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Maurice Ravel's "Tzigane": A link between theclassical and the Hungarian-Gypsy traditions Item Type text; Dissertation-Reproduction (electronic) Authors Ciarla, Luca Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 23/09/2021 16:52:21 Link to Item http://hdl.handle.net/10150/279995 INFORMATION TO USERS This manuscript has t)een reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough. substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overtaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6' x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Informatkm and Learning 300 North Zeeb Road. Ann Arbor, Ml 48106-1346 USA 800-521-0600 MAURICE RAVEL'S TZIGANE: A LINK BETWEEN THE CLASSICAL AND THE HtJNGARIAN-GYPSY TRADITIONS by Luca Settimio Ciarla Copyright ® Luca Settimio Ciarla 2002 A Document Submitted to the Faculty of the SCHOOL OF MUSIC AND DANCE In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS WITH A MAJOR IN MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 2 0 0 2 UMI Number 3053860 Copyright 2002 by Ciarta, Luca Settimio Ail rights reserved. ® UMI UMI Microform 3053860 Copyright 2002 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Leaming Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 2 THE UNIVERSITY OF ARIZONA « GRADUATE COLLEGE As members of the Final Examination Committee, we certify that we have read the document prepared by mca settimio ciarla entitled Maurice'Ravel's Tzigane: A Link Between Che Classical and the Hungarian — Gypsy Traditions and recommend that it be accepted as fulfilling the requirements for the Degree of nf MiisiraT Arts A ^tof. Rush D^ / \\ \ •f- /!0 / 0 i- Prof.,il^cy Greten Date ///a />^ Prof. Patrick Neher ^ Date Date Date Final approval and acceptance of this document is contingent upon the candidate's submission of the final copy of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the requirement. Director Prof. Mark Rush Date 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission, provided that accurate acknowledgement of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: 4 ACKNOWLEDGEMENTS I would like to express my sincere appreciation and respect for Mr. Mark Rush who has been an inspiring teacher and a guide during my work at the University of Arizona. His support and help has made this work and my doctorate possible. I also express my thanks to Ms. Nancy Green and Mr. Patrick Neher for participating on my committee and providing me with important insights about music. Finally, I would also like to thank Ms. Gwen Powell for all her support and enthusiasm during my years in Tucson. 5 DEDICATION This work is dedicated to my parents. Dr. Nicola and Maria Ciarla, who have given me the chance to pursue the greatest love of my life; music. 6 TABLE OF CONTENTS LIST OF FIGURES 8 LIST OF TABLES 10 ABSTRACT 11 CHAPTER 1 MAURICE RAVEL 12 Brief Biography 12 Ravel's Musical Language 16 Ravel and the Violin 18 Early Sonata for Violin and Piano (1897) 20 Sonata for Violin and Cello (1922) 21 Berceuse sur le Nom de Gabriel Faure (1922)....22 Tzigane (1924) 23 Sonata for Violin and Piano (1927) 26 CHAPTER 2 THE HUNGARIAN-GYPSY VIOLIN TRADITION 3 0 A Brief History 3 3 The Development of Violin Technique 36 Standard Repertoire of Tunes 3 9 CHAPTER 3 THE USAGE OF THE HUNGARIAN-GYPSY IDIOMS IN THE CLASSICAL TRADITION 42 The Classical Period 43 Haydn 44 The Romantic Period 46 Brahms 47 Ravel's Time 50 CHAPTER 4 RELATING TZIGANE TO THE HUNGARIAN-GYPSY VIOLIN-TRADITION 52 Form 52 Rhythmic Components 58 Melodic Elements 64 Harmonic Characteristics 69 Instrumental Styles 71 The Violin 72 The Piano 76 7 TABLE OF CONTENTS - Continued CHAPTER 5 CONCLUSIONS- 79 REFERENCES 81 LIST OF FIGURES Melody of Berceuse sur le Nom de Gabriel Faure 22 Haydn's Piano Trio in G major (mm. 83- 87) 46 Tzigane, theme