…]theperformer’staskisnevertoforgetthatthelinebetweenthe
letterandspiritofaworkisverynarrowandmustremainso’.26
25CarolineRae,CityofLight:‘Ravel’sworld’.<www.philharmonia.co.uk/paris/>[AccessedJune2015].26UnpublishedtypescriptbyAndreAsselin,entitled‘Nostalgie’impartedtoArbieOrensteinbyJeanTouzeletandreproducedinARavelReader,p.389.
253
SelectiveBibliography
Thisbibliographyisdividedintotwomainsectionsrelatingtoprimaryand
secondarysources.Primarysourcesaredividedintofoursubsections:
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works,includingearlyeditionsandmanuscripts,thissectionbeingitselfsubdivided;
(3)discography;(4)documentaries,interviews,televisedmasterclassesandlive
performancesrelatingtoaspectsofpedagogyandperformanceinRavel’spiano
music.ScoresaccessedattheBibliothèquenationaledeFrancehavebeenidentified
belowwiththeirBnFcataloguenumber.Annotatedperformanceeditionsthat
belongedtopianistsdiscussedinthisdissertation,accessedattheBibliothèque
nationaledeFrance(BnF)andMediathèqueMusicaleMahler(MMM)arealsolisted
belowtogetherwithdetailsofthemodernperformanceeditionsconsultedin
preparationforthisthesis.
Secondarysourcesarearrangedintotwosubsections:(5)booksand
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CahiersMauriceRavelhavebeenlistedtogetherinthefinalsectionunderthejournal
title.Additionalmaterialsincludingindividualletters,pressarticlesanddraftpapers
housedatthearchivecollectionsofMargueriteLong,AlfredCortot,YvonneLefébure
andÉmileVuillermozattheMediathèqueMusicaleMahleraretoonumerousto
includeherebuthavebeenreferencedasrequiredinthedissertationfootnotes.
254
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Fétis,François-JosephandIgnazMoscheles,Méthodedesméthodesdepiano(Paris: Schlesinger,1840).Englishédition(London:Chappell,1840)Ghys,Henri,DouzePréludespourpiano,CahiersIINos.7-12(Leipzig/London: Breitkopf&Hartel,1891)_______Redowafantaisistepourpiano(Paris:Lemoine,1886)_______Séduction,Valse-caprice(Paris:LeonGrus,1886)GhysHenri(ed.),AirduRoyLouisXIII,arrangementforfourhands.Manuscriptscore datedAugust301882.BibliothèqueNationaledeFrance.Rés:VMAMS-1067Grieg,Edvard,PianoConcertoOp.16(London:Eulenberg,1983)Herz,Henri,1,000ExercisesfortheuseoftheDactylion(London:D’Almaine,1836)_______PianoConcertoNo.3Op.87(Paris:Meissonier,1837)Johnson,Jeffrey,(ed.),PianoLessonsintheGrandStylefromtheGoldenAgeofthe ÉtudeMusicMagazine(1913-1940)(NewYork:Dover,2003)Kalkbrenner,Friedrich,Méthodepourapprendrelepianoàl’aideduguide-mains suiviededouzeétudes,expressémentcomposéespourdonnerde l’indépendanceauxdoigts(Paris:Pleyel,1830)Kufferath,HubertFerdinand,SixétudesdeconcertOp.8(Bonn:Simrock,1842)LeCouppey,Felix,Del'enseignementdupiano:conseilsauxélèvesetauxjeunes professeurs(Paris:1882).EnglishtranslationbyM.A.Bierstadt(London: Reeves,1903)Liszt,Franz,AnnéesdepèlerinageS.160-3(Budapest:EditionMusicaBudapest, 1970-2005)_______Étudesd’exécutiontranscendante,KlavierwerkeBandIII,ed.EmilvonSauer (Frankfurt:Peters,n.d.[1913-17])_______Troisétudesdeconcert,KlavierwerkeBandIV,ed.EmilvonSauer (Frankfurt:Peters,n.d.[1913-17])Long,Marguerite,AupianoavecMauriceRavel,ed.PierreLaumonier (Paris:Julliard,1971).Englishedition:AtthePianowithMauriceRavel,trans.Olive
