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.

232

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.

238

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:

(1)Books,treatises,exercisemanuals,studiesandscores(exceptingscoresof

Ravel’ssolopianoworkswhicharelistedseparately);(2)scoresofRavel’spiano

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

dissertations;(6)bookchaptersandjournalarticles.Relevantarticlesfromthe

CahiersMauriceRavelhavebeenlistedtogetherinthefinalsectionunderthejournal

title.Additionalmaterialsincludingindividualletters,pressarticlesanddraftpapers

housedatthearchivecollectionsofMargueriteLong,AlfredCortot,YvonneLefébure

andÉmileVuillermozattheMediathèqueMusicaleMahleraretoonumerousto

includeherebuthavebeenreferencedasrequiredinthedissertationfootnotes.

254

PRIMARYSOURCES1)Books,treatises,exercisemanuals,studiesandscoresAdam,Louis,Méthodedepianoduconservatoire(Paris:ChezMme.DuhanetCie, 1804/5)Anthiôme,Eugène-Jean-Baptiste,L’artdupiano:Méthodethéoriqueetpratique pourlescommençants(Paris:Lissarague,1880)_______ Étudescomplémentaires(Paris:Lissarague,1880)_______Grandexercisespécialeaudéveloppementdes3,4et5doigts(Paris: Fromont,1891)_______Grandexercisesurl’extension(Paris:Fromont,1893)Balakirev,Mili,Islamey,ChristofRügerandAnneroseSchmidteds.(PetersNo.9167, 1970)deBériot,Charles,Mécanismeetstyle:levade-mecumdupianisteen2parties op.66(Paris:Hamelle,1889)_______Trente-sixétudesdedifficultétranscendantepourpiano(Paris:Leduc,1890)_______LasonoritédupianoOp.67,BibliothèquenationaledeFrance,Catalogue No.VM851036_______Écoledestiercesetdessixtes(Paris:Lacombe,1893)_______Gymnastiqueharmoniqueetlectureaupiano(Paris:Rouhier,1899)Bidal,Denise,Techniquedupiano(Lausanne:FoetischFrères,1947)Chabrier,Emmanuel,Worksforsolopiano,ed.RoyHowat(Dover,1995)Chopin,Frédéric,Esquissespouruneméthodedepiano.Collectedandeditedby Jean-JacquesEigeldinger.EnglishtranslationbyRoyHowat(Cambridge: CambridgeUniversityPress,1986)_______ThePianoConcertosinFullScore(NewYork:Dover,1988)_______BalladeNo.4Op.52,HenleVerlagHN862,eds.NorbertMüllermannand Hans-MartinTheopold(Munich:Henle,2008)Cortot,Alfred,Lesprincipesrationnelsdelatechniquepianistique,(Paris: Salabert,1928).Englishedition:RationalPrinciplesofPianoTechnique. Englishtrans.R.leRoy-Métaxas(Paris:Salabert,1928/30)_______LesÉtudesdeFrédéricChopinOp.10et25Éditiondetravailavec commentaires.EnglishtranslationbyM.Parkinson(Paris:Salabert1915/30)Couperin,François,L’artdetoucherleclavecin(Paris:Foucaut,1716).Modern edition(Paris:HachetteLivre-BnF,2012)Descombes,Emile,Écoledupiano(Paris:LouisAlleton,1909)_______Écoledupiano:Premièressolos:extraitsdesconcertosdesgrandsmaîtres revusetdoigtésparE.D.(Paris:LouisAlleton,1909)Diémer,Louis,Quelquessouvenirsdemacarrière,ed.HenriEtlin(Paris:Grou Radenez,1920)Eigeldinger,Jean-Jacques,Chopinvuparsesélèves(Neuchâtel:Baconnière,1970) Chopinpianistandteacher.EnglishtranslationbyNaomiShohet,Krysia OsotowiczandRoyHowat,ed.RoyHowat(Cambridge:Cambridge UniversityPress,1986)Falkenberg,Georges,Lespédalesdupiano(Paris:Heugel,1892)_______Exercisespourlepiano‘Ayantpourbutdeperfectionnerl’égalitédesdoigts. Dedévelopperl’agilité.D’habitueràlafatigueetd’exercersimultanément lesmêmesdoigtsauxdeuxmains’(Paris:Leduc,1886)Faure,Henriette,MonmaîtreMauriceRavel(Paris:A.T.P,1978)

