OF ORCHESTRATION THESI Presented to the Graduate Council

-7

AN ANALYSIS OF MAURICE RAVEL' STECHNIQUE OF ORCHESTRATION

THESI

Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements

For the Degree of

MASTER OF MUSIC

Murray Augustus Allman, B. M. E.

Denton, Texas

August, 195$

4"Mm-mill pgpqmpm TABLE 0F CyONTNT

Page LIST OF B ES . ------...... IV I)A S ' 1-7LS1 2v P~ LIST oF ILLUST rTOQ * . * . . . . * . * . , * . 4 . . * V

t BIOGRP t ICAL KE C F UrICE E ..

II. OTO F PIANOcoMPOSTIO - , - , * * I

fnaL sis of chestration 4 t enuet Antimaue , jalysis of Orchestrati- of Pavane our une Infante DbffuLte rAnlyis of Orchtttion M, it nere tL ye Analysis of Orchestration of pictures aan ELo iiLtionT -i

II.LARGE ORCHTESTRA-,1LWRK.... *.

Anlysi W 0rchkiestration of )pOdi OrchQtrti o Bolero A s of Orchestration of is at Chlo' ti I is - Ara-ysis of Orchestration of La se Anays0i1s of station of ILtroduction Analysis 'ouo of Orchestration ofL Slihehra'ncro .. zaid-r e Ana]lyvsis of Or chetain fOcerdD psano et Orchestre or AnaLysis of~Orchestr-tion of concertoo for the Left and for Piano ar:d Orci'estra Conclusion ~~ BIBLIOAPTYV . . . ------132

iii LIST OF TABLES

T oble Page

I. Comparison of Rt vel0s Orchestra to that of Orchard Wagner . . . . - . . . - ...... 13 II *Ratios of Real Parts to Doubled Parts in

Ma a ue a . . . - - - - - I. >atios of Real Parts to Doubled Parts- . i. . . . . Or

IV. 01rt s 1F RearilParts tCo Doubled .Pnarts . i.n " r.,".------. . . . 65 V. Avcrage Rtioi of Real Parts to Doubled Pars of Each Sectio0 >?on of R ns-*dieE . . 66 VI. ,The 12inctions of the Indivilual hoirs and the InstrucentaJ Color in DQJ.se hlo4, Suite No.I Sut-.. 1 .* . . . .* . . . . . Si

II 1The1I nations of the Individual Choirs and the J.nst mental Color in Dai.s et Chloe Suite 2o oult It .2...... 86 VIII, The Devices of' Instrumental Techric Found in Dajhnir et Chlo, Suite No. 9 - - . . . . .104 IX. Antipho &caLEnsemble i nSection 98 in L .i-Ise . . .110 X. The In strumreta Color in 1S1 ra-de ...... 117 L. 0F ILLUSTRATIONS

. Page 1. Measures 1 and 2 of Pavwne . * . 9 9 . . 9 . . . . 19 2z. Measures 8 and 9 of Pavane, S - 9 - 9 9 9 . . . . 20 13 Measure 10 of. Pavan -. - - 9 9 9 9 - 9 9 - . . . 21 1. Measures 17 rnd 18 of Pavane 9 . 9 9 9 9 9 . . . . 2 2 5. easures 28 and 29 of Pavane 9 9 9 9 9 9 9 . . . . 25 0. mef sure 28 and 29 of Pavane 9 9 - 9 9 9 9 . . . . 25 (7. Me asire 37 of Pavane - . .0 * . - 9 9 9 9 .~ . . 27 8. evure 37 of Pavane . . . . 9 - - 9 - 9 . . . . . 27 9., ias-Vures 41 ad 42 of Pavone * 9 9 9 9 9 9 . . . . 28 1k. Measure 43 of Pavane . - - 9 - - 9 9 9 . . . . . 29

11. Measure 7-o Pvae . - -- 9 17 9 9 9 9 4 9 - - * . 32 12. Measure 6) of Pavane . . . 9 9 9 9 9 * 9 9 - 9 9 33 13. measures 104 mid 105 of M Me.- re iLOie...99 2 1'. Mea sure 495 of MAL ere 1'Oye Measure 15. 67 of Pictures atn EU'hibitiLon- - - - . . 5,2 16. Measure 5 of Introduction and A2l2e ro. .1911. 17. measure 63 of Introduction an- .9 9 9.9113~ 18. Mea.. sures 174-177 of Introductior ad All ero . . .114

V CHAPTER I

A BIGRAP:Ilt SKETCHi OF MAU1ICEQ% A!VEL

aur3-e ave4~as born thne seventh.-K of M h, 1875, t

12 Quai de la Nivelle(renamed Qui Maurice Ravel) in Ciboure

Frac e, a Basiue seaport near the border between France and

Spain.l

Joseph Ravel, his father, was a French-Swiss engineer.

It appears that Maurice also had a mechanical mind as shown

by the vy he learned and interpreted the rules of harmony

and composition at the Conservatoire National de Musique.

Ravel often saidI,"I I had not been a musician , I should

have turned to mechanicts.2 Marie Eluarte S-avel, his mother,

Iose father was. a fisherman as his Fathers had been gen-

era ions before, was o-f -asqu orig0. Since RAvel ws born

close to Spain, he had a great fascination for Spanish usic and his c positions We remendously influenced by Spanish e It:.

.hen vRavel was only a few months old, the family moved

to Paris, where he spent most of his life.

At the age of seven he began his first piano training under lenri Ghys, composer of Amaryllis(Air Louis XIIl),

lVictor Seroff, taurice Rvel (New York, 1953), p. 11- 13.

2Madeleine Goss, Bolero (New York, 1940), p. 22.

0W+'= 2 who entered on that day in his diary, "31 ray, 1882. 1 am today starting a little pupil, Maurice Ravel, iho seems to me in'tellig-ent. t3

Joseph Ravel, who had studied at the Conservatory of

Geneva to become a concert pianist, did much to encourage

Maurice and to keep his interest in music. After Maurice had learned to play well enough to play duets with his father, seldom did they miss a day without playing together.

Joseph Ravel's favorite was the overture to Tannhauser, cd tlheyPlayed it so much that Maurice grew tired of it, a fact hich 'did not help his later feelings toward Wagnerian music.

Ravel presently began to study harmony under Charles-

Ien', who required extra work from his students such as variations on a certain thete or original corpositions.

These eXtra assigrents intrigued Ravel, who astonished his te archers with his cork. When Ravel was fourteen, Ghys and

Charles-Ren4 prepared him for the audition to enter the

Conservatoire National de Musique in Paris.5 He passed the audition successfully, and for the next fifteen years, Stu- died at the &nsrrtoiro. Iore is no record or report

cvaIlable concrnig a ny other education tha thataJn the

Coserv toire de usiaue in Paris.

3Goss, cit.,3O. p. 22.

'+Ibid., p 23. 5Ibid., pp. 24-25. 3

Soon after he entered the Conservatoire, he met his

fast friend and constant companion throughout most of his

life, Ricardo Vi~ec, Probably one reason for Thvels at-

taclment wcs that Viesvas Spanish.6 Their mothers also

became fast friends, chatting in Sparish while their boys

explored, played and experimented together. At the Universal

Exposition the boys heard a gamelang orchestra from Java,

whose influence showed later in Ravel's music. 7

Spring, the tme for the compeitions at the Conserva- toire, was the only time that Ravel did not need extra,

encouragement to got him to practice. After he had been at

the Conservatoire for two years he won first place, an hon-

or which elated his parents. This was a feat he never repeted. His piano teacher was Charles de Beriot, who gave him a stern lecture for being at the bottom of the

class when he should have been at the top. 0 His harmony teacher was the liberal Emile Pessard, who always encouraged originality in his students within certain limits. 9

IL 1891, he discovered the music of Alexis Emmanuel

Chabrier and become exuberantly enthusiatic; this was the music for rich he had been seeking! Chabrier was influenced by the impressionistic painters of his day--Renoir,

Monet, Manet, and Verlaine. Ravel and Vines visited Chabrier

6j. B. Trend, "Vines," Grove's Dictionary of music and Musicians, Vol. VIII (London, 719 .

7Goss, p0. Ci ., pp. 541-55.

8Ibid ., P. 34. 9Ibid.,P.- 3+. one day and played his Trois Valses for hir, out were bewil- dered by his contradictory raises and criticisms.10

Once whien Ravel returned home from the Conservatoire, his father introduced iim to Erik Satle as being interested in modern music. Satie laughed and remarked, "They call me modern, but not in a complimentary ;ay."tll Satie composed in free, humorous style, using dissonant harmonies, but he was always a failure as far as being accepted by the major- ity. This he attributed to his indolence in the Conservatoire, wh ere he did not actually learn the rules of good composition, which he needed to give him a good background. Ravel was attracted by such composers, %nd Satie probably exerted the most influence upon the music of Ravel. Although Ravel seemed to be rebellious against the strict rules taught at the Conservatoire, he only wanted to expand the possibilities of corposition further than that of the classical period.

Before Ravel studied under Gabriel Faur4, he was in the counterpoint class of Jenri-Gldalge, who rearked that Ravel was the most remarkable couterpoint student he ever had.

Although the music of Schumann, Liszt, Chopin, Weber, and the

"Russian Five" influenced >avelts music greatly, Gabriel

Faure made the most lasting impression upon Ravel. Faure was as superb a teacher as the French felt him to be a composer.

10Seroff, a. it., p. 31.

lGoss, 2E. cLit., p. 39. Belng in his class was like being a guest in his home. He

never criticized or reprimanded, only suggested. In his

later 1ife Faure suffered from loss of hearing, even so, his composing did not diminish.12

The Societe Natioal de Musique was founded to help young French performers and composers to gcain recognition

by having them perform and by having their music performed

in the concerts that were held every Saturday night. It

was for one of these concerts that Ricardo Vies was asked

to peorm with Marthe Dron. This poor performance of

Ravel's Sites Auriculaires resulted because the pianists

were performing on a new type of pianos, facing each other,

and they were unable to give each other the proper signals;

so the audience did not accept the composition at all.

About a year later the Societe gave Ravel another chance to be heard. his time it was the performance of the Overture to Sheherazade, wich as ascoyplete a failure as Sites

Auriculaires, Td the critics, especially Pierre Llo, wrote very disparaging articles concerning Ravel. The following is an excerpt from Lalo's article:

Monsieur Laurice Ravel is a young pupil from the Conservatory, over Vhom his comrades and his professors make a great fuss. If this is what M. avel believes to be an Overture "constructed on the classical form," we must agree that M. Ravel has a great deal of imagination. His style reminds one in its structure of Grieg, more still of Rimsky- Korsakoff or Balakire.f. There is the same incoher- ence in the general plan and in the relation of the

12Goss, . ci., pp. 48-61. 6

tones; but the characteristics already striking enough in the models are carried to an excess by the pupil.13

For a time Ravel worried about pleasing the public and the

critics, but soon he decided to work on>l for what he w-nted

to accomplish.

At the Conservatoire, each year, the French government

sponsored the Prix de Rome competition among young French

composers, the award for which was a seven-year stay at the

Medici Place in Rome while pursuing their art. The financiaI

pcart would mean much to Ravel; so he entered the competition

in 1902, 1903 and 1904, but was unsuccessul. In 1903,

Ravel, then a composer of some note, failed even to pass the

examination to enter the competition. This caused such a

national. scandal th at Theodore Dubois, thenI director of the

Conservatory, resigned,14 -nd Gabriel Faurh was nominated as

the heod of the institution. Soor afterwards Ravel was a

member of the examination and competition jury. 1 5 On January

12, 1887, the Societe National presentQ the premiere of

Ravel's Histoires Naturelles. Some ere amused, and others,

outraged. Pierre Lalo accused Ravel of imitating Debussy,

To mIake matters worse, Ravel had several copositions with

titles similar to the titles of some of Debussy's compositions.

13Goss, o . ciot.., p. 56. l4Scroff, p. t, p. 80.

15y14 D. Calvocoressi, Musicians Gal1y (London, 1933), p. 50. y(ono,13) 7

Other writers such as Jean-Aubry, Calvocoressi, Laloy, and

Jean Marnold supported Ravel. They conceded that Ravel may have been influenced by Debussy, and that was good, but

Ravel was not an imitator.l 6 Prom this Ravel emerged more famous than ever.

In France, about this time, the most popular music was that- of Beethoven and Iagner, but "Les Apaches" did not care for any of it. "Les Apaches" were a group of men--painters, writers, and musicins--wiho found tha t they had a mutual interest in experimenting to broaden their respective fields instead of just keeping within the strict rules already ac- cepte&$. They would go to concerts en masse and, most nights, stay up ll night discuss: w and playing their favorite music. "Les Apaches" were interested in Pussian music(the

Fre-ich public considered it barbaric), especially the music of the "Russian Five"--Rimsky-Korsakoff, Cesar Cui, Balakireff,

MoussorgsC2 and Borodin. Members of the "Apaches" besides

RLvel were as follows: Pul Sordes, painter and musician of considerable ability and interpreter of Ravel's colors;

Ricardo Vines, pianist and closest friend of Ravel; Leon-

Paul Fargue, writer and critic(Ravel liked to imitate his mannerisms); Maurice Delage, pupil of Ravel; Tristan Klingsor, painter and poet; Calvocoressi, writer and critic(noted for translations of operas); Charles Sordes, brother of Paul;

Pierre Haour, poet; Edouard Benedictus, painter; Inghelbrecht,

16SeroffI _0101- it., p. 124. 8 conductor; Seguy; Florent Schmitt; Chadeigne, chorus director at the Opera; Roger-Ducasse; Andre Caplet; Manuel de

Falla; the Ahbb Petit; Igor Stravinsky; and Roland-Manuel.1 ?

As a result of the scandalsl" concerning the Prix de

Ronme nd ilistoires Naturelles, Ravel became one of the most famous your composers of the day. In 1905, Jacques Durand offered to be his publisher and proposed to ay him twelve thousand francs a year as an advance on his royalties for an option on all of his forthcoming compositions. Ravel took only sih thousand francs so he would not ". . . feel cor.- pelled to turn out a greater quatity of work."18 Prior to this, Ravel had comrposed seventeen compositions, anong them:

Menuet Antique, Shhrazade, Pvane pDour un Infante Dbfunte, Jeu; d'Eau, -and the Stin Quartet.19 After the first performance of the Sonatine in 1906, most of Ravel's compositions were greatly acclaimed, so he had finally established himself financially independent.

At the outset of World War I, in 1914, Ravel tried repeatedly to enter the French Air Force, 'ut was always re- jected, because of his being so slight of build. He was finally accepted in the motor convoy and served at the front for several months.

17ss, on. cit., P. 7. 18seroff, 212 cit., p. 86.