Senior-Ellis(London:Dent,1973)_______LePiano(Paris:Salabert,1959)Mathias,Georges,Étudesspécialesdestyleetdemécanisme(Paris:Heugel,1862)_______Allegrosymphoniquepourpiano(Paris:Hartmann,1870)Marmontel,Antoine-François.Nouvelleétudejournalièredanstouslestonsmajeurset mineurspourdévelopperl’agilitéetl’indépendancedesdoigts(Paris:Heugel,1864)_______Lespianistescélèbres;silhouettesetmedailles(Paris:Heugel,1878)_______Histoiredupianoetsesorigines(Paris:Heugel,1885)_______Virtuosescontemporaines(Paris:Heugel,1882)Mendelssohn,Felix,CompleteWorksforPianoandOrchestra(NewYork:Dover,1996)Moscheles,Ignaz,PianoConcertoNo.3,Op.58(Moscow:Jurgenson,1875)
Perlemuter,VladoandHélèneJourdan-Morhange,Raveld’aprèsRavel.(Lausanne: EditionsduCervin,1957;5/1970).Augmentedre-edition:Raveld’après Ravel,suividesrencontresavecVladoPerlemuter,ed.JeanRoy(Aix-en-Provence: Alinéa,1989).Englishedition(fromtheabove1970volume):Ravelaccording toRavel.Englishtrans.FrancesTanner,ed.HaroldTaylor(London:Kahn& Averill,1990)Rameau,Jean-Philippe.Codedemusiquepratique(Paris:Imprimerieroyale,1760). Modernedition(Paris:HachetteLivreBnF,2012)Riera,Santiago,Nouvelleécoledutrille(Paris:Leduc,1917)
256
Saint-Saëns,Camille.PianoConcertoNo.2Op.22,ed.IsidorPhilipp(NewYork:Schirmer, 1943)Schumann,Robert,FantasyOp.17,HenleVerlagHN276,eds.WolfgangBoetticherand Hans-MartinTheopold(Munich:Henle,1979)_______SonatainGminorOp.22,HenleVerlagHN331,eds.ErnstHerttrichandHans- MartinTheopold(Munich:Henle,2009)_______AndanteandVariations,Op.46ed.ClaraSchumann(Leipzig:Breitkopf,1880)Stamaty,Camille,Lerythmedesdoigts,chantetmécanisme,etsouvenirsdu Conservatoire,Op.37-39(Paris:Heugel,1859)Thalberg,Sigismond,L’Artdechantappliquéaupiano,oeuvrescélèbresvocaleset orchestralesdesgrandsmaîtres,transcrites,accentuéesetdoigtéespourle piano,avecannotationsducélèbrepianistesurlestyleetl’exécutiondeces chefsd’oeuvre(Mainz:Schott,1853-64)_______ThèmeetétudeOp.45(Paris:Troupenas,nodate[1842-3])_______Thalberg’sandVieuxtemps’GrandConcertBook(NewYork:unidentified publisher,1857).AccessedBritishLibrary(August302016)Zimmermann,Pierre,EncyclopédieduPianiste-Compositeur(Paris:chezl’auteur,1840)2)ScoresofRavel’spianoworksconsultedinpreparationforthisthesisa)MauriceRavel’smanuscriptsandfirsteditions(accessedBnF)Pavanepouruneinfantedéfunte(Paris,Demets.n.d.)[VmBob21893]Jeuxd’eau(sketches)[VmBob26628]Sonatine[IFN8478966]Miroirs(Paris:Demets,1906)[VmBob21895]‘Unebarquesurl’océan’[MS13453andMS17328]‘Alboradadelgracioso’[VmBob5902]‘LaValléedescloches’[MS17682]Gasparddelanuit(Paris:Durand,1909)[VmBob21897]Valsesnoblesetsentimentales(Paris:Durand,1911)[VmBob21899]b)Annotatedperformanceeditions(Ravel)thatbelongedtootherpianists[accessedattheMMMandBnF] i)Casadesus,Robert(accessedatBnFVMCasadesus489) Jeuxd’eau(Paris:Demets,1902) Sonatine(Paris:Durand,1905) Miroirs(NewYork:Schirmer,No.3360ed.RobertCasadesusaccordingto GabyCasadesus1985) Gasparddelanuit(Paris:Durand,1909) Valsesnoblesetsentimentales(Paris:Durand,1911) LeTombeaudeCouperin(Paris:Durand,1918) ii)Cortot,Alfred(accessedattheMMM,FondsCortot) Jeuxd’eau(Paris:Demets,1902) ‘Alboradadelgracioso’(Paris:Eschig,1906) Gasparddelanuit(Paris:Durand,1909) Valsesnoblesetsentimentales(Paris:Durand,1911)
257