A, measures 1-9 54 Tzigane, theme B, measures 76-90 55 Tzigane, theme C, measures 221-23 6 56 Tzigane, measures 274-279 57 Tzigane, measures 210-217 58 Tzigane, measures 1-8 59 Tzigane, measures 76-91 59 Tzigane, measures 340-341 60 Tzigane, measures 269-272 61 Tzigane, measures 202-209 62 Tzigane, measures 15-20 .63 Tzigane, measures 11-14 .63 Tzigane, measures 23-24 .64 Tzigane, measures 18-22 .65 Tzigane, measures 119-127 .66 Gypsy scale .66 Tzigane, measures 133 .67 9 LIST OF FIGURES - Continued FIGURE 20 Tzigane, measures 100-103 68 FIGURE 21 Tzigane, measures 42-47 69 FIGURE 22 Tzigane, measures 218-225 71 FIGURE 23 Tzigane, measures 192-201 73 FIGURE 24 Tzigane, measures 26-28 73 FIGURE 25 Tzigane, measures 134-148 75 FIGURE 26 Tzigane, measures 245-246 76 FIGURE 27 Tzigane, measures 72-75 78 10 LIST OF TABLES TABLE 1 Ravel's violin repertoire 19 TABLE 2 Tzigane, mm. 274-321. Chordal shifting...70 11 ABSTRACT In writing Tzigane, Maurice Ravel went beyond the mere imitation of an exotic style composing a piece that closely resembles in form, technique, and even timbre the gypsy works with which he was familiar. In addition to drawing on the Hungarian-Gypsy tradition. Ravel brought his own mastery into that world. These insights suggest to me that knowledge of the Hungarian-Gypsy violin tradition can lead to a more informed and expressive performance of Tzigane. 12 CHAPTER 1 MAURICE RAVEL Brief Biography- Maurice (Joseph) Ravel was bom on March 7, 1875 in Ciboure, a small village in the south of France. His father, Pierre Joseph, was Swiss and his mother Marie, was from the Basque region. Maurice's talent for music was clear at a very early age. Pierre Joseph Ravel, an engineer and amateur pianist, was very encouraging and supportive of his musical studies. In 1889, at 14, Maurice Ravel entered the Paris Conservatoire, where he studied on and off until 1903. During these years he wrote some of the pieces for which he is best known. These include the Pavane pour une Infante Defunte and the String Quartet. These works show Ravel's craftsmanship and his pursuit of perfection. As a teenager, his compositions were scarcely less developed than those he wrote in his adulthood. Ironically, he 13 failed to win any prize at the Conservatoire and was dismissed from his classes in 1895. Ravel returned to the Conservatoire two years later and began to study composition with Gabriel Faure and counterpoint with Andre Gedalge.^ Both men became important influences in his musical development. Again, he didn't win either the fugue or the composition prize and was dismissed from the composition class in 1900. However, he remained with Faure as an auditor until he finally left the Conservatoire in 190 3. Ravel also fell under the influence of two innovative Frenchmen, Erik Satie and Claude Debussy. However, no one influence dominated Ravel's work. His compositions run the gambit, exhibiting traces of German Romanticism, French classicism, jazz, expressionism and exoticism. He also competed for the Prix de Rome, a competition for composers, with even more humbling results. He failed it five times, nearly resulting in a scandal. The critics recognized his talent but the jury for the competition didn't. Ravel's failure to win the Prix de Rome was 14 indicative of his uneasy relationship with authority. He was unable to match his work to the expectations of the Conservatoire, despite his desire to succeed. In the end, he never managed to earn a degree. While in school. Ravel became part of a group of literary, musical and artistic contemporaries known as Les Apaches or "the Ruffians." The Ruffians included composers; Falla, Schmitt and Stravinsky and writers; Leon- Paul Fargue and Tristan Klingsor. They met regularly to share ideas on contemporary literature, music and art.
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