19Goss, _. cit., pp. 2 65-2 66 . 9

His nerves shattered, Ravel returned home and bought a beautiful house in Ile-de-France. All o his affections went into redecorating this house and romping with a faily of Si0mese cats.20

In 1928, Ravel was promised ten thousand dollars to mike a concert tour of the United States. He made thirty- one appearance and was acclaimed every ere he waent. He wI.s greatly impressed by everything ir America, especially

jazz music in Harlem. Ravel returned home the richest he had ever been, having received twenty-seven thousand dollars for the tour.2 1

In the same year 0avel tascomissioned by the dancer,

Ida &ubinstcir, to &ritt a ballt for her. entitled it

Boleroo, SQCh Otme his ost acclaimed work. ravel explained that he had done exactly what he had intended to do, Nd that was to exhaust all of the possibilities of a theme over a monotonous rhythm . Bolero was adapted for every possible combination of instruments, and one film comany paid Ravel a "fabulous" sum of money for film rights, believing it to be so e sort of opera.22

In the fall of 1932 Ravel was in a Paris taxi accident.

Within a few months, he lost 'his owners of co-ordination and was partially pralyzed. In 1935, a trip to spain and Morocco

20Seroff, 22. _fl, pp. 221-223.

2lIbid., p. 248. 22Goss, o-. cit., P. 3. 10 with Leon Lcyritz, the sculptor, partially rehabilitated him, but when he returned he seemed to grow worse; so, in1937, the doctors decided upon a brain operation. After the op- eraction Ravel never regained consciousness, and 0 nine days later, December 28, 1937, ft the ige of siXty-tWo, he died. 2 3

His Last works were two concertos--one for the 1eft- hnded piAnist, Paul Wittgenstein, and the other he wrote for himself to perforu--and three songs he was comissioned to xrite for a motion picture, which was never completed.24 For a study of invel's style, the folioiingi td concerning it. Mt D. (tloo essi says of Ravel:

In 1ll his works Ravel stAnds revealed as a typicol product of French culture, essntiily in- telligent, versatile, although he deliberately restricts his field, purroseful, and eager to in- vestigate the possibilities of musie...... Hjs style is characterized by a sharp defi- ition of contours, by finish, poInt and piquancy dow,,n to theu otdcetail.25

Donald N. Ferguson sus avel's characteristics of Npression

. . perception of the ide allusiveness of the dnce ,as a medium of exression; a disposition to look toward Spain for inspiration; a certain superficiarestraint and clarity in melodic and harmonic dosirn; and tundrlying all, a temperament fundat~Mentally passionate and romantic.26

2 3$roff, Sct., p. 271.

24GC)oss., o t., pp. 242-247,

2j. B. Tarnd, "Ravel," Grove's Dictionaryr of usic and -sicin, 1o1. Vy (New Yor,7191 WVII

26D. N. Ferguson, A -Fistoryof Musical 2Thouht (New York, 1935),, pp . 486-487. 11

S Ince this won willt primartlv cnern R-avel's orches- t rwtions, the follo«g is said concernIng thea. Gardner 05u lcO& 'UC2~o~rcth0em.J- GOtO"-dn I Rend refers to Ravel as "lthe master craftsm,an"I of orches-

ti)o.27 iJ GraymIs of the opinODhion that:

The element which one dislikes in avel's Lu- Sic. . . is his orchestration, which reveals the influence of the Russians and of Rimsky-Korsakov in particular, in the constant pro-occupation with external brilliance and meretricious glitter. *28

Norman Demuth, in his biography of Ravel, says, concerning Ravel as a riter for orchestra:

If we approach Ravel in the spirit of the Teutonic or central EuLropean school, we shall find no lines or solidity of thout. . . There will be no de- velopments or long workings-out. But w find no mud: everything is crystal-clear. In the larger works such as Daphais et Chloe he treats the or- hestra as a virtuosc Anstrument. . . He decorates everythIng. lhe strings are called upon to do -f:eats usuam rllyexpected only in the solo part of a concerto. The winds ill find their resources used to an extraordinary degree of completeness. Always we are faced with consummate food taste, quisite tone-painting and masterly editorship. Mr. Myers Foggin has called att ention to this in his remarks on the piano works. In the orchestral scores we find it developed to a complete art. . Each instrument is treated as if it were a soloist. There is nothing Dareless, nothing left to chance. 2 9 Marion Bauer' and Ethel Peyser in their book on the history of music, Say, "rs amster ot thenmodern orchestra, Ravel

27Gardner Read, Thesaurus of Orchestral DeviLces (New York, 1953), p. 280. 28Norman Denmth, Ravel (London, 1947), P. 166. 2 9 Ibid., p. 167. 12 stands almost without rival." Jen Marnold wrote the folP o ing remarks about Ravel:

monsieur Maurice Ravel has created an orchestral anguage, which belongs exclusively to himself. Its extreme subtlety sees, by its style, to achieve simplicity through a natural unfolding of the infinite resources of each instrument. The basis of this coMplete mastery is his adequate and profond understanding of these resources.3 1

30marion Bauer and Ethel R. Peyser, Music mThroh the Aaes (Ne iYbrk, 1946), p. 480.

31Goss, 2p.. cai-t., p.I . CHAPTER II

ORCHESTRATIONS OF PIANO COMPOSITIONS

It is interesting to note that several of Ravel's compositions for the piano were successful only after he had orchestrated them. Ravel, a pianist, had a natural gift for orchestration, and when writing for the piano he seems to have projected his thoughts to the orchestra; thus some of his works are more successful' for the orchestra than for the

piano. Since he orchestrated several of his own piano compositions, these present an excellent opportunity for a study of his orchestrations.

About the most popular composer in France during Ravel's day was Richard Wagner, but Ravel did not always agree with Wagner. Table I is a comparison of Ravel's and Wagner's or- chestras.

TABLE I

COMPARISON OF RAVEL'S ORCHESTRA TO THAT OF RICHARD WAGNER Ravel's Orchestra(1911) Wagner's Orchestra

1 piccolo 1 piccolo 2 flutes 3 flutes 1 alto flute 2 oboes 3 oboes 1 English horn 1 English horn 1 E flat clarinet . . . .0.*.#.41.0.0. 2 B flat clarinets 3 B flat clarinets 1 bass clarinet 1 bass clarinet

13 14

TABLE I--Continued

Ravel's Orchestra(1911) Wagner's Orchestra. 3 bassoons 3 bassoons I1 contra bassoon 4 horns- 8 horns 4 trumpets 3 trumpets a 9 . 9. 9 1 bass trumpet trombones 3 trombones I3 * 9. " . . 1 contra bass trombone

9 9 . 9 . 2 tenor tubas tuba 2 bass tubas ..9 9 9 9 9 . .9 1 contra bass,tuba 4 timpani 4 timpani bass drum 9 9 9 9 0 . 9 9 9 9 cymbals cymbals snare drum . 9 9 9 tenor drum tenor drum triangle triangle tambourine 9 9 9 9 . 9 .9. 9 9 9 castanets 9 9 . 9 crotales 9 9 9 9 gong . . 9 9

Eoliphone . 9 9 9 glockenspiel . . . .

* 9 9 9 0. 0 9 9 9 9 9 bells celesta ...... 2 harps 6 harps violin I violin 1(16) violin II violin 11(16) violas violas(12) violoncellos violoncellos(12) double basses double basses(8) Chorus: S. A. T. B., 13 solo voices off-stage

Analysis of Orchestration of Menuet Ant Qe In 1895, as a student at the Conservatory, Ravel composed his first orchestral work, Menuet Antique. It was first published by &och and Company of Paris as a piano piece in 1898, and later that year, as an orchestral piece. The one hundred forty-eight measures of the composition last for seven minutes with tempo marking, maestoso(76 beats per ilinute changing to 80). The first public performance of the orebestral version was directed by the composer on Jr- uary 11, 1930, for Concerts Lamoureux.1 Madeleine Goss, in her biograVph of Ravel, says of Menuet Antiue:

Though in this work Ravel follows the classical more closely, its title is somewhat of a paradox -- forerunner of the curious contradictions he was so fond of throughout his life; but there are certain striking Innovations that deny the austere implication O titte, and thcMenuetiscantts excellent eamle of Ravel's ability Tdo~chieve originality and tahe unusual within the restrictions of form. Roland-Manual calls it "a conflict between order and adventure." We can imagine the twenty-year-old Maurice trying to conform obedi- ently to the precepts of his teachers, yet unable to resist a few dissonant chords and "uodernl har- ronies.2

The instrumentation of Menuet Antique is two flutes, piccolo, two oboes, English horn, two clarinets in A, bass clarinet in A, two bassoons, contra bassoon, four horns, three trumpets in 2, three troebones, tuba, two timpani, harp, and strings.

The piano version of Menuet Antigue starts on the last half of the third beat, but in the orchestral version Ravel has completed the measure by filling in rests for the first two and a half beats.

Measures forty-seven to fifty-five are repeated in the piano version, but iot in the orchestral version.

1Dur-nd et Cie, Cataloue de 1 Oeuvre de Maurice Ravel (Paris, date not given), pp. 21, 3 " 2Goss, on. cit., p. Y+. 16

Measures fifty-six to seventy-nine are repeated in the orchestral version, but not in the piano version. There are only slight changes in the accompaniment when these measures are repeated.

Only the problems in transcribing piano compositions for the orchestra will be considered in this discussion of Menuet Antique. Throughout the entire transcription Ravel keeps the same keys as in the piano version even though the keys have as many as six sharps. To compensate for the sustaining action of the piano, Ravel gives the lowest one or two notes of the piano composition greater values rhythmi- cally in the orchestral version, so that they will be sustained throughout the passage for the same length of time as in the piano composition. Since Ravel wrote the piano composition, he would have no doubt of the harmonies and the melody the composer intended, so some of the problems that would confront most tran- scribers would not hinder Ravel in this situation.

The ostinato chords at measure fifty-six are performed by the strings in the orchestral version. First the cellos and violas are divided and play the four-membered chords, and then the first and second violins have them. Ravel has scored the chords in an interlocking superposition as he has most of the chords in the composition.

There are no arpeggios that the orchestral instruments cannot handle, because Ravel scores the piano arpeggios the

WWOMOMMM9 17

same in the orchestral version. Also In the piano compo-

sition there are no rolled chords or tremoli to present any

problems of transcribing.

Analysis of Orchestration of

Pavane Dour une Infante Dfunte

Payane our oInfante Defunte ras composed as a piano

piece in 1899 and orchestrated in 1910. The orchestral 'rork

was copyrighted by Max Eschig. The first performance was

conducted by Alfredo Casella on December 25, 1911, for

Concerts Hasselmans. The Pavane was dedicated to Princess

Edmond de Polignas. 3

Ravel received his inspiration for the Pavane from his mother's description of Spanish dance around the funeral

bier placed in front of the altar. The riece is in rondo

form. Ravel produces the impression of a lute writh the stac-

cato inner parts throughout most of the composition. He said of the Pavane that it showed too flagrant an influence of

Chabrier, and that the form was poor. Norman Demuth says of the Pavane:

As regards form, anything rore elaborate than rondo form would only have given the piece weight altogether out of proportion to itself. The orchestral version illustrates the slenderness of the fabric which is not inmediately realizable when we play it on the piano. Ravel insisted that it should be played calmly in strict time and without any passionate or senti- mental rubato. . . whether it be great music or

3Durand, _12. Ci ., p. 21* l8

smal: whether It be origin a.1mnd individual or ple imitation, the Pavane pour une Infante Defunte is of the highest importance not only historically, out also in respect of its composer's early declaration of style -ad technique.4

Ravel uses the following instrumentation for the Pavane; two flutes, one oboe, two clarinets in B, two bassoons, two horns In G, one harp, and strings. Since this piece is soft and slow moving, the brilliant, penetrating sonorities of the trmipets, trombones, and tuba are left out of the orchestration altogether. It is interesting to note that most o1 the instruments seldom play in their high registers. All of the instruments have solos except the strings and the harp, but when the full or large ensemble is used the first violins hve the melody usual ly reinforced by the oboe and soreties one flute.

In the first section, consisting of the first sixmeas- ures, the first horn has the melody with the second horn's and bassoons' parts consisting of sustained chord tones. second The violins and violas pluck the detached inner notes, that represent a lute, while the cellos and bass take the bass part -pizzicato. Example number one shows Ravel's voicing of the first tro measures. The sustained chord tones in the second horn's and the teo bassoons' parts do

+Deuth, 122_ cit., pp. 50-53. 19 not appear in the piano score as such, even though they can be played by the pianist. These added parts give the orchestral version color.

l s L-e Ja 4O -11~

0L ,

ti Ir.~ J .?: Ii

- ' w qp 4w ft

Ex.. I--Measures I and 2

One flute enters with the melody as a solo in the sixth and seventh measures, and Ravel gives the harp an arpeggio at the cadence on the fourth beat of the seventh measure, which serves to connect the phrases. He has added to the orchestral work an interesting figure for the flutes, 20 consisting of sustained chord tones derived from the inner detached part in the eighth measure of the piano score.

Example two compares this part to the melody.

Ex. 2--Measures 8 and 9

To complete the chord, the clarinet(in low register) and bassoons are given sustained chord tones that do not appear in the piano score. These parts were probably added, because the character of the tone of the low register of the clarinet and bassoon gives the orchestral version color. The first violins join the horns on the melody in measures eight and nine, and the second violins and violas continue with the pizzicato eighth notes to the tenth measure. The cello and bass still take the pizzicato bass part. Ravel has given the first violins a figure that is an expansion of the syncopation, occurring on beats three and four of the tenth measure in the piano score. This figure is shown in example three and is found quite often in the violin part throughout the work. 21

Ex. 3--Measure 10

An oboe solo appears in measure eleven, reinforced in part by the clarinet. The second violins and violas take a part derived from the inner voice of the Uiano score, and the parallel fifths in the bass of the piano score are divided between the cellos and basses. Ravel has given the

legato arpeggio in measure twelve to the first violins to be played pizzicato, which emphasizes the detachment of thm notes, and in the next measure the basses and harp play a pedal point, and the second violins, violas, and cellos sus-

tain the rest of the chord tones on whole notes.

TIhe oboe part in the thirteenth measure consists of the melod; while one bassoon(high register) takes a counter- melody derived from the harmony notes appearing in the piano

score. The clarinets, from measure thirteen to measure

seventeen, get the rhythmic ostinato of eighth notes on changing chord tones. From measure thirteen to measure nineteen the harp receives the bass part, part of which is doubled an octave beer. Giving the haro the bass part adds rhythmic interest to the sustaining string basses.

The oboe and the first clarinet carry the melody in measure seventeen. Ravel has added here in the second 22

clarinet and first bassoon parts two hrmo prarts that ar@e

anexanio o ALrAIMte iano mus-I .Emple nuber four compares these parts to te piano score,

Ef. +--Iasurs 17 nd

The eig hth not/ chor pattern, that rs i the pino sIcore,

is performed by the horns.. The bas part of the piano version is given to tie harp doule ass.