LeTombeaudeCouperin(Paris:Durand,1918) iii)Long,Marguerite(accessedattheMMM,FondsLong) LeTombeaudeCouperin(Paris:Durand,1918) PianoConcertoinG(Paris:Durand,1932) iv)Perlemuter,Vlado(accessedattheBnF) Jeuxd’eau(Paris:Eschig,1902)[IFN-55000854] Sonatine(Paris:Durand,1905)[IFN-55000852] Miroirs(Paris:Demets,1906)[IFN-55000847] Gasparddelanuit(Paris:Durand,1909)[IFN-55000856] Valsesnoblesetsentimentales(Paris:Durand,1911)[IFN-55000846] LeTombeaudeCouperin(Paris:Durand1918)[IFN-55000857]c)PublishededitionsofRavel’spianoworksconsulted Sérénadegrotesque Paris:Salabert,1975Menuetantique Paris:Enoch,1898,(reprintedNewYork:Dover,1986)PavanepouruneInfantedéfunte, London:Peters(ed.RogerNichols),1992Jeuxd’eau Paris:Eschig,1902 London:Peters(ed.Nichols),1991 Munich:Henle(ed.PeterJost),2008Sonatine Paris:Durand,1905; London:Peters(ed.Nichols),1995 Munich:Henle(ed.Jost),2011Miroirs Paris:Eschig,1906 London:Peters(ed.Nichols),1991Gasparddelanuit: Paris:Durand,1909 VanNuys:Alfred(ed.NancyBricard),1990 London:Peters(ed.Nichols),1991MenuetsurlenomdeHaydn London:Peters(ed.Nichols),1993Valsesnoblesetsentimentales: Solopiano-Paris:Durand,1911 Orchestra-Paris:Durand,1912,(reprinted:NewYork:Dover,2001)Prélude London:Peters(ed.Nichols),1993ÀlamanièredeBorodine: London:Peters(ed.Nichols),1993ÀlamanièredeChabrier London:Peters(ed.Nichols),1993LeTombeaudeCouperin(Solopiano)
258
Paris:Durand,1918 London:Peters(ed.Nichols),1995;LeTombeaudeCouperin(Orchestra) Paris:Durand,1919,(reprinted:NewYork:Dover,2001)LaValse(Solopiano) Paris:Durand,1920Concertopourpianoetorchestre(Solopianowithorchestralreduction) Paris:Durand,1932 London:Peters(ed.Nichols),2014Concertopourlamaingauche(Solopianowithorchestralreduction) Paris:Durand,1937 MauriceRavel:Œuvrespourpiano(reprintoforiginalDurandedition) Paris:Durand,20143)RecordingsofRavel’spianoworksconsulteda)Ravel’s1913,1922and1928pianorollrecordings(remasteredversions)
i)TheCaswellCollection,producedbyKenCaswell:‘MauriceRavel,the ComposerasPianistandConductor’.CD,Pierian0013(2002)ii)TheCondonCollection,producedbyDenisCondon:‘Ravel:Mastersof thePianoRoll’.CD,DSPRCD004(1992)iii)‘MauriceRavelplaysRavel’,LP,Ember:GVC39,1975;CDreissue 2009)
b)Recordingsbyotherpianists(Completesolopianoworks[exceptingSérénadegrotesque]unlessotherwisespecified)Casadesus,Robert SonyMasterworksMH2K63316,December41951(issued1952), CDreissue,Sony(1998).Cortot,Alfred
Jeuxd’eau(NewYork:Victor,1923),Sonatine(London: Gramophone1931);bothreissuedCD,EMIClassicsAlfredCortot,theMasterPianist(2008)
PianoConcertofortheLeftHand,OrchestredelaSociétédes ConcertsduConservatoire,CharlesMunch(conductor), Gramophone,(1939).CD,NaxosHistorical,8.110613(2000)Faure,Henriette MiroirsandLeTombeaudeCouperin,Pathé,LD,XPTX71433DTX292(1959)ReissuedasCD,BnFCollection[nocataloguenumber](2014)Février,Jacques LP,Adès7041/44(1971)François,Samson CVC2054-6IME-PathéMarconi,Paris(1957/58)
LP,EMIFrance(1967).CD,EMI(2002).CDincludingthePianoConcertos,WarnerClassics5099967831(2012)
259
Lefébure,YvonneJeuxd’eau,ValsesnoblesetsentimentalesandLeTombeaude Couperin.Recordedin1975.CDSolsticeFYCD018(1986)
Long,Marguerite ConcertoinG.Symphonyorchestra,PedrodeFreitasBranco (conductor),Columbia,1932.CDPristineClassicsPASC285(2011)Meyer,Marcelle LP,EMIRéférences2909633(1954).CD,MarcelMeyer,CompleteStudio Recordings1925-1957,EMIClassics0946384699-2-6(2007) Perlemuter,Vlado LP,VoxLegendsVoxBox,CDX25507(1999)[Originalrecording,1955]deValmalète,Madeleine Jeuxd’eauandLeTombeaudeCouperin.CD,Arbiter144(2005)
