Maurice Ravel À Lyons-La-Forêt, 1922
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Maurice Ravel à Lyons-la-Forêt, 1922. DR. Cliché Roland-Manuel/Diaph16/Les Amis de Maurice Ravel. MAURICE RAVEL (1875–1937) 1 La Valse 12:15 Poème chorégraphique pour orchestre 2 Alborada del gracioso 7:50 Rapsodie espagnole 16:38 3 I. Prélude à la nuit 4:45 4 II. Malagueña 2:01 5 III. Habanera 2:59 6 IV. Feria 6:52 7 Une barque sur l’océan 8:44 8 Pavane pour une infante défunte 7:13 9 Bolero 15:27 BASQUE NATIONAL ORCHESTRA ROBERT TREVINO, conductor 3 The Enchantments of Maurice Ravel’s Sparkling Orchestra The five purely orchestral works on this disc allow us to form an idea not only of the clarity, shimmer, and brilliance of Ravel’s orchestration, but also its evolution and progress with three works prior to 1914–1918 and three from the Roaring ‘20s. Maurice Ravel was born on March 7, 1875 in Ciboure, near the Spanish border and the Spanish Basque Country (Euskadi ), and even though he lived his entire life either in Paris or nearby, the musician remained very attached to his birthplace and to Basque folk dances like the zortzico (a dance that inspired the 1st movement of his Trio, composed in Saint-Jean-de-Luz in 1914, and the Chanson épique, 2nd of the three songs in Don Quichotte à Dulcinée, composed in 1932–1933) and the fandango that he often saw during the summer in the Place Louis XIV in Saint-Jean-de-Luz from 1902 on (Ravel also possessed in his library the collections of Basque folksongs by Sallaberry, 1870, and Santesteban, 1869–1890), and above all the Spanish folksongs (guajiras, habaneras, etc.) which his mother sang to him as lullabies. “Without Madrid, I probably wouldn’t have existed,” declared Ravel on his first trip to that city in 1924. In fact, that’s where his parents met: a railroad engineer and music lover, a Frenchman born in Switzerland to a Savoyard family, and a Basque woman from Ciboure, daughter of a fishmonger, born into a family of sailors. It only took Stravinsky’s labeling of Ravel as a “Swiss watchmaker ” to evoke the meticulous perfectionism of his composing, particularly the orchestration. Ernest Ansermet very beautifully and fairly expressed the limitations of this metaphor: “The appellation is flattering for us, and alluding to the chimes in L’Heure espagnole, it’s even humorous, but we must take it too seriously. There is ingeniousness and meticulousness in Ravel’s technique, it’s true, but these perfect mechanisms to which he seems so attached are only there to produce poetry. Ravel’s poetry is sometimes discreet, sometimes elliptical, often full of humor, but he is always poetic.” To better understand Ravel’s orchestra, one has only to remember that he was André Gedalge’s private student in 1897, and Gabriel Fauré’s at the Paris Conservatoire (1898–1900). It’s important to note, on the one hand, his extreme admiration for Mozart – notably act 3 of Idomeneo – and the French side – Chabrier: España, Bourrée fantasque, and Gwendoline – and Debussy: particularly Pelléas and Prélude à l’après-midi d’un faune, his favorite piece of music, which he wanted played at his funeral. On the other hand, he was completely captivated by Russian music, notably Borodin – Ravel made the initial theme of Borodin’s Symphony No. 2 the rallying whistle for the Apaches – and Mussorgsky and Rimsky-Korsakoff, whose admirable treatise on orchestration formed his bedside reading. Une Barque sur l’océan is one of Ravel’s first orchestral works after Shéhérazade: Ouverture de féerie, premiered in 1899, and the three poems for voice and orchestra Shéhérazade, premiered in 1904. More precisely, Une barque sur l’océan is an orchestration of the third of five piano pieces in Miroirs, dedicated to painter Paul Sordes, a member of Ravel’s artistic circle, the Apaches. In his Esquisse autobiographique, Ravel indicates “Miroirs marks a change in my harmonic evolution considerable enough to have disconcerted musicians who were used to my style up till then.” Even though Miroirs is deservedly considered a masterpiece, Ravel was obviously not satisfied 4 with the orchestration of Une Barque sur l’océan, or at least with its “stormy ” premiere on February 3, 1907, with the Colonne Orchestra conducted by Gabriel Pierné. Ravel insisted that the orchestration remain unpublished and never again performed in his lifetime, the same as for the Ouverture de féerie. Two weeks after the scandal provoked by the premiere of Histoires naturelles, music reviews were not gentle to Une barque sur l’océan. Julien Torchet writes, for example: “baroque music, without form or line, in which everything is placed upside down [...]. It’s not color that is lacking, it’s overabundant, but one doesn’t know what it all adds up to. M. Ravel is, they say, an impressionist; I think rather that he is a ‘pointillist.’ However, the beginning of the work was not unpleasant; one sensed the influence of M. Debussy; but the composer soon moved far from his model, falling into incoherence and confusion.” According to Willy, Une barque sur l’océan “loses much in the orchestration.” If this viewpoint became standard, even to this day, Émile Vuillermoz didn’t share it: “Une barque sur l’océan is a painting of such opulent color that the composer was compelled to orchestrate it to reveal is true balance.” One year later, the Rapsodie espagnole was premiered on March 15, 1908, with the Colonne Orchestra conducted by Édouard Colonne. It is dedicated to his piano teacher at the Paris Conservatoire (1891–1895), Charles de Bériot, son of the famous soprano Maria Malibran, of Spanish origin. This symphonic work is an homage to the Spain of Ravel’s dreams and, implicitly, his mother. The initial Prélude à la nuit, which Ravel marks “très modéré,” creates an Iberian and enchanted atmosphere in half-tints, with great economy of means and refined poetry. The three other movements are bewitching and lascivious dances marked by a perfect mastery of their rhythms and richness of instrumental color. Maurice Ravel imparts unity to the Rapsodie by reprising, notably at the end of the final Feria, the simple and enigmatic four-note descending motif (F-E-D-C#) which is constant throughout the first movement. It is interesting to know that the composer first orchestrated the final movement before the others, so festive, as indicated by its title, and inspired freely by the Aragonese jota, as he would do later on with The Great Gate of Kiev, the final movement of Pictures From an Exhibition. Thus, the first three movements are entirely thought- out and calculated in relation to the final apotheosis of the Feria, marked “assez animé ” by Ravel. Malagueña, the second movement (“assez vif ”), with its rhythm of 3/4 instead of 3/8, is of great richness and orchestral subtlety. The theme starts with muted trumpets, sublimated by the percussion (castanets, timpani, tambourine, bass drum), preceding a superb slow section featuring an English horn solo. At the premiere, this movement was encored at the demand of the balcony audience, where Apache Florent Schmitt shouted: “One more time, for those below who have not understood! ” In L’Heure espagnole, composed at the same time as the Rapsodie, Gonzalve’s aria is also based on the rhythm of the malagueña. The third movement, Habanera, has a unique history: in fact, this piece is the orchestration of the first of two duo-piano pieces that form Sites auriculaires, premiered in 1898 and unpublished until 1975. Upon the publication in summer of 1903 and premiere in January 1904 of Debussy’s La Soirée dans Grenade, Maurice Ravel privately made known his annoyance at the resemblance of this work to his Habanera. So, Ravel maliciously included it in the score of his Rapsodie with the notation “1895,” when it was published by Durand in 1908, an implicit way of declaring its anteriority over Debussy’s work. This escaped no one, including Roger- 5 Ducasse: “Oh, a very funny thing, Debussy just published 3 piano pieces, the last one [sic] Une nuit à Grenade (he composed it one night beside the Marne!!), is exactly Ravel’s Habanera. Isn’t that exquisite? ” The Habanera, marked “assez lent et d’un rythme las,” carries as epigram a line from Baudelaires’s Les Fleurs du Mal: “Au pays parfumé que le soleil caresse.” The tempo is langorous and as dreamy as desired. The final Feria displays notably the art of Ravel’s crescendo, a precursor to the Bacchanale from Daphnis et Chloé or the final explosion of La Valse. Manuel de Falla underlined Ravel’s unique talent in the Rapsodie espagnole : “The Rapsodie surprised me with its Spanish character [...] (completely the opposite of Rimsky in his Capriccio), this Hispanization was not achieved simply by utilizing folk materials, but much more [...] through a free use of rhythms and modal melodies and the ornamental flourishes of our folk singing, elements that do not undermine the composer’s own style.” The Pavane pour une infante défunte, premiered on February 27, 1911 at the Gentlemen’s Concerts in Manchester, conducted by Henry Wood, is the orchestration of the famous piano piece composed in 1899 and premiered in 1902. The initial inspiration for the piece, dedicated to the princesse de Polignac, seems to have come from a copy by Henri Manguin of a portrait of a Spanish princess by Diego Velázquez, acquired by the Louvre. During a sort of masterclass given by Ravel at the École normale de musique Cortot-Mangeot in June 1925, the composer spelled out his vision of the work: “Don’t attach more importance to the title than it warrants; avoid dramatizing.