The oboe ndth first cLarinet continue with the. ielody n i mesr eighteen andl nineteen, the first non take u p the fir- sthrmiony pr, and th second ciarinet cnd secon horn

play the second harmnony pat The bass prt of the pian versi n consistr of parallel fifths, which in the orchestral version are given to the bassoons mnd the harp

The Eelody, in measures twnty through twenty-four, is

executd by the first violins, andth second violins and vioL thk o the eight note rhord pattern whsie the bassoon is sustfined yhord tonns. The cellos perfro the lower 23

harmony part, a counter-melody part as mentioned before in the bassoons; and the basses, the pizzicato fundamental

bass. Measure twenty to measure twenty-four in the piano

score is the same as measure thirteen to measure seventeen,

except for the sustained notes in the bass. In the orches-

tral version the section from measure thirteen to measure

seventeen is given to the woodwind section, and the section

from measure twenty to twenty-four is given to the strings.

The twenty-fifth measure of the piano version contains six parts, but only five appear in the orchestral version, appearing in the strings. This part is similar to the part that appears in measure eighteen only with more dissonant harmony. Ravel must have omitted the upper fifths of the bass clef of the piano score to prevent the harmony from be-

ing too thick, which could have easily happened because of

the dissonant harmonies in the chords had he given all the

notes to the strings. Here is an instance where the piano

can handle more parts than the orchestra. The cellos could have played these parallel fifths double-stopped.

From the third beat of the twenty-sixth measure to the third beat of the twenty-seventh measure, the first flute, first clarinet, first violins, and the first horn have the melody with the second violins and the second clarinets and violas on the first and second harmony parts respectively. The bass part consists of parallel fifths with the first bassoon and cello playing the top fifth ond the second bassoon and bass o the lower part.

In the section starting on the third beat of measure

twenty-seven, the first flute and first horn join the first

violins on the melody while the first harmony pirt is being

performed by the oboe. The first clarinet aid the second

violins execute the second harmony part while the third har-

mony part is taken by the second clarinet, first violins, and

viola., Both the melody and the third harmony part appear in

the double-stopped first violin part. The bass part of the

piano version consists of parallel fifths. The first bassoon

takes the top part, and the second bassoon and bass take the

bottom part. The cellos are given both parts double-stopped.

The wide use of parallel fifths in the bass was started by

Faure, and several of his contemporaries continued the practice,

The practice of writing the cello and double-bass parts

differently was started after Beethoven. This complies with

the French conception of the orchestra as being "dainty" as

opposed to the German conception of the orchestra as being large and voluminous,

From measure twenty-eight to measure thirty-four the two clarinets(octave apart), the two flutes(octave apart), and

the oboe play the melody, and the divided second violins, the

detached inner broken chord part on eighth notes. This part is shown in example five. 25

Ex. 5--l"ea sure s 28 and 29

The two over1apping second violin parts could he aes-

.iybeen written as a repeated chord pattern, but Ravel made the Dart rore interesting by writing it as is shon in example nu ber five. The cellos pluck three-note chords on the first and third beats while the violas pIuck them on the second and fourth beats as in eiaml''e si .

,*I' I

PiZZ.

Ex. 6--Measures 28 cand 29 26

Here aIvel has the second violins, violas, and cellos all

"strumming," which gives the effect of several lutes and gui-

tars, the instrunts that were probably used to accompany

the dance, after which the Pavane was written. Ravel has

added two parts to the orchestral version that do not appear

in the piano version. One is chord tones moving on half

notes in the bassoon and first violin part; the other is a

fundamental pizzicato bass in the double bass part, which is,

e lity, a mere reiinforcement of the lowest member of the chord in the cello rart.

In mea sure thirty-four the harp plays an arpeggio to

connect the phrases.and add color. Ravel uses arpeggios

quite often whenever there is a note of any reat duration at

the cadence, so there will not be a rhythmic stagnation be-

tween prases. The first flute a:d oboe have the melody in measure thirty-five. Instead of the chords on the after-

beats, that appear in the piano version, Savel gives the

first and second violins syncopate& thirds in the orchestral version shown in example seven. These syncopated patterns appear in several places in the orchestral work, but never in the piano. They seem to take the place of shorter notes that appear on the after-beat in the piano score. he viola and cellos sustain chord tones, and the fundamental pizzicato bass continues.

The two flutes(octave apart), the oboe, and the two clarinets(octave apart) perform the melody in measure thirty-seven, and the violins(I and II) execute syncopated chord tones. 27

.JE544r

'x.7--easure 37

The background in the treble of the piano version is doubled in the bass clef of the p#Aano. The sustained E and B in the cello part do not appear in the piano part. The notes in the cello part are the same as in the violin part, except that they are sustaiLned as in ecarple eight.

Ex. 8--Measure 37

The second violins play the melodic passage above the theme in measures tirrty-eight and. thirty-nine, and the theme 28 appears in the first horn rart. The bassoons, violas, and one horn fulfill the rest of the chord tones on quarter notes with the bass clef part of the piano version, which consists of parallel fifths occurring in the cello and bass part.

There are in the iortieth measure tPo flute solos, two nielodies being played together uJIle the firs- ohs re di- vied into a syrcopa t ed pssage, and the harp plays a harmonic on tro-line d.5

The first violins, in measure forty-one, have the melody, the second violins ave the first harmony part, the violas have the second harmony part, the bassoons have the first harmony part in the bass, and one norn Las the bass part with the notes tied.

The voicing of the ins t ruments in measure iorty-two is the same as measure forty-one, except that the oboe and the first clarianet take up the melody, ari the second clarinet carries the first hrmony part. Ravel added to the orchestral version two parts, ifnich do not occur in the piano ver sion: a pizzicato bass part on eighth notes, which is similar to the double-bass pa-rt through out the work; the other, the cellos on double harmonics. See example nine.

Ex. 9--Bass part

5George A. VIedge, Ear-training and Sih (New York, 1921), P. 31 29

Ravel adds the harp and flute with similar parts that reinforce each other in measure forty-three.

Hrp

6IF40

Ex. 10--Measure 43

Whenever Ravel doubles a part in more than one type of instrument he adds richness in tone color as well as reinforces the part.

The first clarinet has the melody of measure forty- four as a solo, and the second clarinet has the bass part of the piano version as a solo, forming counter-melodies while the divided violins execute syncopated thirds. The first violins play the melody and the second harmony part as double-stops, starting on the third beat of measure forty-five while the violas take the first harmony part in the bass clef of the piano composition, and the 30

horns and the bass have a pedal point. The melody, that starts on the last half of the third beat of measure forty-

six, is doubled an octave lower in the second clarinet and

viola with the fist flute, oboe, and the first violin

(double-stopped) performing the upper melody, and tne first

harmony part occurs in the second flute, first clarinet, and

second violins(double-stopped) parts. The first horn pos-

sesses the second harmony part, and the first bassoon and

the second horn perform the first harmony part in the bass

of the piano version. The second bassoon executes the sec-

ond harmon, part in the bass, and the harp and cellos have

pedal points a fift apart. In this measure is good exam-

ple of reinforcing chord tones with the use of double-stops in the string pArts.

There is an excellent example of full chord scoring for

a small orchestra on the first beat of measure forty-seve:.

In this scoring only the upper tones will be sustained with the slight intensity to give a true sforzando effect(the piano asking). The strings can only hold the lower notes for a brief instant before they move the bow to the upper notes of the quadruple stops, and the harp sustains the tones with any large degree of volume for only an instant ihen they are plucked, and then they die out rapidly. Even though the piano score has one sharp in the key signature, the musical content is in the key of B flat in this part, and

Ravel achieves this in the piano part through the use of 31 accidentals while in the orchestral version he avoids con- fusion by changing the signature. The first beat of measure forty-seven is shoxrn in example eleven(to be found on the following page).

In both versions measures fifty to fifty-nine are like measures forty to forty-nine, except for the addition of arpeggios in measures fifty and fifty-four and a glissando in measure fifty-five.. The arpeggios and glissando are played by the harp. The sextet that appears in measure fifty-nine is the same in measure forty-nine, except that the flutes take the part the horns had, which gives the combination of two clarinets, two bassoons, and two flutes.

It is interesting to make a special note of the change in the instrumentation of the sextet. It keeps it from being an exact repetition of the previous one and gives it interesting tonal variety.

The melody in measure sixty is played by the two flutes an octave apart, and the first and second violins, an octave apart. The harp takes the arpeggic inner parts and the chords on the second and the third beats. In the piano score there appear chords on the first and third beats, but in the orchestral version Ravel gives the bassoons, horns, violas, and basses sustained chords on half notes.

Several times Ravel has added sustained note parts that do not appear in the piano version. This type of accompaniment is very appropriate for this type of melody. It also

. 32

410f

'C j a

-1 0-

I p4 he SF Harps /f

r. I I4

I f

I __!_ -I

w >

Ex. II--First beat of measure 47 33 gives the orchestral version a less percussive effect than the piano version. Starting on the third beat of measure sixty-five the melody is played by the oboe, and the inner part is played by the harp and the second flute. The bass part is played by one bassoon and the double basses. Ravel has expanded the piano score by the addition of two parts. They are doubled sustained dominant tones, given to the first and second violins and a clarinet part, consisting of the bass part rhythm and the inner, part notes.(See example number twelve.) The clarinet part shows a unique way of handling a

part to be reinforced when transcribing a piano work for orchestra, even though Ravel does not make great use of this technic.

Ex. 12--Measure 65

in measure sixty-six the first violins and violas have the melody, and the harp has a glissando. The bass part is

$ i 34

not played in the orchestral version. Ravel probably omitted

the bass part to obtain a very light effect in the orches-

tral version and to allow the harp to be heard.

The melody in measures sixty-seven and sixty-eight is

played by the horns, first violins, and violas; and the flutes and clarinets play the syncopated thirds. Ravel has reinforced the harmony and accented the first beats with a

cello part, consisting of pizzicato chords on the first beats; a double bass part, consisting of pizzicato notes on the first beats of each measure; and bassoon parts, consisting of sustained tonic and dominant tones to the tonic of the next chord and a pedal point.

In measure sixty-nine the strings and horn have the melody, and the syncopated chords are omitted. Ravel has the chords on the fourth beat of measure sixty-nine, and one on the first beat of measure seventy being sounded by the flutes, clarinets, and bassoons.

The clarinets and horns play the melody in measure seventy with the flutes, bassoons, harp, cellos, and basses playing chords on the third and fourth beats. The oboe, first and second violins, and violas are given the triplet figure that appears on the fourth beat.

In measure seventy-one and seventy-two the clarinets(octave apart), first bassoon, first and second violins and violas play the melody while the flutes(octave apart), second bassoon, horns, first and second violins, violas,

WNA*WWMUM-- 35 cellos(double--stops), and basses execute wihole-note chords.

Both the first and second violins are divided, playing the

Melody and sustained chord tones. The harp has triple har- manics on the final chord, and the first violins and violas have double harmonies.

In the orchestral version Ravel uses certain orchestral devices that need to be considered. aFor instance, in-qeas- ure twenty-four the horns range is extended to Great C.

There are three instances where Ravel gives the harp a glissando to be played in one hand(mecasures fifty-one, fifty- five, and sixty-six). in measures eight, forty, fifty, and fifty-four the harp plays single harmonics, and in measures fifty and fifty-four it plays double harmonics.

In measures tweanty-six, forty-three, forty-seven, fifty- three, and fifty-seven the strings perform successive doxn- bows. This Places more erphtsis on these -notes. In measures forty-seven and fifty-seven the first ad second viollns and violas have quadruple stops as is shown in example number ten. There appears in Leasure sevnty-two double harmonics in the first violin and Viola part. In easure twelve the first violins are divided to play an arpeggio pizzicato.

A "strumming" of a lute effect is obtained in measures sixty- seven and sixty-eight by the second violins and cellos pluck - ing quadruple-stops. A similar effect is obtained in measure twenty-eight by the violas and cellos playing triple-stops

Pizzicato. The devices, other than those mentioned above, 36

that appear in the cello part are double-stops played pizzicato(measure eight), triple-stops played pizzicato(measures

nine and sixty), double harmonics(measure forty-two and

fifty-two), arpeggic triple-stops(measure sixty-seven), and

arpeggic quadruple-stops(measure sixty-eight).

The sections consisting of measures one to twelve, twenty-eight to thirty-nine, and sixty to seventy-two have

the same melody, but Ravel in the piano composition has

changed the accompaniment of each section for variety. In

the section of measure one to measure twelve Ravel has a

staccato eighth note inner part and a marcato bass part. In

the section of measure twenty-eight to thirty-nine, the melo-

dy is an octave higher, the inner part is an octave higher

with chord tones added to the original notes, and the bass

part consists of chords on quarter notes. The only differ-

ence between measures sixty to seventy-two and measures

twenty-eight to thirty-nine is the inner part consists of a

broken chord on sixteenth notes instead of chords moving to different positions on eighth notes.

In the first section, measures one to twelve, the first

horn has the melody, being reinforced by the first violin at measure eight, and the second violins and violas have the inner part.

In the section consisting of measures twenty-eight to thirty-nine, the two flutes(octave apart) and the two clarinets(octave apart) have the melody, being joined by the rest 37 of the woodwinds in unisr s in measure thirty-seven. The divided second violIns play thie iner part.(efer to eam- p1e number five.)

From measure sixtr to measure seventy-two the flutes and violins have the doubled melody with the horls added on the melody in measure sixty-seven. Also in measure sixty- seven the violas take ti melody in place of the second violins, and then in measure sixty-kine all of tie strings have the melody in unison. For most of the section the harp takes the inncr part as well as the bass part. The in- nor part consists of broke chords on sixteenth notes.