255

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

SECONDARYSOURCES5)BooksanddissertationsBecker-Derex,Christiane,LouisDiémeretleclavecinenFranceàlafinduXIXe siècle(Bourg-la-Reine:Zurfluh,2001)Berry,Wallace,MusicalStructureandPerformance(NewHaven:YaleUniversity Press,1989)Bougrain,Anne,LeConservatoirenationaldemusiqueetdedéclamation1900-1930– documentshistoriquesetadministratifs(Belgium:LibrairePhilosophique J.Vrin,2012)Bracey,JohnPaul,ABiographyofFrenchpianistMarcelCiampi(1891-1980):Music tolastalifetime(Lewiston,Queenstown,Lampeter:EdwinMellenPress, 1996)Brody,Elaine,Paris:theMusicalKaleidoscope(London:RobsonBooks,1987) Carbou,Yvette,Laleçondemusiqued’YvonneLefébure(Paris:VanderVelde,1995)Clarke,DavidandEric(eds.),MusicandConsciousness:Philosophical,Psychological andCulturalPerspectives(Oxford:OxfordUniversityPress,2011)Cook,Nicholas,EricClarke,DanielLeech-WilkinsonandJohnRink(eds.),The CambridgeCompaniontoRecordedMusic(Cambridge:CambridgeUniversity Press,2009)Cortot,Alfred,Lamusiquefrançaisedepiano,4volumes(Paris:Rieder,1930)Delage,Roger,EmmanuelChabrier(Paris:Fayard,1999)Demuth,Norman,FrenchPianoMusic(London:MuseumPress,1959)Dunoyer,Cecilia,MargueriteLong,ALifeinFrenchMusic1874-1966(Bloomington: IndianaUniversityPress,1993)Ehrlich,Cyril,ThePiano:AHistory(Oxford:ClarendonPress,1976)Elder,Dean,PianistsatPlay(London:Kahn&Averill,1986)DeFourcaud,Louis,ArthurPouginandLeonPradel,LaSallePleyel(Paris: Libraires-Imprimeries,1893)Grindea,Carole,GreatPianistsandPedagoguesinConversation(London: Kahn&Averill,2007)Hamilton,Kenneth,AftertheGoldenAge:RomanticPianismandModernPerformance (Oxford:OxfordUniversityPress,2008)_______(ed.)TheCambridgeCompaniontoLiszt(Cambridge:CambridgeUniversityPress, 2005)Helffer,Claude,andCatherineMichaud-Pradeilles,Lepiano(Paris:PressesUniversitaires deFrance,1985)Howat,Roy,TheArtofFrenchPianoMusic(NewHavenandLondon:YaleUniversityPress, 2009)James,Burnett,Ravel,hisLifeandTimes(London:Omnibus,1987)Kaminsky,Peter(ed.),UnmaskingRavel,NewPerspectivesontheMusic(Rochester: UniversityofRochesterPress,2011)Kelly,Barbara(ed.),FrenchMusic,CultureandNationalIdentity1870-1939(Rochester:

UniversityofRochesterPress,2008)Korevaar,David,Ravel’smirrors(DMAthesis,JuilliardSchool,2000)Kostelanetz,Richard(ed.),VirgilThomson:aReader:SelectedWritings1924-1984 (NewYorkandLondon:Routledge,2002)

261

Kroll,Mark,IgnazMoschelesandtheChangingWorldofMusicalEurope(Woodbridge: Boydell&Brewer,2014)Manshardt,Thomas,andLaurenceAmundsvund,AspectsofCortot(Hexham: Appian,1994)Marnat,Marcel,MauriceRavel(Paris:Fayard,1986)________(ed.),Ravel:SouvenirsdeManuelRosenthalrecueillisparMarcelMarnat (Paris:Hazan,1995)Mawer,Deborah,FrenchMusicandJazzinConversation:fromDebussytoBrubeck (Cambridge:CambridgeUniversityPress,2015)________(ed.),TheCambridgeCompaniontoRavel(Cambridge:Cambridge UniversityPress,2000)McCarrey,ScottandLesleyA.Wright(eds.),PerspectivesonthePerformanceof FrenchPianoMusic(London:Ashgate,2014)McCarrey,Scott,PerformanceandAnalysisinPractice:AstudyofMauriceRavel’s Valsesnoblesetsentimentales,MiroirsandGasparddelanuit,(doctoral degree,UniversityofYork,2006) Messiaen,OlivierandYvonneLoriod,Ravel:analysesdesoeuvrespourpianode MauriceRavel(Paris:Durand,2003)Methuen-Campbell,James,ChopinPlayingfromtheComposertothePresentDay (London:Gollancz,1981)Jankélévitch,Vladimir,Ravel(NewYork:GrovePress,1959)Jean,Roy,SamsonFrançois:lepoètedupiano(Paris:JosetteLyon,1996)Milon,Yves,ClaudeMoreauandThomasRenaut,MauriceRavelàMontfortl’Amaury (Paris:ASA,1996)Myers,RolloH.,Ravel:LifeandWorks(London:Duckworth,1960)Nichols,Roger,Ravel(NewHavenandLondon:YaleUniversityPress,2011)________RavelRemembered(London:Faber&Faber,1987)________TheHarlequinYears:MusicinParis1917-1929(London:Thames&

Hudson,2002)Orenstein,Arbie(ed.),MauriceRavel:lettres,écrits,entretiens(Paris:Flammarion,1989).