4)Documentaries,interviews,masterclassesandliveperformancesLefébure,Yvonne,televisiondocumentary:‘YvonneLefébureteacheshowtoplayRavel’ (StGermain,1974),<www.youtube.com/watch?v=L06_enYnmBE>[Accessed 22October2012]Mok,Gwendolyn,Interview(2002)<www.gwendolynmok.com>[Accessed22 October2012]Nichols,Roger,FrenchSingersandPianists,featuringsixpianists,BBCRadio3, broadcast,August-September1989.[AccessedJune2012] MargueriteLong,BritishLibrarySoundArchive[BLSA]B/4683. MarcelleMeyer,[BLSA]B/4750. MagdaTagliaferro,[BLSA]B/4725. RobertCasadesus,[BLSA]B/4744/1. RicardoViñes,[BLSA]B/4677. YvesNat,[BLSA]B/4686.Perlemuter,Vlado,InterviewwithRoyPlumley,BBCDesertIslandDiscs, London,14October1984[AccessedBBCiplayer20July2016]Rae,CarolineandCarolinePotter,‘Ravel’sWorld’,andRae,Caroline‘Aguidetothe pianoluthéal’,CityofLight:Paris1900-1950(PhilharmoniaOrchestrafilms, 2014)<http://www.philharmonia.co.uk/paris/>[Accessed3July2016]Thibaudet,Jean-Yves,masterclassonMauriceRavel’sJeuxd’eau(Amsterdam, 30/6/2011),<www.youtube.com/watch?v=7VTyF48zsxg>[Accessed22 September2013]Jean-YvesThibaudet,interviewwithErnieMariouse(NewYork,17March2011), <www.youtube.com/watch?v=J5PhfwX9xz4>[Accessed22September 2013]
260
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_______ Fleuret,Maurice,‘Préface:unalchimistedufuture’,pp.3-6_______Roy,Jean,‘ChronologiedeMauriceRavel’,pp.9-18_______Jourdan-Morhange,Hélène,‘Raveletsesamis’,pp.32-34_______Koechlin,Charles(revisedandeditedbyFrançoisLesure),‘Étudeinédite surRavel’,pp.35-54_______Ravel,Maurice,‘Correspondance[15Letters]withRobertandGaby Casadesus,pp.112-40Vol.2(1986): Szymanowski,Karol,‘EnhommageàRavelàl’occasiondesescinquante ans–mars1925’.FrenchtranslationbyDidiervanMocre,pp.41-43Vol.3(1987): Marnat,Marcel,‘L’imagepubliquedeMauriceRavel1920-1937’,pp.27-52_______Nectoux,Jean-Michel,‘MauriceRaveletsabibliothèquemusicale’,pp.53-63_______Gandouin,Jacques,‘QuandRavelconseillaitVladoPerlemuter’,pp.63-64Vol.5(1990-92): Lesure,François,‘RaveletDebussy’,pp.27-33Vol.8(2004) Jean-Aubry,Georges,‘Profilsperdus,MauriceRavel.ÀRicardoViñes’, pp.136-140Vol.14(2011): Gubisch-Viñes,Nina,‘Ravel,Viñes,lesannéesdesformations:goùts croisés,curiositéspartagées’,pp.16-42 Gubisch-Viñes,Nina,‘Larencontre:lesprémicesd’uneamitié’,pp.16-42_______Baeck,Eric,‘Ravelinterprètesesoeuvresen1923et1932àAnvers’, pp.53-65________Orenstein,Arbie,‘UnentretienavecRoland-Manuel’,pp.113-124Calvocoressi,MichelDimitri,‘WhenRavelComposedtoOrder’,MusicandLetters,Vol. 22,No.1(January1941),pp.43-59Casella,Alfredo,‘Lesgrandsinterprètesdupasséetdupresent’,Larevueinternationale demusique,Nos.5-6(Paris:April1939)pp.871-884Cortot,Alfred,‘Attitudedel’interprète’,Larevueinternationaledemusique,Nos.5-6 (April1939)pp.885-888.Dingle,Christopher,‘YvonneLoriodasSourceandInfluence’,inC.DingleandR.Fallon (eds.),MessiaenPerspectives1:SourcesandInfluences(Farnham:Ashgate,2013) pp.197-211________PlayersandPianos:AnOverviewofEarlyRecordedResourcesfortheFrench PianoRepertoire’,inScottMcCarreyandLesleyA.Wright(eds.),Perspectives onthePerformanceofFrenchPianoMusic(London:Ashgate,2014)pp. 125-148Février,Jacques,‘LesexigencesdeRavel’,Larevueinternationaledemusique(Paris: April1939)pp.893-4Fisk,Josiah,ed.,‘MauriceRavel’,ComposersonMusic–EightCenturiesofWritings, (Boston:NortheasternUniversityPress,1956rev.1997)pp.255-261Galhardo,Gisèle,‘MagdaTagliaferroetRavel’,Revueinternationaledemusique française(November1987)pp.58-60Gavoty,Bernard,‘AGreatFrenchMaster:AlfredCortot’.Eng.trans.Dorothy CarringtonandHenriLouisdelaGrange.SleevenotesfromrecordingEMI C153-03090/6(1977)
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