Analysis of Orchestration of

ia Mere 1 Qe

Ravel composed ha Mere V'Oye in 1908 for the piano and orchestrated it in 1911. he dedicated it to Mimie and Jean

Godebsi, the children of Cipa and Ida Godebski, some of

Ravel's closest friends.6 The composition: is divided into five sections: "Pavane of the Sleeping Beauty"; op-0-My-

Thmi b"; "Laideroanette, Mpress of the Pagodas"; "The Beauty and the Beast"; and "The Fairy Garden. "

The orchestra of M. ee 'Oe is small without any brass except twzo iorns. The instruments used are one flute, one iccolo(changing to second flute in some movements), one oboe, one &mlish orn(changing to second oboe in some

6Seroff, op. ("it., PP. 130-1 31 38 movements), t;wo clarinets, one bassoon, one contra bassoon

(changing to second bassoon), two horns in F, two timpani, triangle, cy bals, bass drum, gong, xylophone, glockenspiel, celesta, one harp, and strings. A part for a five-stringed bass is optional. In all of the movements the clarinets are in B flat except lie third where they are in A, because the clarinet in A has a greater facIlity in the key of A, which is the key of the movement, than the clarinet in B

Thenever one transcribes a composition from one medium to another and also ir composing, there arises the problem of proper dynamics. A thorough knowledge of the instruments is necessary to give each the proper dynamics to achieve balance. This is true even in a small orchestra such as the one Ravel uses for Ma Mere lLQe. For instance, in several measures starting on the seventy-first measure the first pia1no plays softer than the second piano, and then in the saie measure in the orchestral version the piccolo, flute, one bassoon, two of the three solo violins, the violas and the divided double basses play piano, the other bassoon, one clarinet , one horn, the first violins, and the second violins perform pianissimo, and the first solo violin performs mezzo-forte. Looking at the dynaic markings, it is easy to determine the importance of each part, since most of the instruments that are used have about the same carrying power. The parts that are performed by a large number of

4WwaM9 , , , '. - -- ,. " -Ij 1, 1, -M." -1. 1 "NAM . - ", 39 instruments are to be performed softer thin those parts of just one instrument. The piano part at measure 102 is to be played pianssio, and in the orcrestral version the parts that are marked pianissimo are one bassoon, one hor n, harp, the first part or the divided violas, and the first part of the divided cellos. The rest of the iinstruxents: the second part of the divided first violins, the secondcpart of the divided second violins, the second part of the divided viola, the second part of the divided cellos and-the double basses have the dynamic arI , .pu. The parts tht are performedE are only the tremolo accompaniment parts while the pianissimo parts are reiforcements of the main parts in the bassoon and horn.

The flute solo that starts on measure one hundred eight is to be performed pia'o, but the samie part in the first piano part is to be performed pianissimo. (The reason for this difference Ln dynamics is that the piano is accorpanied by itself xhile t flutei'e has almost a full orchestra playing against it.)

Starting at measure 123 the alternating measures in tie pwan pr he contrasting degrees of dynamics, forte and pmnsso, but the orchestral version hascontrasting dynamics, fortissimo and pianissio. Ravel wanted more con-

rest, hich is1 u1h easier to obtain trom the oroestra thanU.L from the whiano.E nugh th e O can a in a

(1 fori'ssio, th' eorestra has mucl gr 0t2 01fortissimo because of the numbers of instruments involved. Also the orchestra can attain a smaller degree of volume by having oly one or two light instruments performing,.

The tone of the celesta has the least carrying quality in the orchestra. (This does not obliterate the fact that the celesta has one of the most beautiful tones in the orchestra.) A celeSta solo, then, should always be executed with a much greater degree of volume than the instruments that are accompanying it. There is a good example of ths in measure 192. Ravel has the celesta perform mezzo-piano; the harp and the solo clarinet, piano; and the rest of the instruments, pianissimo.

For the first twenty measures the double-basses are muted and divided. The two parts are different in that one is execu ted izzicato and the other, rco. ihe bowed part consists entirely of harmonics.

Instead of the slightly detached notes that appear in measures five through eight and thirtecu through twenty in the left haid of thc first piano, Ravel in the orchestral version has placed a sustained note at each place..

As a rhythmic reinforcement of the harmony, Ravel has added in the cello part in measures thirteen to sixteen pizzicato quadruple stops on the first beats.

Ravel obtains a different character of tone and less volume from the violins in "Hop-0-My-Thumb" using mutes.

The violas and cellos are also muted vhen they take over the part from the violins in the thirty-second measure. 41

in ee i tyraswre Jtvhee .. s e collo pperfo r :

at the top of its range, ' mt:or only a fewv measures.

In measure seventy-o e trough seventy-four there are

three solo violin prts.Ravel itends these solo violin

parts to represent birds.

avel maires very general use of harmonics in all of his orks, but especially so in Ma Mere l'Oye. For instance

in measure Cnineuy-one the cellos are divided to execute two

peda points as har'onics, td then in measure inety-nine

the chord is doubled on harmonics by "our soli violas, wITich produces very interesting tonal effect.

Laidoronette Imperatrice des Pagodes" is in the key of

F sharp, but the haar rt is in the ey of G -flat so the

harp strings will have a greater vibrating are.'? If the

strings were set tihter in tne sharp key, they would not

vibrate so oreely and not have as good a tone uQlity.

For added color Ravel has oe sn'071 an. e ho"rin1

changing the left hnd part of thie seco p o A

sure< 1) to 119, and instead , just chordal accory}mpaniment

he hs the strings perform the chords as tremoli.

Since it is di cult -for the harpist to xecute very ide leaps, Ravel as soe notes of the har pat as1; ron

ics thereby ii in te wide ps. An efiple of this

is otun In weasurs 12, 104 and sever,-, Leasu-es thereaifter.

7C eci o1.:Forsyth, Orchestration (New Cork, 1949), pr. 47M

. IMRWMNmkow- 1, - 42

The harp starting at measure 104 is unusual in that it changes from. the right hand part of the first piano to the left hand part, taking the most important notes from each part as shown in example number thirteen.

Piap

00 0 Ex. 13--Measures 104 and 105

The harmony in measure 124 is executed by the divided

first and divided second violins as a trill for additional color.

The cello is given the left hand part of the second piano at measure 132, but instead of having half notes as: the piano version does, the cellos have quarter notes and quarter rests, because they execute the notes pizzicato.

In measure 154 there are added harmony parts. The glissando is given to thie celesta, and the first violins and divided cellos have portamenti between their slurred notes. 43

Quite often Ravel reinforces the harmony by adding sus- taened chord tones in some of the orchestral parts such as he does in the clarinet and harp part in measure 157. Th harp takes the tones that appear on eighth notes in the

pito score and plays them on half notes and as harmonics

in every other measure. For a fuller development in the orchestral version, avel repeats measures 160 and 161 with more instruments

playing the parts. He also does the s0 o thing with neas-

ures 162 0 nd 13 of the piano score.

t Th ere ore two way o reinforce tones on the harp. One

is to play the tone and its enharmonic on another string simultaneously, and the other is to sound the tone in the usual manner, and as a harmonic on another string ,simultaneously. Ravel uses th latter in measure 169 and both throughout is wor-s.

The tam-tam(gong) is used quite effectively by Ravel starting at measure 171, and it adds much color to the orchestral work.

The harpist can, ake quic repetitions of a tone by Prinrg it anid then playing it enhar.onically on another string. Ravel h th 1as harist doing this stWarting ,t ure 192, which produces the effect of a grac-note.

Starting at 24 the haApmeasure part does not appear in the piano version. It consists of eighth note harmonics.

Ravel again has the divided(a 3) first violins and divided 44

(a 3) second violins perform the chords as tremori. The xylophone prt is also an added part, and It consists of

n1ajrisecondc 2Lye On4 " syn0opotcd ,hyt 1mic pttn. *Meas- rO c Lto 2 5 n cmeslures 108 to 122 have the srame elody in t he first piano part. At measure 3h1e melody is p-r- fo r btheamed piccolo and taken over at 19 by the -Clute. The same melody doubled at measure 241 is played by tie celesta reinforced by the flute 't measure 252. The first piano at 108 has 'no bass part, but it does at 2-1. Also, the accompaniment in the second piano is entirely different when the same rlody appears at 241. measure 252 is one of the examples of Ravel's using the harp gissandi, and here also are a series of ascending and descending glissandi, being executed against treoli in the strings, a sixteenth note melody b the celesta an. one flute, lower melody by the divided first violins and bassoons,, and sustained chord tones in the rest of the instruments. Measures 264 to 296 are exact reretitions of measures 131 to 163. This is unusual o Ravel usually makes at least slIht variations in some way a -nrpassage isrepeated. After 296 he has added four msures0 to the orchestral version to ullydevelop the section by building up the intensity wit> tLe addQitin o instruments. ravel in measure 307 has added a part in the orchestral version that does not appear in the piano work, and he has given it to the first violins. It consists of a quarter note,

I"-. I ,- ;i - 4-- - -AWWWwwwwwo- m -, - - Km one-line c, slurred to a ha>l note, one-line d. The harmony for this tact Ls the FAC triad.

The n part tt u appears in the first piano score from uea o 3 r' to 349 is pe rfored as a cl ri et s e ttsro 1. o. Fro -r;,

-r 3 gi hs thestrin perform the harmonic

accomWpanimnt r-i.1s tremoli.

e-sure 362 in the orc-esttral version consists entirely of rests for all of the instruments, but no such measure ap-

pears In the piano composition. This added measure gives

the strings a grea. ter opportun.Iy to change from arco to pizzicato.

The bass melody that begins at measure 392 is performed

alternatingly by the bassoon and contra bassoon. The same

melody appears again at measure 440 executed by the double

basses in an extemely hiph register. Thereafter the cellos

take the aelodv, but are not called upon to pla it in such an exteme register.

Ravel 'Is caged the rt ofaI t ho cclo part oro the or I in which it ar in the piano score in measure 43. The -hyth .o th piano part consists of half note tied to a sixteenth nd three more siteenth notes, and the rhythm of tae cello part consists of a dotted quarter note and three eighth notes. Ravel probably wanted the rhythm to be a du- pliccation of the solo violin part in measure 452.

The first and second violins -and violas are divided into four separate parts at measure 470, each one playing the

14QWOAWM '46

full chod su s taiLned. Also in this measure ter is eolo CEllo pmrt, and the rest of the cellos 're divided into

th aeeparts, one being apeda point with the oublenbasses,

an the otOhers a sustQe'Snf chodU tones.

The I h 1ingnot th:i irst chodfl aur 49 1sChow

onample nUmoberJ.ourteen.(o be found on t followingg

}a.) TJ s p i ron p to botom consecutively

is the solo violins, the upper part of the divided firs

violins an the first flute; the lower part of the divided

first Vioins and the second 'lute; the first clarinet and

the to-Imost divided, second %io-in pt; t he oboe and the

second. part of the divided second violins; the lowest part

of the divided second violins the Enbeglish horn nd the top-

most lrt ofC the fist divided vioLas; the first horn @nd

the top-rmost part of the seC0nd divided violas: theWsecond

cl-riet and tfe AoweIrrt of tIe list divided violas; the

second horn and th lowe part of the sEcond divided violas;

he ft tbassoon:nd te first trt o tOe cellop; a: nwdm

the second. bassoon, the lower part of the cello prt and the double basses.

The part that is given to tIe harp in osure 4196 has been rewritten from the form in which it appears in the piano version. It starts an octave lower, end the notes do not appear in the same sequence, buit they are the same fundamental harmony pearing- asT Lrmonics.

The rolled chords that appear in the pino composition at measure 498 are not rolled in the orchestral version, but

WWWW-MR-w 47

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rr. rrrrrw Sam K:

r"rrr r i w rr

. +r"rrrr w r rrrrrrrr

w piano

solo Ving

MF 0 -

P no FT.

AE iip r

Ex. I4l--First chord of measure 495 480

are plucked by the harp, wich gives them a little different

color, nevertheless still the percussive action as in the

pian0.

avel, in the last seven measures, uses all of the good

devices to be had for building up intensity in a siall or-

chestra; such as tremoli in the strings(fortissimo), gis-

sandi in the harp and the celesta parts, arpeggios o six-

teenth notes in the glockenspiel part, a long roll in the

CyibalIat and part of the timpani part, and sharp attacks

in the wind instrument parts. Even though the glockenspiel can easily execute glissandi, the notes will be sustained

long~s ,-er th.-.an they are in th other instruments that execute lisandi, causing The tones to overrun each other.

Analysis of Orchestration of

Pictures at an Exhibition

The rork(piano version of Pictures at an Eahibition oy usorgs1i,) loos rather like a sketch f an orchesttion a'nd it has, i fct, been the su.jctO Of'frCqent oOCchT 1 ftmeentiUent. it C)CUICred a a to bring to life t nt an echy hidden L . UsorfskIis YYio vr'-Sion and to 1k i s j s cmose probably conceived In his wn 1ainatin; it Canhardly be doubted tht Ravel, w7ho undertook the tas in 1929, fully succeeded in it. -Uis orchestrat-ion is not merely tho wo oI a skillful craftsmn but the interpre- tatlon of a great artist. The substance of the sic i s almost untouched, but a carefu.11 study, ill aos a considrable anutbor of small alterations between the original and avel's score. It should however be mentioned that in "I Castello Vecchio" one bar is added for better balance; in "La Grande Porte de Kiev" theL pauses are written out; antd one of the "Promenades" is omitted.8

8Boosey and awlces, Pictures at au Exhibition (London 1942), -. 2. In his orchestra version of the Pictures a tExhibition

Ravel has taken the liberty to ad" dynamic changes that

musorgskii does not have in his piano composition. musorgskii

usually has the same dynamic list for several measures, but avel the& has change more orten. r 1 is is not the case all

of the time, since sometimes both of them have the dynamics

changing every esure or even changing in the middle of a measure. Sometimes Ravel ormIts 0 dynamic marking tuhat msor4skii has in the piano compositions. Most often the markings are sforzando, and Ravel simply adds an accent to the notes. Sometimes Ravel changes the sforzando to a forte or fortissimo and t-hen adds an accent to the notes. He also makes other changes like fJ toLmf to gp, Ej to , mf to

,1 f. tziatw, f toftoxm, and 2to 2.

Ravel hasa hor part that is an improvisatior of the pno part. It has fanf re-likeh rhythm aand notes from the melody at measure seventeen. At measure thirty-nine and forty,

Ravel has altered some of the parts by adding rests. This

~ makes the part easier to ex-cute for some of the instruments.

Ravel ha in several instances rewritten the parts slightly so they are less difficult to execute on he orcestr.l instruments, Such as at measures 63> nd 7"52. The Piano part at these places consists of sixteenth notes of octare leaps, but the string parts consist of repeated tones instead of the octave leaps. or the second "Promenade" usorgskii does not have a

key signature, but it is in the key of A flat, and Ravel

gives the orchestral parts the key signature of A flat.

"Il Vecchio Castello" has the key of g sharp minor, and theoretically the alto saxophone should be in the com-

plicated key of e sharp minor, but Ravel has written the

alto saxophone part in the enharmonic key of f minor. The

clarinets are clarinets in A, and previously they were in

B flat. If the part had not changed to the A clarinet they

would be playing in the key of a sharp minor, but in changing instruments it gives them the easier key of b minor.

So that the strings of the harp might have a better tone, the harp in "Bydlo" plays in the enharmonic key of C

flat instead of B, and in "Cum Mortuis in Lingua Mortua"

the harp is in the key of G flat instead of D. This allows

Ravel to use two strings on one pitch such as G flat reinforcing F sharp, etc. This is technically possible at this point because of the small number of notes given to the instrument.