Englishedition:ARavelReader,Correspondence,Articles,Interviews, trans.DennisCollins(NewYork:ColumbiaUniversityPress,1990)

________Ravel:ManandMusician(NewYork:ColumbiaUniversityPress,1975, revisedNewYork:Dover,1991)Orledge,Robert,CharlesKoechlin(1867-1950:HisLifeandWorks(Harwood

AcademicPublishers,1989) Philip,Robert,EarlyRecordingsandMusicalStyle(Cambridge:Cambridge

UniversityPress,1992) _______PerformingMusicintheAgeofRecording(NewHavenandLondon:Yale

UniversityPress,2004) Pierre,Constant(ed.),LeConservatoirenationaldemusiqueetdedéclamation-

documentshistoriquesetadministratifs(Paris:Imprimerienationale,1900) Poulenc,Francis,EmmanuelChabrier(Geneva:LaPalatine,1961).Englishtrans.

CynthiaJolly(London:Dobson,1981) Puri,MichaelJ.,RaveltheDecadent:Memory,SublimationandDesire(Oxford:Oxford

UniversityPress,2011)Rink,John(ed.),MusicalPerformance:AGuidetoUnderstanding(Cambridge: CambridgeUniversityPress,2002)Rink,John(ed.),ThePracticeofPerformance:StudiesinMusicalInterpretation

262

(Cambridge:CambridgeUniversityPress,1995)Roberts,Paul,Reflections:ThePianoMusicofMauriceRavel(Milwaukee: AmadeusPress,2012)Roland-Manuel,Alexis,[Àlagloirede]Ravel(Paris:EditionsdelaNouvelleRevue Critique,1938).Englishtrans.CynthiaJolly(London:Dobson,1947)Rowland,David(ed.),TheCambridgeCompaniontothePiano(Cambridge: CambridgeUniversityPress,1998)Roy,Jean,SamsonFrançois:lepoètedupiano(Paris:Lyon,1996)Samson,Jim(ed.),TheCambridgeCompaniontoChopin(Cambridge:Cambridge UniversityPress,1998)Smith,Ronald,Alkan:TheMan/TheMusic(London:Kahn&Averill,2000)Spychet,Jerome,Scarbo:leromandeSamsonFrançois(Lausanne:VandeWelde, 1985)Stuckenschmidt,HanzHeinz,MauriceRavel:VariationenüberPersonundWerk (Frankfurt:Suhrkamp1966).MauriceRavel:VariationsonhisLifeandWork trans.bySamuelRosenbaum(Richmond:Calder&Boyers,1969)Taylor,KarenM.,AlfredCortot:HisInterpretiveArtandTeachings(DMAthesis, IndianaUniversity,1988)Teboul,Jean-Claude,Ravel-lelangagemusicaldansl’œuvrepourpiano:àlalumière desprincipesd’analysedeSchoenberg(Paris:Leopardd’or,1987)Thieffry,Jeanne(ed.),AlfredCortot:coursd’interprétationrecueillietredigépar JeanneThieffry(Paris:Legouix,1934).Englishedition:AlfredCortot’sStudiesin MusicalInterpretation,trans.RobertJacques(London:Harrap,1937reprinted 1989)Timbrell,Charles,FrenchPianism:AHistoricalPerspective(London:Kahn&Averill, 1999)Waters,RobertF.,DéodatdeSévérac:MusicalIdentityinfin-de-siècleFrance (Farnham:Ashgate,2008)Weill,Janine,MargueriteLong–uneviefascinante(NewYork:Juilliard,1969)Zank,Stephen,MauriceRavel:AGuidetoResearch(NewYork/London:Routledge, 2005)6)BookchaptersandjournalarticlesAbbate,Carolyn,‘OutsideRavel’sTomb’,JournaloftheAmericanMusicological Society,Vol.52No.3(1999)pp.465-530Aguettant,Louis,‘MauriceRavel’,LamusiquedepianodesoriginesàRavel(Paris: AlbinMichel,1954)pp.427-442Ainley,Mark,‘AgentProvocateur’[MarcelleMeyer],InternationalPiano (July/August2006)pp.42-47Anderson,MartinandManuelRosenthal,‘ACenturyinMusic:ManuelRosenthal inconversation’,Tempo,No.212,Frenchmusicissue(2000)pp.31-37Brody,Elaine,‘ViñesinParis:NewLightonTwentiethCenturyPerformance Practice’,inEdwardH.ClinkscaleandClaireBrooks(eds.),AMusical Offering:EssaysinhonorofMartinBernstein(NewYork:Pendragon,1977), pp.45-62 CahiersMauriceRavel(FondationMauriceRavel,Séguier,1985-2011)Vol.1(1985):