In the third "Promenade" and "Catacombae" Musorgskii uses accidentals rather than a key signature, but Ravel has added a key signature to the orchestral parts. Whenever

Musorgskii changes keys in the middle of a movement by using accidentals, Ravel does the same.

Use of the sustaining pedal is indicated only a few times in the entire composition, and Ravel does not change 51

the values of the notes in orchestral version to compensate for te ed.al action.

Ravel frequently uses an instiumental crescendo, such

as appears at measure 128. The two contrapuntal parts have

instruments gradually added to the , thereby building up the

intensity of th mic.

At measure 509 and 753 there appears a passage of

thirty-second notes that change from hand to hand, but in

the orchestral version the different otes are distributed

mO the instruments and are played as bow tremoli.

i nost instances in which a chord appears inathe compo-

sitiorn with large distance between the treble and the bass,

Ravel ALL in toh space-with chord embers.

Beginning at measure 91, Where Musorgskii has chords

repeated il ,different positions, Ravel has the chords re-

peated in the strings in the same position with the same rhy-

thrn that appears in e te piano version, but in che woodrinds

and brasses the chords are sustained. Ravel has meter sig-

natures of two-two in the woodirdcs and brasses, and amcer

signature of three-to in the striags, di in the piano the

mrter signature is two-two.

The piuno tremoli that consist of octaves that appear at meCOsucr e 3543and 953 are executed by te strings as bowed

t d .tLi thel piano tierpoli 3t 693 that conSist of

thirds are executed by the strings as f'7irger tremoli. tere

C.U1ski has,a Pi0no slur of two octves Racel has the 5:2

string glissando two octaves and the woodwinds slur two octaves.

The appoggiaturas that appear in the piano version in measure fifty-one are omitted from the cello and double- bass parts, but not in the rest of the instrumental parts, At measure fifty-three Ravel has added sul tasto glissandi in the string parts, but there is no indication or hint of glissandi by Musorgskii in the piano version. Ravel has rewritten the passage at measure sixty-seven. In order to eliminate a minor seventh he has the top instruments rest, and the lower ones move a major second as shown in example fifteen.

Ex. 15--Measure 67

Ravel added measures 164, 658 and 659 to balance the phrases. The orchestral instruments starting at measure 263 perform legato the staccato piano passage. Musorgskii calls for no particular articulation of the notes at measure 279, but Ravel has them executed staccato. In the second violin part there is an eighth note connected to a sixteenth note followed by a sixteenth rest, so the

,-Mmwqmll I I I immmo second violin part will have a staccato effect the same as the rest of the instruments.

Ravel has, at ensure Y,0, added a considerable number

of instrumental parts: for instance, notes on the second

beat in the flute, oboe, horn, and harp parts; the two sets

of triple-stops in the divided second violin part; and the

rwythmic ostinato in the first. horn part; and then at meas-

ure 412 the flutes, oboes, bassoons, horns, harp, and second

violin parts are lost entirely different to the piano part.

A cowon Ravel device appears at measure 606, 720 and

523 in the first violin and viola. Instead of having the fir st violins and violas Play the notes as they appear in the palno version, Ravel adds color to them by adding bow tremoli on the notes.

At measures 903, 904, 913, and 951 Ravel has taken li-

berties 7ith the composition and changed the rhythm. Meas- ures 903 and 904 in the 0ianoversion consist of tro chords, giving a duple rhythM, but Ravel has the first chord repeat-

ed to give it triple rPhytb , and at 913 he takeCs the same chords nd changes the positions and augments and diminIshes the note values. Then at measure 95 there the chords are sustained for one beat in one position and repeated for one beat in one position, ai zepeatnd 17 e beSt1 in laother, position, Ravel 1 ts he chords sustained for twO Pnd a quar- er oents and not repeated in arot&or position.

R4 - -, -, -- 7-:, , illllpkWwMgK Ir."P,- ". ., CEAPTR III

LARGE ORCHESTRAL RIKS

This chapter ill be devoted to the analysis of the or-

chestration of Ravel s, large works originally conceived for

the orchestra. The first work to be considered is sodie Espapole.

Analysis of Orchestration of

Rapsodie Espanole

At the outset of the first part("Prelude a la Nuit") of

Rapsodie Esagnole, the first violins and violas are combined

to introduce a two-four ostinato, but the "Prelude a la Nuit"

is written with a meter signature of three-four; thus the be-

innainpg of the ostinato coincides with the bar line every

other measure. This fiure appears in some instrument in

nearly every measure throughout the entire composition.

At measure thirty-two the parts are duplicated in the

woodwinds and strings. The first part of the first violins,

first piccolo, first viola, English horn, first bassoon, first oboe, and cello ,lay the melody with the second oboe,

second bvssoon, the second group of the first violins, and the second violas playing a part a third lower. The first

flute, first clarinet, -nd the first art of the second violins have the ostinato(mentioned earlier), aLnd the second flute, second clarinet, and the second part of the second violins have the ostinato an octave lower.

At measure number eight Ravel has an antiphonal effect in the strings. At the outset the first violins play the ostinato for tree and one-third measures, and then the se- cosd violins come in with the ostinato an octave lower than the first violins performed it. The violas take the ostina- to of the secoId violins and play it an octave lower, and then the cellos and English horn come in with the ostinato.

(Changing the part from instrument to instrument facilitates its execution and changes the tone color.)

ln measures ninety-two to ninety-seven Ravel divides the first violins into three parts, the secoAd violins into three parts, the violas into two parts, and the cellos into two parts playing an ostinato. On measure ninety-four, starting at the upper strings and going to the lower ones, the instruments gradually stop playing.

Throughout his orchestral works Ravel often changes a part from one instrument to another instrument to achieve a variety of tonal coloring on the part and to give it greater rcige. For instance in measures 120 and 121 the flute part goes to the clarinet, and in measures 127 and 128 the horn and triupet part gos to the trombones.

The string parts at measure 131 are reinforced by the woodwinds. The woocwind parts are an exact duplication of 56

the sring parts, except or a xtrEv quarter note in the woodwind ptrt whenever the strings have a half note.

At measure 112 there is a good example of substitution.

ave< substitutes the clarinet for the English horn and the

piccolo for the clarinet, so that the part will not be so

strenuous on one performer, and by chngnginstruments the range of the part is increased.

T eliminateJo theany sharps that the B flat clariet would have to play ir the "Habanera," "; vel h>s the clari-

nets change to clarinet in A. At measure 187 the solo part

has the tone color of the clarinet and violin, but at measure 191 the bass clarinet is substituted for the clarinet, the part going below the range of the clarinet.

In measures 2+8 through 260 the parts are duplicated

in all of the choirs 'ith slight variations due to the in-

dividual characteristics of the ins t ruments. The strings

are gi1 temoli; the woodwinds, rapid figures; while Ravel

gives only the reinforcing notes to the brass. He ,cobines

the flutes and second violin and the clarinet and viola at 307, this same combination appearing several times.

Two piccolos, two oboes, two bassoons, the divided

firut violins, the divided violas, and the divided cellos perform the two main parts at measure 327. The piccolo

correspons to the first violins, the oboe corresponds to

the violas, and the bassoon corriesponds to the cellos. An

English horn solo appears at measure 295, and in the accompanying instrument there appear antiphonal solid for

two violas, two cellos and one double bass. A very unusual effect appears at measure 325 when four second violins play a four-member chord glissando, and then at measure 332 four divided violas do the same. At measure 336 there are four cellos doing the same, but when it comes the double basses' turn only two are performing a glissando in unison. All of these glissandi are executed with the strings muted.

The technical requirements of each instrument in

Rapsodie Espagnole, as in most of Ravel's works, are almost

that of a virtuoso playing a concerto. The first twenty-

seven measures are not especially difficult, but from there on most of the parts are demanding even in the lighter parts

of the composition, since Ravel creates his tonal coloring with the use of very fast arpeggios, scales, tremoli, and other melodic and rhythmic ostinatos sometimes on harmonics. The success of Ravel's orchestrations stems from his ability to achieve unique instrumental coloring, which he accomplishes by weaving the orchestral parts among the instruments. For instance at measure 366 he has the violas playing the melody with tremolo, and then at measure 368 the violins take the same melody, performing it on trills. The horns play the same melody with the violins, executing it in triplets.

Ravel at measure 373 has reinforced the parts in the strings and woodwinds with brasses, but at measure 379 he arnes the brass art enti rely from the string a- woodwind parts, giving thlem longer reinforcing chords.

Special colorlg is added to the double bass part at measure 3 bQ83 playing an otherwise sustAned no t e with a

tremolo while the second basses have a moving part, reinforcing lower cellos.

The re t section of this chapter is chiefly concerned with the predominant ton colors of a odie Esp ole.

The opening first violin ad viola ostinato(previously discussed) is doubled In the oboe and English :orn parts, but only for two mea suFores at 9 time. The first violins and violas ssume the responsibility of the most important part in this priclar section. Actually there are only three real parts here as compared to twelve doubled parts, eac part being doubled four times.

In considering the ratios o.: the real ,arts to the doubled parts, the factor of the chord members is not involved.

The number o1 real parts is the number of parts with differ- et -rrCtEr, for instance 1hat1 of melody, counterroint,

Jythmic ostinato, rhythmic accompaniment, melodic ostinato, sustained chordal accompani3ient, etc. The nUmber of doubled parts Is-the numer of parts being performed simultaneously.

The tone coloring in this S ECtI Whas the characteristics of the cOnbined string nd double reed instruments.

The section starting at measure fourteen is predominate- Iy the tones oa the clarnet and trumpet. Though only the 519 clarinet has the melody, the trumpet also is predominant, because its part is marked p, the same as the clarinets while the rest of the instruments are marked ppp. There are seven real parts to twelve doubled parts. At measure twenty-two the clarinets and first violins are the prevailing in truments, and they carry the ostina- to. Although the horn part is to be performed mezzo-forte while the rest of the instruments play p the horn is not outstanding, because its tones are stopped. The second violins, violas, cellos, and basses execute tremoli in the background. The four real parts are doubled to make fifteen parts.

Even though the piccolos have the same part as the first violins in the same high register, the violins are the predominating instruments because of their numbers. The main part consists of a duet performed by two piccolos, two oboes, one English horn, two bassoons, divided first violins, divided violas, and the cellos. The voicing of the parts is duplicated in the strings and woodwinds, There are six real parts to thirty-two parts in all. It is interesting to note that the cellos are voiced higher than the lower violas, so that the cellos play unisons with the higher violas. Ravel often doubles a part that is given to the strings in another instrument, which would not usually perform such a part; thus he obtains the desired tonal color.

Two clarinets at measure forty-four execute a cadenza, and the violins pluck a chord on the first beat. The 6

divided cellos and divided basses play arco chords 1 2

while one harp sounds a chord mf. The marking in the harp part does not mean that the harp will be the loudest of the instruments playing, because the harp notes will only be heard with any large degree of volume for only a very brief instant, There are in measures forty-six to fifty-three a solo violin, a solo viola and a solo cello, playing in triple octaves. Ravel here achieves a different tone color than if he had used one solo instrument or the full section of the string choir. The solo instruments and the left-hand of the harp parts are to be performed pp while the rest of

the parts have the dynamic marking, Ep. The left-hand parts of the harps are to be played louder than the right- hand parts, so that the harmonics will sound with the same intensity as the other parts. Here are five actual parts doubled to make twenty-one. The divided violas are scored an octave higher than the divided second violins. Measures fifty-four and fifty-five consist of a cadenza for two bassoons. This cadenza is a par allel to the clarinet cadenza at measure forty-four, but the accompaniment is very different. In the first cadenza there was only sustained chord accompaniment, and in this cadenza there are a harp glissando, one solo violin executing arpeggios on harmonics, three soli violins executing trills, and the cellos and basses sustaining chords. 61

Measure fifty-six to measure sixty-three is a very brief restatement of theprevious material. The devices it contains will be discussed later. Ravel produces an effec- tive decrescendo on the last chord of "Prelude a la Nuit"

ith the use of harmonics in the strings.

Since there is more emphasis on rhythm in "Malaguena,"

Ravel has added, more percussion instruments than appear in

"Prelude a la uit. " In the first six measures of "Malaguena" the bass clarinet assumes prominance with a figure coming in evjrMy two bars and later reinforced at the octave by the clarinet. The double basses have a technically involved

,izzicato osinato, appearing in the first twenty-eight measures of th "IMalaguena." Measure seventy to measure seventy-five is the same as the first six measures, except that the clarinets play with the bass clarinet an octave highEr.

For proper balance at measure seventy-six the cymbals have the dram ic marking, - :hile the rest of the instruments have 2_

Measures 115 to 124 is a short restatement of the opening theme. It is orchestrated like measures seventy to seventy-five, except

The tones of tio flutes and an English horn become the predotminant timbre from the nineteenth measure to the tenty- seventh. The ratio of real parts to doubled parts starts 62 at Dour to five and is built up to five to fourteen for these eight easures. This type of instrumental4 crescendo is frequen-t with Ravel's style. Measure twenty-eigbt of the

"Malaguena" has six real parts to seventeen parts in all; an d t flute,ze Eg1ish io1n, oboe, and :pccolo timbre is prevalent. Ravel, in the "Malaguena," does not seem to have any set plan for the choice of orchestra tone colori-ng,

At measure eihty-ttwo aheuses the flutes aid English horn as the prominent instruments and at measure eighty-eight he uses the flutes, English horn, oboe, a piccolo.ed In measures ninety-two to ninety-seven the bassoons nd srrus- ophone assume the tost importa:t role while at measure ninety-eight the trrnpet tone Is predominant. Ravel uses a sarrusopaone, an obsolete instrument mAde of brass that uses a double-reed, as a snstltute r he cta bassoon. The divided filst violi rtone predominates measure 103 while the

ores o t 'trumpets and horns do the same at 109, and then later relinquish to the flutes and clarinets. The section that appears at measure 115 starts ith the timbre of the full orchestra, and gradually each instrument is eliminated until only the bass clrinet, sarrnsophone, cellos, and double bss are left. Ati measure 125 the timbre is transferred fro the trtupes )nd horns to the trobones. The only place in "alagena" the string tones obtain predomi- nance is at measure 131. ufea

the orchestra, which starts at measure 142. At measure 146

there appears a descending chromatic scale moving from the

piccolo to the first flute, to the second flute, to the clar-

inet,to the bass clarinet, to the sarrusophone.

The ratios of the real parts to the doubled parts in "Malaguena"l are as follows:

TABLE II

RATIOS OF REAL PARTS TO DOUBLED PARTS IN "MALAGUENA"

Measures Ratios

82- 87.* .**,.4:5 * 5:14 88- 910. * - . . , ...... - - - *- ...... 6:17 9 2-.97 . * , , 98-i02. ------. - - . . * ...... 8:28 103-108. * ------* - - - ...... 8:10 109-114-0 .0. 0. 0- 0- 0------. 835 115-124------* - - -. . . . .15:27

131-135-. - . .* - . ..12:47 136-141...... , . . . * . . * . . . . . 7:7 1L 2-145* - .. - . . .. - . .6#010 146-150.0.0 . 0 .0.0 . o..l -0-0- -0-0 - -0-0 - -0-0 - 5:12 151-157. . .0. .9 . . #.. 9...... 0:

Average: 7:19

The eight real parts that are doubled to make twenty- six parts in all at measure 158, or the beginning of "Habanera,

are distributed among the strings, woodwinds, the two harps, and the celesta. There appears at measure 164 a horn and trumpet duet, which goes into a woodwind soli with a string rhythmic ac. copaniment. There are six.real parts, wnich are doubled

to make eleven in all. The section that starts at measure 171 has two ratios to be considered, and they are thirteen to fifteen going to six to eleven. The ratio of real to doubled parts in measures 176 to 181 is four to eight, and in measures 182 it is seven to thirteen. In all of these ratios the chord factor has not been taken into consideration, only the different instrumental parts. Table number three shows the complete picture of "Habanera" in regard to the ratios of the real parts to the double parts.

TABLE III

RATIOS OF THE REAL PARTS TO DOUBLE PARTS IN "HABANERA" Measures .Ratios

158-163 ...... 1:)26 164-170 ...... 6:11 171-172 ...... 1:61 173 ...... 6:*11 176-1i81...... 4:B 182-186 -..--- :-.7'13 187-191. 0.* .. .. 0.. 0 ... 6:9 192-196 .* 0 0.. .. 0..0 .0 .. . #.10#10 (7th chord) 197-200 *... 0 ...... 8:-18 201-204 9...... 11:012 0 205-208 a...... 16:37 * 209-212 0... 0 ...... 19:26 0 213-218 0--- 0 ...... 5:*15 & Average: 9:17

The ratios of the real parts to the doubled parts in

"Feria" are given in table number four. In several of the sections Ravel has antiphonal effects, and in measures 245 to 250 the antiphonal parts are fragmentary. The arpeggio antiphonal parts in measures 269 to 276 appear in the strings. They are chords performed in duplet rhythm in 65

six-eight meter. All of the instruments participate in the section, but some for only two beats and others longer so tlere is an intricate weaving of the timbre of the instru- me ts.

TABLE.IV IATIOS OF REAL ?IRTS TO DOUBLED PARTS IT "FERIA"t

Measures Ratios

219-2214 t ft .t .t .t .t .t ft .18:24 -" S .t 225-231 ft ft-S .t .t -" ." .t ft .s.t * 8:15 -" -" -s -I .N 232--214 - -" ft- -S -" .t .t .15:22 -t ft -I -S .t .I ." .R -" .t 235-2 4 ." ." ft .e ." . * 7:38 -t 245-250 .S .S .S .mentioned above ft..tft . . 251-257- ft f- . 258-264 f 7:33

265-268 ft ft ft ft ft ft ft ft ft ft ft ft ft ft ft ft ft 9 :3 9 ft fSft f f . 269-276. f f f f f f f f f antiphonal ftf ftf ft f 277-283f f f . . . 11:27 284-288 289-294 ft ft.t ft ft . ft ft ft 295-306 ft ft ft ft ft . . ft ft ft ft antiphonal1 solos

ft ft ft ft ft ft 307-316 ft . . . . ft ft ft ft .t ft ft ft ft .anitiphonal solos ft f f f 317-320f f f f f f f f f f .antiphonal solos

321-326 ft -" ft .t ft .t .t . 6:17 .t ft .t .t ft 327-329 ." .t .t ft -" ft .t . 5:32 ft -s .t ft .t ." 330-333 .t ." ft ." ft ." .t ft .t .t .t .t -s . 7:25 .t .t-" ." ft .a ." 334-338 .t .a - ." .t ft ft ft .s ft .t .t .t ft .t .t .I ." .0 . 3:16 .a -t .s ft.0 .t .a -" -" .sft S .".t .".t .t." ft 6:12 ft . -t -t ft .I ft S .t .s a .I .0 344-350 -a ft -a ." ." ." -s .S -" S ft ft ." .0 . ft 6:27 ft ft .".t ." ft .a I .r fta .a ." .s ." . .a ft.w .S 351-354 . ft .0 .0 .t . 8:14 ft .t .t . .a .t .a . .".t .a.t -s .a 355-362 .S .t - ft . .N .0 .t ft -a ." ft * 4:14 .t a ft . .t .a .M.t .M 363-367 .a.t ." ." ft. .a .S .w .S . . 6:32 .a -" .t.A .t .t .a.t .a ft ." -a.t ." 36 -372 .t .".t .t.a ." -0 .t . .S .* .12:28 .a ." .S .f .s .U .0 373-3 8 .a ." .t ." ft-" -I .a ." . 4:36 ft -s .a -" .t.S -a ." .M 379-3 2 ." ft -S .a .0 0 6:40 -a .A ." .S ." -a .0 -w . 383-39r .t ." .S .S * 10:23 .a ." -S .a ." ." -a .0 391-395 -A .R ." -A ." ." .S ." .0 -f .a .0 . 8:35 396-399 ." . 4:35 4Co- - -S -0 o3 .w . 9:36 66

TABLE IV--Continued

Measures Ratios

4o4-407 . . * ...... 7:+1 408-409 ...... 741 Average: 8:29

T here is a greater difference in the average ratio of

"Feria" than "Prelude a la Nuit," "Malaguena"t and "Habanera."

Ravel adds more instruments as he is building toward the climax of the composition. The following shows the overall approximate ratios of each section of Rapsodie Esp-gnole:

TABLE V AVERAGE RATIOS OF REAL PARTS TO DOUBLED PARTS OF EACH SECTION OF RAPSODIE ESPAGNOLE Section Ratios

"Prelude a la Nuit" . . . .5:17

"Malaguena" ...... 7:19

"Habanera" ...... 9:17

"Feria" ...... * . . .8:29

The use of each choir will be discussed in the next section. The woodwind choir in Rasodie Espagnole has sixteen soli: seven soli with the brass instruments; nine soli with the strings; one soli with harp; seven soli with brass and strings(all in "Feria"); a reinforcement of a brass soli; a reinforcement of a string soli; and seventeen accompaniments. The woodwind solos and duets are clarinet duet cadenza, a bassoon duet cadenza, a bass clarinet and 67

clarinet soli, a bass clarinet solo, a sarrusophone solo,

an English horn solo, two clarinet solos, and two flute solos.

The brass choir performs eight soli, seven soli with

woodwinds and five accompaniments. Because of the differ-

ence in the characteristics of the brass instruments, they

will be considered separately. a Rapsodie Jsigole there

appear three horn soli, one horn solo, one horn soli with

th e woodwinds, one horn soli with strings and twenty horn

accompaniments. The trumpets are not particularly suited

to accompanying chores, because of their penetrating ability.

Ravel uses the trumpets only once as background instruments.

The other tasks of the trumpets are one reinforcement ofa clarinet soli, two solos, two soli, and three soli with

horn. The trombones perform, in the entirety of the compo-

sition, two accompaniments with the horns and one soli with the bassoons.

The percussion instruments play the usual general role

of the rhythmic accompaniment, but the rhythm in Rasodie

Esp)gnole assumes more importance than usual, because of

the rhythmic characteristics of the composition. In nine-

teen passages the percussion take the rhythmic accompaniment, and in other passages they play one soli with the woodwind and brass instruments, three soli alone, three soli with the strings, brasses and woodwinds. In the percussion parts there appear five timpani rhythmic accompaniments, 68 tambourine reinforcement of trumpet solos, tambourine soli with the woodwinds aid harp, two snare drum rhythmic accompaniments, a castanet rhytlmic accompaniment, and one castanet solo.

The harps play four chordal accompaniments, three arpeggic accompaniments, one solid with strings, two sustained and ostinato accompaniments, Eand the celesta has two ostinato accompaniments, asoli with strings, a soli with the flute, and one solo.

The strings in JRasodie EE nole appear mostly as accompanying instruments. They have eleven soli parts as compared to the woodwinds' sixteen. The strings start the composition with a melodic and rhythmic ostinato, and a rhythmic ostinato is heard in the string parts in eleven sections of the composition, and there are thirty-three more string accompeaniments, so it is easy to see the part that the strings play in this composition.

For the instrumentation of his first large orchestral work(Rapsodie Espagnole), Ravel uses two piccolos, two flutes, two oboes, ax English horn, two clarinets in B flat, one bass clarinet, three bassoons, one sarrusophone, four timpani, bass drum, cymbals, triaIrle tambourine, and castanets, snare drum, gong, xylophone, celesta, two harps, and strings.

In his later works he does not change his instrumentation, except for a few additional instruments for special effects.

VA, A, -, t7*, A m wo - - -.,t 1'. -- -4 , l 69

The special devices that Ravel uses in Lsodie

Espagvnole will now be discussed. In Raosodie E nole

Ravel has the piccolo double-tongue in three places and

triple-tongue once, and the flute has one double-tongued

passage and one triple-tongued passage. At measure 345 Ravel utilizes the flute's ability to execute harmonics.

Ravel always uses the instruments to the fullest, for

instance, he has extended the range of the oboe at measure

280 and 363 to three-line g, and then the range of the horn

is extended at measure 40,

In Rapsodie Espagnole the horns play nine passages

with stopped tones(most of these are sustained tone accom-

paniments), a triple-tongued passage, and two passages in which they execute trills. Only once in Ra2sodie tspagnole

does Ravel use the muted tone of the trumpet, and the trum-

peters have to insert the mutes while they are playing.

Only once does he use the trumpet's facility for triple-

tonguing.

A look at the trombone part shows Ravel has extended

the practical range of the trombone lower at measures 314 and 330, and then at measure 369 the trombone executes a

trill. The most characteristic device of the trombone, the glissando, is found in measures 327 and 408. At measures 266 and 365 the celesta plays glissandi,

and at measure 266 the xylophone has one. In his orchestral works Ravel seems to be striving to make the harp parts more interesting, but the usual 70 characteristic device of the harp, the glissando, appears in measures 28, 54, 100, 137, 224, and 289; and glissandi in two hands in measures 257 and 353. There appears in measures 142 and 316 chords in one hand, and in 8, 56, 176, and 383 the harp plays harmonics. Double harmonics, triple harmonics and quadruple harmonics are performed in measures

46, 355, and 357, respectively. In four instances in

Rapsodie pagnole the harmonics appear in both hand parts.

Ravel's harp uses homonyms(enharmonics) for the rapid repetition of a tone in measures 39, 228 and 238. The har- pists set the pedal of one note in sharp position, and the pedal of the next higher note, in flat position, and by plucking the tio strings in succession, they are able to produce the same tone in fast repetition.

The string instruments produce more different tonal effects than the other instruments, because of the numerous methods of causing the strings to vibrate.

T he special orchestral devices that appear in the first violins' part in Rapsodie Espanaole are saltando bowing; legato bowing; pizzicato playing of arpeggios(appearing in four different passages); bow tremoli(two times); sul tasto glissandi(twice); sul tasto(four times); sul tasto tremoli; natural harmonics notated on the exact pitch(twice); natural harmonics notated at the point on the string, where the player places the finger; artificial harmonics, appearing on a stopped string; divisi a three(four times); divisi a 71

four(four times), four soli violins(twice), a soli of three, consisting of two violins and one viola, a soli, consisting

of one violin, one viol and two basses, double-stopped

unisons(twice), glissandi(five times), and notes played on open strings(once).

In the second violin part Ravel calls for only two

types of bowing other than mode ordinaire(in the ordinary

way), and they are legato and saltando bowing, but in four

different instances the second violins play pizzicato ar-

peggios. At measure 206 there appears a left-handed pizzi-

cato. Ravel has the one note plucked with the left-hand so

the bow will not be out of position to execute the succeeding

notes. The performer would not have enough time to change

the position of the right hand from the pizzicato position

to the bowing. Also in the second violin part there are two bow tremoli and one finger tremolo.

In measure 345 the second violins produce an unusual

timbre by using the wooden part of the bow to produce the

sound. Whenever the bow is drawn across the strings just above the sounding box, the regular violin tone is produced, but if the bow is drawn across the strings above the finger- board, another timbre is produced. A tremolo with this effect can be found in measures 334, 19 and 46; and non- trenolo in measures 163, 323 and 103. Several passages of harmonics, natural and artificial, appear in the first violin part, but only one in the second violin part. The 72 violins are divided into three parts three times and into four parts twice.

Ravel uses the violin glissando numerous times in his works, but only once in the second violin part in Rapsodie

Espagnole. It might be interesting to note before leaving the second violin part that Ravel calls upon the second violins to play open strings in measures 275 and 361.

The orchestral devices that appear in the viola part, that concern bowing are legato bowing in measure one and ninety-two, saltando bowing in measures 345 and 79, and successive up-bows in measure twenty-eight.

At measures 79, 277, and 156 the violas perform pzzi- cato arpeggios, and at measure 353 the strings are plucked with the left-hand.

There are two types of tremoli executed by the violas.

One is made with the fingers, and the other, with the bow.

Tremoli made with the bow appear at measures 19 and 115, and a tremolo made with the fingers at measure 251. There is one solo for a viola in Lapsodie Esanole, at measure 142, where there also occurs a solo violin and a solo cello part, and the only other device for the viola in the work is glissandi at measures 308, 136, and 325.

In the cello part there is one passage with successive down-bows. There also appears three passages with arpeggic pizzicato, one passage with left-hand pizzicato, one passage with a bow tremolo, one passage with a sul ponticello

-Wlir 73 glissando, one with a glissando bowed in the ordinary manner, two passages played sul tasto tremoli, six passages with natural laronics, ore passage with artificial harmonics, four passages with cello solos, two with cello soli, four with portamenti, one with a glissando on harmonics, one >ith a glissando to a harmonic, and one with open strings.

There appears in the double bass part three glissandi, seven passages with natural harmonics, a sul tasto passage, a sul tasto tremolo, a sul tasto glissando, and one passage with successive down-bows, and there is one passage in which the basses are divided into four parts.

Analysis of Orchestration of

Bolero

Bolero was written for the ballerina, Ida Rubinstein.

The scene of the ballet is a cafe, in zhich one solo dancer is performing. Gradually the cafe fills with people. She still dances alone until another dancer joins her, and gradually everyone joins in the dance. Ravel has scored the orchestra in a similar manner by adding instruments gradually until all are performing.

Bolero is an interesting study of tonal color in the orchestra. There are only four real instrumental parts in the entire composition, but Ravel keeps it intriguing through his varied use of the instruments. Bolero has two themes, each sixteen measures long, appearing nine times, each with no variation in the musical content. The interest of the

-- -, M Piece relies entirely upon the instrmaentatior of ech section,

(The numbers used in this analysis ere placed at the begin-

ning of the sixteen-measure statements in the Durad ot Ci

publicat-Ion.)