263

_______ 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)

264

Gil-Marchex,Henri.‘Latechniquedupiano’,LarevuemusicaleNo.6(April1925) pp.38-45________‘LesConcertosdeRavel’,Larevuemusicale,19,no.187,(December1938) pp.275-293[pp.83-102].Grey,Madeleine,‘Souvenirsd’uneInterprète’,Larevuemusicale,19,no.187,special issue,Dec.1938,pp.367-370[175-178].Hough,Stephen,‘VladoPerlemuter’, <http://www.stephenhough.com/writings/selective/vlado-perlemuter> [Accessed29May2012]Howat,Roy,‘DebussyandWelte’,ThePianolaJournalNo.7(1994),pp.3-18______ ‘Ravelandthepiano’inDeborahMawer(ed.),TheCambridgeCompanionto Ravel(Cambridge:CambridgeUniversityPress,2000)pp.71-96_______‘InsideRatherThanUndertheComposer’sSkin:AnotherTiltatBeing Authentic’inScottMcCarreyandLesleyA.Wright(eds.),Perspectivesonthe PerformanceofFrenchPianoMusic(London:Ashgate,2014),pp.11-28Jordan,Stephanie,‘Raveldances:‘choreomusical’discoveriesinRichardAlston’s Shimmer’inDeborahMawer(ed.),RavelStudies(Cambridge:CambridgeUniversity Press,2010)pp.165-185Jost,Peter,‘Curiositypaysoff.ThegenesisofMauriceRavel’sSonatine’,

<http://www.henle.de/blog/en/2012/03/19>[Accessed22October2012]Kelly,BarbaraL.,‘MauriceRavel’,GroveMusicOnline<http://www.oxfordmusic

online.com>(2001).Hardcopyedition:TheNewGroveDictionaryofMusicand MusiciansVolume20,ed.StanleySadie(London,MacMillan,secondedition,2001)

_______‘RavelafterDebussy:Inheritance,InfluencesandStyle’,inBarbaraL.Kellyand KerryMurphy(eds.),BerliozandDebussy:SourcesContextsandLegacies:Essaysin

HonourofFrançoisLesure(Farnham:Ashgate,2007)pp.167-181_______ ‘HistoryandHomage’inDeborahMawer(ed.),CambridgeCompanionto Ravel(Cambridge:CambridgeUniversityPress,2000),pp.7-26.Koechlin,Charles,‘L’évolutiondel’écriturepianistique’,Larevueinternationalede musique,Vol.1Nos.5-6,‘Lepiano’(April1939)pp.822-852Korevaar,David,‘ALinktotheFrenchPianisticTradition:theTeachingofPaul Doguereau’inScottMcCarreyandLesleyA.Wright(eds.),Perspectivesonthe PerformanceofFrenchPianoMusic(London:Ashgate,2014),pp.77-101Korevaar,DavidandLaurieJ.Sampsel,‘TheRicardoViñesPianoMusicCollection attheUniversityofColoradoatBoulder’,Notes,Vol.61,No.2(MusicLibrary Association,2004)pp.361-400 <http://www.jstor.org/stable/4487361>[Accessed2March2013] Larner,Gerald,linernotestoMoniqueHaas’srecordingofthecompleteworksof RavelandDebussy,Erato256469967(1968)Lesure,FrançoisandJean-MichelNectoux(eds.),‘Études:lecalendrierpréçis(et inédit)desonséjourauConservatoire’,MauriceRavel:Exposition(Paris: BibliothèquenationaledeFrance,1975),p.13.LeBordaye,Christiane,‘Debussy,Raveletl’Espagne’.Étudessurlamusique françaiseautourdeDebussy,RaveletPaulleFlem(Lyon:Presses UniversitairesdeLyon,1994),pp.37-51Merlet,Dominique,‘ConseilspourinterpréterRavel’,ed.ChristianLorandin,Piano 20(specialannualnumber,2006-2007,ofLalettredumusicien),pp.89-91