The comPositior starts with a four-measure introduction of the rhythinc ostinato. Between the sixteen-measure

statements of the themes are two-mea4sure vc aps. The same

melodic, rhythmic, and harmonic patterns appear over and over again in the composition, but Ravel gives the two

themes , ,diierent tonal color each time they are repeated,

For instance, in the Irsu twenty measures the tone of one

flute is heard(it being one of the purest tones of the or-

chestra) on the first theme while the tambourine plays the

rhythmic ostinato, and the violas and cellos perform the

chord accompaniment. After the flute, the clarinet in

section one takes the same theme while the second flute

joins the tanbourilne on the rhythmic pattern. The cellos and violnas continue with the harmonic accoaninent. The bassoon then performs the second theme in section two in its hihest possible register vith the harp added to the harmonic accompaniment. After the E flat clarinet takes up the second theme in section three, the oboe plays the first theme in section four. The two bassoons alternate the rhytin c pattern between themselves for a reinforcement of tho ta bourine. ave Iprobably has the bassoons alternate on the part in order to give the players a chance to rest. The first theme in section five has the tone quality of a combined flute and trumpet with the horn taking over the rhythmic pattern from the bassoon. Here is the first time the melody appears in more than one instrument. The trumpet and tambourine continue the rhythaic pattern in the next appearance of the second theme while the tenor saxophone performs the theme in its highest register. Ravel next has the oboes and English horn on a staccato chord

background, reinforcing the string accompaniment. While the muted second trumpet and taz bourine continue on the rhythmic

pattern, the soprano saxophone tales the second theme. One

horn, two piccolos, and the celesta make up the tone color

on the first theme in section eight, and the tambourine,

one flute in low register and one horn execute the rhythmic

pattern. Section nine has the tonal characteristics of the

two oboes(one is an oboe d'amour), the English horn, and

two clarinets on the first theme with one horn, one trumpet,

part of the divided second violins, part of the divided violas, and the tambourine on the rhythmic pattern. Instead

of giving the violas and second violins the rhythmic pattern

on only one tone, Ravel has them perform the pattern on broken chords. The rhythmic pattern in section 10 appears

in the first flute, second horn, tanmbourine, and divided vWa-

la parts, and the first trombone performs the second theme in its highest register. The two flutes, the piccolo, the

two oboes, the English horn, two clarinets, end the tenor

- - - - 76 saxophone carry the second theme in section eleven, and the fourth horn, first trumpet, tambourine, and the divided second violins carry the rhytimic patters. In section twelve the divided first violins(octave apart) replace the tenor saxophone Englishhd horn in the above ensemble, and the ensemble changes from the second theme to the first With only the first and second horns(octave apart) and the tambourine on the rhythmic pattern. The English horn, the tenor saxophone, and the divided second violins are added to the group of instruments performing the first theme in section thirteen. Now Ravel has added three-pArt harmony to the melody with the same instruments that had the mono- phonic melody carrying it. One flute, piccolo, oboe, English horn, trumpet, the divided first violins(octave apart), and the divided second violins(octave apart) have the second theme in section fourteen While two horns(octave apart) and the tambourire play the rhytMic ostinato. In section fifteen the flutes, piccolo, oboes, English horn, clarinets, o0 atrombone, the soprano saxophone, divided first violins, divided second violins, violas, and cellos return to the harwnzed second theme with the four horns and the tambourine on the rhythmiC pattern. The oboes, clarinets, second violins, violas, and cellos are transferred to the rhythmic

Pattern in section sixteen, and the trumpets and tenor saxophone are added to the ensemble, wich performs the first theme. The instruments having the second theme in section 77 seventeen are the flutes, piccolo, soprano saxophone, tenor saxophone, four trumpets, one trombone, and the divided first violins, but there is no change in the instruments playing the rhythmic pattern. Both the melody and the rhythanic pattern are harmonized in the final section with thLe flutes, piccolo, trumpets, one trombone, soprano and tenor saxophones, and divided first violins or the melody; the oboes, clarinets, horns, tambourine, divided second violins, divided violas, and cellos on the rhythmic pattern; and the rest of the instruments, the bass clarinet, bassoons, contra bassoon, two trombones, tuba, timpani, harp, and double basses perform chordal background. Ravel, in the final section, has the divided strings performing the different chord tones, but in section sixteen he has them executing the chord tones as quadruple stops. T last six bars have no melody like the vamp at interludes and the beginning. The whole work is a process of variety of tonal color and gradual building up of the orchestration toward a huge climax.

Analysis of Orchestration of Da .niset Chlo 4

Norman Demruth says that a study of Daphnis et Chlo4

ould make a complete course in orchestration. 1

In "'Suite No. One" Ravel uses the woodwinds as the soli instruments in a major part of the composition. One could say

lDemuth, 2p, SLt .,pp. 167-1680

T -- 78

that the woodwind parts are merely melodic obligatos, being

performed above the very rhyt1mic string parts. The wood-

wind parts are more melodic than the strin parts, and the woodwind instruments represent the cr.acters of the ballet.

The woodwind instruments appear as the soli inst ruments in eighteen of the fifty-four sections and as soli instruments wrth the strings in nineteen other sections. Four of the so-

li with the string in struments aie reinforcements of the

string part,

There are four.clarinet solos, two flute solos, one pic-

colo solo, and one oboe solo In "Suite 1o. One." In three

sections the woodwinds play a sustained accompaniment, id

in one of these sections part of the woodwinds trill their notes for added color. Ravel usually uses the rest of the woodwinds to accompany awoodwind instrument solo, and there is one section in which he woodwinds play a rhythmic accompaniment, and two sections containing woodwind and brass soli. Ravel has only one place in "Suite No. One" in which the woodwind, brass, percussion, and string parts are duplicated in all choirs. In section 121 there is a woodwind obligato part being executed over a brass solid part.

The strings, in "Suite No. One,t" play twelve tremoli chorda. accompaniments, two sustained chordal accoipaniments, seven soli, eleven solid with the woodwinds(in one the woodwinds and strings have different type parts), three reinforcements of woodwind soli or solos, one duplication of 79 woodw ind accompaniment, and seventeen rhythmic accorpaniments.

In most of "Suite No. One" the double basses perform a rhythmic baccground.

he br-ss eecute eleven soli; four soli witi the woodwinds one solid with .' GOtheoodwinds, strings, nd percussion; twenty-one sustained chordal backgrounds(mostly in the horns); one contrapuntal accoupaniment; eigt rhythmic accompaniments; anlaree chorda.I accowmpniments in "Suite No. One." There are also two horn soli, one horn solo, one trumpet solo, one trmCpet solP, and on ajepass< in wee h the tuba reinforces a woodw1rd cAn6 sng sol. whenever the trumpet li playing, it is usually a brass or trumpet solid or trumpet solo; with its tremendous penetrating abIlity the trufnet will asiP overbalarce the rest of the orchestra. Ravel overcomes this tendency in three places by givin c the trumpets softer dynca- m c marklrgs tha the rest o the instruments. This ho does infrequently throughout all of his orchestrA wor1s.

:'or the nost part th percussioan perform only rhytlmic

200Oupcniments, but .avel in this composition uses the full resources of the oercussion choir. In yDaphis et Chloe Ravel uses twO types Of prcUSsion instrurents that a e not comon- ly useC, the oliphone, which makes an eery wind sound, and crotalesutque cymbals) that play a definite Ditch.

In only six places Ravel has the harps on arpeggios and glissandidJn the average orcestrator uses these devices a majo z rt of the time. In most of "Suite No. One" the

1 1 - W 8-), harps perform a rhytnmic cbordal accompaniment, and in two sections there appear two melodic ostinatos; a different one in each harp part being executed simultaneously.

The following tables show the function of each choir in each section. A study of the tables will give an over-all view of the instrumental color of the sections individually.

It is possible 'to tell in a glance at these tables the instru'mental combinations, the unique or different tonal coloring, the type of accompaniment of each solo and soli passage, and the approximate technical requirements. The word background usually indicates an ostinato or a similar effect, whereas the word accompaniment indicates an appropriate c- companiment of the solo or soli part. Table VIII shows the special orchestra-1 devices of the instruMental technics as used. by avel in the composition.

The most chracteristic part in the work is the "rip- pling" background that appears in the high woodwind and string

Parts. Some o the most outstanding instrumental timbre in the work are the combination of viol a nd clarinet and the combin-tion of flute, G flute, oboe, English horn, violins and violas. The rehearsal numbers used in this analysis appear in the Durand and company of Paris editions of Ravel's composition. Presently there is no information available concerning any other editions. 81

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THE DEVICES OF INSTR.U1MTAL TECHNIC FOUND IN DAPHNIS ET CHLOE, SUITEN0, 2

Device Instrument Section

Double-tonguing Flute 180

Triple-tonguing Horn 218 220

Flutter-tonguing Flute 156 Stopped-tones H. orn 176 195 177 Tre oli Horn 221 Trumpet 221 Glockenspiel 221 Cymbals sounded with: bass drum sticks, 192 sponge sticks 180 201

Glissandi and portmenti Harp (in one hand) 155 First violin 203 216 220 Second violin 203 216 174 Viola 203 216 Cello 203 216 174 220 Double bass 203 216 220

Glissandi to a harmonic First violin 206 211 Second violin 212 Viola 212 Cello 211

Chord Harp (in one land) 189 First violin 216 TABLE VIII--Continued 1015

Dev ce Instrument Section

Natural harmonics Harp 173 (octave above finda- 176 mental) 204 174 184 First violin 210

Natural harmonics Violin 155 (major third) Viola 171 Cello 171

Natural harmonics Violin 155 (perfect fourth) Viola 155 178 Cello 178

Natural harmonics Viola 172 (perfect fifth) 178 Cello 178

Finger tremoli First violin 191 Second violin 191 Viola 191 Cello 191 Sul tasto First violin 183 Second violin 183 Viola 183

Divisi a 3 First violin 190 193 Second violin 193 Viola 168 176 192 199 Cello 155 Div si a l4 First violin 157 180 Second violin 158 168 176 180 Viola 158

Sul G First violin 166 185 195

Mw TABLE VIII--Continued 106

Deva ce _ _J nstrrent ction

Sul G (Continued) Second violin 195 Artificial harronlos First violin 171 (perfect fourth) Cello 175

Harp Homonyras In one hand 174 176 In two hands 175 Qons Etouffes Harp 179 (dampened) 181 189 Legato bowing First violinri 156 Saltando bowingC First violin 20,. Second violin 204 Viola 204 Succ ssive up-bows First violin 18D4 Second violin 184 Arpeggic pizzicati First volin 175 171 181 Second violin 175 181 Viola 175 181 G ello 170 171 181 Pizzicato Second volin 186 Double-stopped uni sons Viola 176 180 207

Mutes off gradually Cello

------I - - I - - - - . * I I- .- - 155 - -- t- M- - " I W. -Immhkl 'I... , I - -- ,------107

a Analysis of Orchestration of

La Valse

L Valse contains most interesting instrumental color.

At the outset the double basses are divided into three parts, two are muted tremoli, and the other is a pizzicato rhythmic ostinaco on the lowest notes of their range. Tle tremoli give the effect of sustained tones, but with more color and interest. Mien the cellos enter they also are divided into three parts consistIng of muted tremoli. The string parts ar a pyramid shape with the double basses starting alone and the other instruments grAdually added up to the first violins, and then gradually they drop out. The two bassoons play a duet with the strings acting as a background. These same string parts serve as the background for a bass clarinet solo and two-clarnet soli. Only the basses are divided into two parts, and the cellos play mode ordinaire, whereas previously they performed sur la touche(sul tasto).

The violas play a duet at rehearsal number five with cello arpeggic and double bass glissandic accorpaniment, but at section six the string finger tremoli are changed to bow treioli as accompaniment for a woodwind soli. These bow tremoli appear again in section sixty. At section twelve there is another interesting instrumental combination consisting of a flute solo reinforced by two horns, and appearing in the accompaniment there are a bass clarinet trill and cello nd double bass glissando. 108

Bavel has the flutes, clarinet and harp at section twenty perform ann arpe g gic background for the string soli, which is like the oboe solo at section eighteen, except for the notes played as haronics. Throughout the entirety of the work Ravel has rhythmic accompan-iment with these effects that are being mentioned. These rhytlh ic accompaniments are characteristic of the backgrounds that usually appear in waltzes.

In sections twenty-six to twenty-eight there appearss an instrumental crescendo effect moving from Xfull brass to the woodwinds, and the section ends with all of the instruments performing.

Sections twenty-six and twenty-nine show the unusual effect of a string glissandic accompaniment of a woodwind soli.

Moving on to section thirty the violins have a soli executed on the G string only, and at section thirty-one the violin solid becomes a duet with the second. violins. At section thirty-two Ravel adds a flute to the violin soli with the other flute and the cello performing an accompaiment consisting of ascending and descending chromatic passages. As a manner of tone coloring at section thirty-five Ravel has the flute and first violin play their accompaniment on harmonics. The first and second violins at section thirty-six and then again at section siXty-three are divided into four parts vid Play ftll chords.

Ravel has the violas execute a slur to a harmonic at section forty-three, aid at section forty-six he hasca soli for 109

two violins and one cello with slurs to harmonics included

in the soli. At section fifty there is an interesting ver-

sion of a rhythmic accompaniment. On the first beats of the measures the violas and cellos alterately enter ona trill. On the second and third bests the first violins play harmonics, and the second violins have quarter notes on the first and second beats. Sections fifty-four and fifty-five are a repetition of the first of the composition.

Section fifty-seven consists of a viola duet with a bassoon tremoli ad divided cello arpeggio and glissandic accompaniment. One group of the cellos perform glissandi and the otier, arpeggios.

Ravel adds color to the tonal combination of the piccolo, flutes, oboes, clarinets, trumpets, and first violins by having them perform tremoli while the harp performs glissandi in section seventy-three, and then at section seventy-five the tremoli are in the oboe, English horn, clarinet, and bass clarinet parts.

There is no new material in sections seventy-four to ninety-seven.

At ninety-eight Ravel has antiphonal effects, and table t IX shows he two antipnhonal ensembles.(See next pae.) 110

TABLE IX

ANTIP<(DUAL ESEPBLES IN SECTION 98 IN LA VALSE

First Ensemble Second Ensemble

First violins(low register) First violins(high register) Second violins(low register) Second violins(high register) Violas Piccolo Cellos Flutes Double basses Oboe English horn(low register) English horn(high register) Clarinet(low register) Clarinet(high register) Bassoon Trumpet Contra bassoon Trombone Tub a

In the finale section Ravel has a very unusual effect, the trumpets playing tremoli. These tremoli are 'also performed by the violins.

Analysis of Orchestration of

Introduction and Allegro

Introduction and Allro was written for the harp ac- copanied by flute, clarinet, first violin, second violin, viola, and cello. This composition really gives a good example of the full potentialities of the harp.

The piece opens with a clarinet and flute duet followed

by the entrance of the first violin, viola and cello, build-

ing up to the entrance of the harp on an arpeggio on C flat, E flat, A natural, B sharp, and F sharp. The passage at the

fifth measure is important for the study of the use of enharmonics. Example Sixcteen gives this passage.(To be found on the next page.)

o"MI 113

Wft row TI Am - ffI a-I - 1-1 L-jEj I QgO6 A- ARM .1 1 r AM WF At

a rp

-MP AIL Now=, Odom=,

"goals"

Ex. 16--IEntrance of the harp

This passage goes into a viola and cello version of the previous clarinet and flute duet. At the seventh measure the harp changes to C sharp, B flat, G natural, F flat, E natural, and executes an arpeggio at the tenth measure on A natural, C sharp, E natural, G natural, B flat, and at the eleventh measure tihe harp changes to A sharp and I flat an'd performs a glissando ascending and descending ad libitum. The flute at measures thirteen to twenty-five executes double-tonguing passages with thI clarinet on siilar pr While t efirsot Violins play an arpeggi os in to, and th 112

secoLd vilins execute aQpizzicato accompaniment to the cello

solo. harprhe enters at measure seventeen with a thirty-

second note ostinato, and then at measure nineteen the 2lute and clarinet cWnane to a tremoli accoupirent for the violin and viola soli and h:rp arpeggios, but the second violin and cello turn to a broken chord ostinato. Measures twenty-six to forty-three consist of a harp solo containing mostly a elody and an arpeggic accompanirent in the right hand, anid the melody doubled on harmonics in the left hanid.

At measures forty-four to fifty-five the flute performs a melody with the harp while the first and second violins execute broken chords pIzzicito, and the viola and cello have tremoli(finer and bow). Ravel uses a homony> at .measure f ity-seve: to give reinforcement to the lowest note of -the chord and in fifty-eight to facilitate rapid repetition. Iarmonics appear in the harpar-t at-measure sixty-three.

Measures seventy-thrw through seventy-five, as shows in example lumber seventeen, are a good xample of iting for the harp. 113

"Mau Ing iry Ift a - - 17 P-1 dp Aw I aw 41M 14

&.0 Am W,Ek 92 =X--b- - v a, d

i HL _-a- jo I

A t 40% JF

20 .....

ex. 17--Measure 63

Thearp has, at measures eighty-eigit and ninety-two, four-part glissando, and the first violin has a double-stopped unison in a three-part prizzicato chord, anid then again at measures 127 and 131 the harp has a three-Dart glisscado. The melody at measure nainety-eight assumes the tonal characteristics of harp hari monics. Throughout the entire harp part Ravel has frequent four-part c' ords in the ri ht hind and three-part in the left hand.

In measures 119 to 136 and 147 to 161 the theme is two measures in length and appears repeatedly in different instruments, soreti-mes doubled a.t the octave in order to retain Intores. 11+

1avel has in Measures 174 to 191 an interesting second violin and, cello part, which is shovm in Part in example eighteen. This part is played pizzicato and gives a feeling of f our-four meter rather thaa three-four.

Ex. 18-Measr2s 14177**

Thehap cadenzaq, which starts at measure 210, is a sun-

Sry of the h rp technic in Introduction and A". There ar arpgios; broken chord passae; a ch ordal an cmlodic pasae glissandi; rapid repetition of notes first souded as hmonics, an d then as natural tones; an a iclodic passage pl;ad on ha.r monics th~ zlssadie accoimai ment. Th fluta, oLarinet, muted violns, and violas perform a. tremoji ccoizpaniient for the harp soli at section eigltaen. The flutc Wn clai:net parts are~ 2akcd pa whila the m'uted, strin gs' parts are. marked pg At twen:ty -two &ave 1adds color to the strings' arpeggc passa. Tie first violins and viols~ play ta arpeggios as bow tramoli and the second violins ani cellos play triple stops and tha raggios pizzicato. In the entiretyr of the 115 composition there appear quadruple stops in each string part at one tIe or another.

Introduction and Allegro has a small instrumentation, allowing the harp to be heard.

Analysis of Orchestration of Sh herazade

Some of the unusual aspects of ShIherazade that concern

Ravel's technic of orchestration are the more frequent use of the muted strings, a larger quantity of countermelodies in the instrumental parts rather than his usual orchestral type parts, and less use of brasses than in any other large orchestral work. There are in ShehJr ade, besides the solo voice other solo instruments such as three oboe solos, one violin solo, one cello solo, two flute solos, two solo flutes, one English horn solo, and one clarinet solo. In the string parts there are three finger tremoli, seventeen "Dow tremoli, six pizzicato chordal accompaniments, and sixteen sustained accompaniments. The instrumentation is noticeably thinner 4 while accompanying the solo voice.

The purpose of the following table is to show at a glance the orchestral color that Ravel uses to accompay the vocal performance of the three poems, Sbhhrazade of T ristan Klingsor, that he has set to music. The three poems are entitled "Asie"

(Asia), "La Flute Enchantee"(The Enchanted Flute), and "L'In- different "(The Indifferent One). 116

The rehearsal nubers that are used. are taren from the Durand and compny of Paris edition. The X in the voice col- mn shows then the singer is performing. A thorough study of this table will gve ai over-all conception of the instrumental color, orchestral devices cd general technic of the instru ents. The harp is included Wih the percussion, in the table, even though it is not percussion irstruent. 117

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Analysis of Orchestration of

Concerto pour Piano et Ochestre

The differences in the instramentation of Concerto p

Piano et Orcbestre and Ravel's most frequent instrunentation

Is one B flat clarinet and one E flat clarinet, instead of two

B flat clarinets and one E flat clarinet, no contra bassoon, two horns instead of four, only one trmiipet as compared to the usual three and one trombone, instead of the usual three.

At the first of Concerto sour Pian o et Orchestre the cellos play tremoli chords with one chord member executed as a harmonic, and the piccolo has a solo. Vhen the piccolo has a crescendo in its lowest register, it is reinforced by the flute.

In sections one and two the piano h'as glissandi.

Three measures before rehearsal number two the second violins, violas, cellos ad basses perform detach4 bowing passages. This is found in Ravel's orchestrations but twice. This is beLng performed with piano glissandi. The bassoon solo that appears in section nine is in an eXtremely high register.

In section siteen there appears in the first violin part double-stopped octave glissandi, a three-easure trill is performed by the violas and a six-reasure trill by the violins.

Sections twenty-two and twenty-three consist of a harp cadenza over a chord of three cellos, later joined by three

irs Lviolins, one viola, three zore cellos, and two basses on a soli. 127

In section twenty-four the piccolo, clarinet and trumpet execute flutter-tongued passages. There appear, at section twenty-five, arpeggios atd rapid chromatics passing continu- ously around the woodwind section, ending with the oboe executing oc'-ve lears.

There appears at section thirty-five a cymbal trill.

In the sections si to eight of the secon movement the horn performs aa solo'at the top of its range.

I section five of the second movement the flute and piccolo execute a double-tongued passage.

The E flat clarinet, in its solo in section one of the third movement plays as high as e-line a. At the first of the third movement the violas and cellos haye successive down-bows. The trombone performs glissandi in sections one and eight, and sul testo appar in t e second violins, violas and cellos.

Three measures after section nine the snare drum is to be struck at the edge of the h1ead.

AQvel uses pizzicato quadruple ad triple stops quite frequently in the string parts.

In section thirteen the cymbals are to be struck with the snare dr u sticks, and dampelLed ar tones appear in section

The bassoons are called upon in sections fourteen and fifteen to ee cut more diftielt technic al equirerments than

ts1. Tey perfoatrmalternatel on the lat, so It Will not b(:-, ificl f'or eith-er ornc. I27

Alncst hiP of the trumntts passages are uted in

ConcertoDor Piano etOrchostre, and pizzicato strings appear rather frequently.

The orchestration of Concerto for Piano aan Orchestra is

agmenta ry and )liht in character i'th the instrunentation

eing thin; to Alow the piano to be heard. The pino part is in the form of an obligato to te fragmentary orches t ral solos

ach1 of the time, rather thain being melodic in character.

Analvsis of Orchestra-ion of .

Concerto for the Left Hand for Piano and Orchestra

R vel was commission' to write the Concerto for the

t Left hand for Piano adOrches ra for Paul Witt renstein ,the concert pianist who lost his right hald in World War I. This is a most unusual composition for the poiano and extremely di ficult.

The openi g section of the Concerto for te Left Hand for Piano ad Orchestra las the unusu timbre of a contra bassoon solo, double bass Alberti bass, and cello and double bass sustained CCOmpirt The ra ange of the opening is one of extremely low writing, made so by such low chords, the unusual Alberti bass and a solo on the lowest instrument of the orchestra.

The iano enters at section four with a long and extremely difficult cadenza.

In section seven the truUpet and horns execute double- tonguing passages. 129

The second violins in section ten are divided and perform glissandi a fifth apart encompassing three octaves, and then in eleven the violin performs a glissando to a harmonic. At section fourteen the strings have quarter notes being played with staccato eighth notes in the other instruments, but the effect is similar in all of the instruments, because the striged instruments sound the tones pizzicato. At section eighteen the horns appear muted, and then after twenty-three their timbre is changed to stopped horns.

There appears a flutter-tongued passage in the flute parts at section twenty.

In section twenty-four the piano executes a trill to ihich is added the first violin;then the piano is omitted and tro horns, the first violins, the second violins, violas and cellos perform the trill. After this the flute takes the trill, and then the clarinet in A takes it.

At section thirty the first violins are divided into three parts, and the second violins are divided into two parts.

The double basses are divided into three parts, and the first and second violins and the basses play sustained harmonics.

The violas are divided into two parts: one it a pizzicato part, and the other consists of an arpeggio of harmonics sounded entirely on the C string. The cellos are divided into tto parts: one is pizzicato chords, and the other consists of an arpeggio of harmonics marked in the score to be on the G string, but in reality is the series of harmonics playable 130 only on the C string thus appearing to be a case of a typo- graphical error.

Section thirty-one is a muted trombone solo with snare drm and pizzicato string accompaniment. Ravel at thirty-two again uses the string sustained harmonics as accompaniment, giving the rising sixteenth figures previously used on harmonics in the viola and. cello to flute and clarinet.

At section thirty-four the violins are divided into eight parts and in section thirty-five into six.

Ravel has a big climax building up to section fifty, a piano cadenza, then another climax using the full orchestra ends the composition.

Conclusion

Orchestration is an art and defies mathematical analysis,

The possibilities of orchestrating any one composition are infinite. It would be impossible to sumiarize this thesis, since it is a summary, out it is possible to restate the highlights, giving a conception of Ravel's style. This is in- sufficient to describe his over-all technic.

Ravel's style is typical of the French impressionistic composers with the exception that Lavel extended the uses of the instruments. The use of the strings on tonal patterns rather than the melody, and the woodwinds on the melody is characteristic of the style. The impressionistic composer usually combined parts of different character, such as ostinatos, with the melcdy in contrast to the contrapuntal style of the classicists. 131

In transcribing a composition from the piano to the orchestra Ravel never transpos e, ocept in the case of trans- posing instruments. He quite often ads sustained chordal accompaniment in the orchestral version ad adds tremoli and harmonics to the parts. He nearly always makes a greater dogr a contrast in thc dynamics in the orchestral versions than in the piano versions.

An unusual effect that Ravel uses is glissandi played by four string instruments, each one starting on a different

atote. He makes extended use of tremoli in the instruments that can perform in such a manner. Other devices that appear in the stris 2re natural harmonics, artificial harmonics, sul tasto tremolo, sul tasto glissandi, glissandi on harmonics, portamenti, col legno, pizzicato, sul ponticello, finger tremoli, and slurs to harmonics. His harp parts contain consid- erably more than the usual arpeggios and glissandi. He uses the harp on chords, melodies, harmaonics, and rhythmic accompaniments.

Some unusual instruments that Pavel uses are the sarrusophone, ealiphone, and crotales(antique cymbals).

Ravel created what is considered really great orchestral tonal color. The color tlat Ravel used could have been different, and wy 'he chose any particular in strurental combination or coloring device for articular situation is the very es- sence of his greatness. 3IBPLIOGRAPHY

Books0

Bauer, Marion and Peyser, Ethel R., Lusic Thro the A Iew York, 2. P. Putnams Sons, 1T946.

Berlioz, Hector, Treatise on Instruentatio.n, Translated b: Theodore Front, New York, E. F. Kalmus nd Company, 1948. Boosey and Hilawkes, Pictures at an Exhibition, London, Boosey and Hawkes, 1942.

Collinson, Francis M., Orchestration for the Theatre, London John Lae and Company, 1941T

Corder, Frederich, The Orchestra and How to &rite for It London, J. Cur ei madBs, ~I~~~ IQ,97. Denuth, Norman, Ravel, London, J. M. Dent and Sons, 1947.

Durand et Cie, Catalogue de 1'Oeuvre de Maurice Ravel, Paris, Durand and Copany.

Ferguson, D. N., A History of Iusical Thought, New York, F. S. Crofts and 0 ompany, 19Y5.

Forsyth, Cecil, Orchestration, London, Macmillan and Copany, 1935.

Goss, /adeleine, Bolero, New York, H. Holt and Company, 1940.

Kennan, Kent peeler, e Techniue of Orchestration, New York, Prentice-Hall Publishers, 192.

Piston, Walter, Orchestration, New York, Norton Publishers, 1955.

Prout, EbenezerxInstrumentation, London, Novello, ower and Company, 1677. cead, Gardner, ThesUrus of Orchestral Devices, New York, Pitman Publishers Corporation, 1953W

Rogers, Bernard, The Art of Orchestration, New York, Appleton- Century-Crogts Publishers, 1951.

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Seroff1 Victoraurice1Ral, {eNew York, H.1 Halt and Company, 1953.

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Ravel, rice, Bolero, Paris, Durand and Company, 1928.

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Concerto pour Piano et Orchestre, Pa ris, Durnd and CoLpa21, 1932.

Dahnise t ChloeA, Suite o. 1, Paris, Durand and Company, 1943.

Dapht{is e{ ChloP, Suite Io. 2, Pari Lrand mpay, 1913.

utitrodiion p Allegro, Paris, Durad and Com,,pany, _1906.

itIaMere 1ye, Paris, Durand and Comp:ny, 1911.

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ovsre o!r une IaL e Dtunte, Parris, I i EschIig, 1910.

Rapsodie Espanole, Paris, Durand and Company, 1908.

Shehirazade, Paris, Durand and Comrpany, 1914.