265

Methuen-Campbell,James,‘ChopininPerformance’,inJimSamson(ed.),The CambridgeCompaniontoChopin,(Cambridge:CambridgeUniversityPress, 1992) pp.194-205Nectoux,Jean-Michel,‘Raveletsesinterprètes’,sleevenotes,EMI2912163(1987)Pechard,Laurence,‘RaveletlaPressede1920’,Revueinternationaledemusique française(November1987)pp.61-71Perlemuter,Vlado,‘Obituary’,TheGuardian,6September2002.[Authorunknown].Puri,MichaelJ.,‘DandyInterrupted;Sublimation,RepressionandSelf-Portraiture inMauriceRavel’sDaphnisandChloé(1909-1912)’.Journalofthe AmericanMusicologicalSocietyVol.60No.2(2007)pp.317-372_______‘Saint-Saëns,RavelandtheirPianoConcerti:SoundingoutaLegacy’,inJann Passler(ed.),CamilleSaint-SaënsandhisWorld(Princeton:Princeton UniversityPress,2012)pp.334-357Rae,Caroline,‘Debussyist,Modernist,Exoticist:Marius-FrançoisGaillard rediscovered’,TheMusicalTimesVol.152No.1916(Autumn2011)pp.59-80_______‘MessiaenandtheRomanticGesture:ContemplationsonhisPianoMusic andPianism’inC.DingleandR.Fallon(eds.),MessiaenPerspectives1:Sources andInfluences(Farnham:Ashgate,2013)pp.235-256Rae,CarolineandCarolinePotter,‘TheFrenchMusicalMilieu’,CityofLight:Paris 1900-1950[programmebook](London:PhilharmoniaOrchestra,2015) pp.12-19.Ravel,Maurice,‘LesPolonaises,lesNocturnes,lesImpromptus,laBarcarolle-

Impressions’,LeCourriermusical,13(1January1910),pp.31-32.ReproducedinArbieOrenstein(ed.),MauriceRavel:lettres,écrits,entretiens(Paris:Flammarion,1989),pp.291-3.Englishtrans.byDennisCollins:‘ThePolonaises,Nocturnes,Impromptus,theBarcarolle-Impressions’,inArbieOrenstein(ed.),ARavelReader,Correspondence,Articles,Interviews(NewYork:ColumbiaUniversityPress,1990).pp.335-337

Ritterman,JanetandWilliamWeber,‘OriginsofthePianoRecitalinEngland1830- 1870’,inThereseEllsworthandSusanWollenberg(eds.),ThePianoin NineteenthCenturyBritishCulture:Instruments,PerformersandRepertoire (Aldershot:Ashgate,2007)pp.171-192Roland-Manuel,Alexis(ed.),‘UneesquisseautobiographiquedeMauriceRavel’,La Revuemusicale(December1938),pp.17-23.Englishtrans.byDennisCollins inArbieOrenstein,ARavelReader,pp.29-37Rosen,Charles,‘WhereRavelEndsandDebussyBegins’,CahiersDebussyNo.3 (1979),pp.34-35Roux,Marie-Aude,‘MarcelleMeyer,l‘intègralederêve’,LeMonde[nop.n.] (26November2007)Simeone,Nigel,‘MakingMusicinOccupiedParis’,MusicalTimes,Vol.147, No.1894(Spring2006)pp.23-50Smith,RichardLangham,‘Style,Performance,PracticeandReceptioninthe Prelude,ChoraleandFugue:PlacingandPerformingCésarFranck’,inScott McCarreyandLesleyA.Wright(eds.),PerspectivesonthePerformanceof FrenchPianoMusic(London:Ashgate,2014)pp.105-23Timbrell,Charles,‘AlfredCortot:hisLifeandLegacy’,ThePianoQuarterly,No.127, (1984)pp.19-31Vuillermoz,Emile,Ravel,monami[105-pagemanuscriptdated1939preserved

266

intheFondsEmileVuillermozattheMediathèqueMusicaleMahler. PublishedasanarticleinrevisedversioninRavelparquelques-unsde sesfamiliers(Paris:Tambourinaire,1939)pp.71-107Woodley,Ronald,‘PerformingRavel:StyleandPracticeintheEarlyRecordings’,in DeborahMawer(ed.),TheCambridgeCompaniontoRavel,(Cambridge: CambridgeUniversityPress,2000)pp.213-239_______ ‘StrategiesofIronyinProkofiev’sFminorViolinSonata’,inJohnRink(ed.), ThePracticeofPerformance:StudiesinMusicalInterpretation(Cambridge: CambridgeUniversityPress,1995)pp.170–93