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University of Cincinnati UNIVERSITY OF CINCINNATI Date: 1-Sep-2009 I, James Alexander Hurd , hereby submit this original work as part of the requirements for the degree of: Doctor of Musical Arts in Voice It is entitled: From a Peacock to Apocope: An Examination of Maurice Ravel’s Text Setting in the Histoires naturelles, L’Heure espagnole and Other Pre-WWI Vocal Works. Student Signature: James Alexander Hurd This work and its defense approved by: Committee Chair: Kenneth Griffiths, MM Kenneth Griffiths, MM David Adams, MM David Adams, MM Barbara Honn, MM Barbara Honn, MM 10/30/2009 191 From a Peacock to Apocope: An Examination of Maurice Ravel’s Text Setting in the Histoires naturelles, L’Heure espagnole and Other Pre-WWI Vocal Works A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 2009 by James Alexander Hurd B.A., Oberlin College, 1998 B.M., Oberlin College, 1998 M.M., University of Cincinnati, 2001 Committee Chair: Kenneth Griffiths ABSTRACT The groundbreaking Histoires naturelles (1906) were one of Maurice Ravel’s most important early works. Employing prose and a conversational vocal style, they redefined the mélodie—a genre that had been characterized by its use of poetry and aristocratic French diction. Performance of these five songs presents singers with formidable challenges. The vocal line, imitating speech, is notable for its rhythmic complexity. In some cases, it eschews a legato line entirely. Often, it favors a dry, even ironic delivery. Successful performance of these songs is greatly aided by a thorough understanding of context, style, and notation. This guide to Ravel’s Histoires naturelles is separated into two parts. The first provides a context for these groundbreaking and controversial songs by exploring Ravel’s early career; the scandal that erupted following the work's premiere was in fact the second of two majors scandals of Ravel's youth. Both kept the young composer's name in the news. The first part also considers Ravel’s life-long passion for poetry and literature—an aspect so vital that he referred to Edgar Allan Poe as one of his most important teachers. In addition, it parses his musical influences, which run the gamut from his teachers at the Conservatoire to Debussy, Chabrier, Satie, and Mussorgsky. The most progressive aspect of the score is its approach to mute e syllables. Ravel deals with these syllables in a variety of ways: at times he dispenses with them entirely, while elsewhere he either minimizes them or instructs that they be fully sounded. The second part of the guide is devoted to this rich topic. It begins with an examination of approaches to the mute e before Ravel, then examines Ravel's own approach. The notation used by Ravel in these songs and in their ii companion piece, the opera L'Heure espagnole, is not as clear as one might expect. This confusing notation is examined, and the advice of noted performers and authors is discussed. The composer's original conception of the Histories naturelles was not nearly as provocative; this earlier version of the songs—detailed in a doctoral treatise from The University of Texas at Austin—is considered. In the final chapter, Ravel's approach to text setting in other songs written before World War I is discussed. iii CONTENTS ABSTRACT...............................................................................................................ii LIST OF MUSICAL EXAMPLES ...........................................................................vii PART 1 1. RAVEL’S EARLY REPUTATION AND SCANDALS Société Nationale de Musique Performances ...................................1 Prix de Rome .....................................................................................2 Histoires naturelles Scandal .............................................................5 2. MUSICAL TRAINING AND INFLUENCES Gabriel Fauré and André Gédalge .....................................................8 Claude Debussy .................................................................................9 Pelléas et Mélisande ..........................................................................9 Conflict and Criticism........................................................................10 Emmanuel Chabrier and Popular Music............................................11 Erik Satie............................................................................................12 Satie's Influence .................................................................................13 Modest Mussorgsky...........................................................................14 Café-Concert......................................................................................16 Comparing the Café-Concert to the Histoires naturelles ..................17 3. LITERARY INFLUENCES Charles Baudelaire and Edgar Allan Poe...........................................19 Les Apaches.......................................................................................20 Michel Calvocoressi ..........................................................................21 Tristan Klingsor .................................................................................22 PART 2 4. FRENCH POETRY AND THE MUTE E: APPROACHES BEFORE RAVEL Conversation vs. Recitation ...............................................................24 Counting Syllables and the Mute e ....................................................24 Musical Treatment of the Mute e before Debussy.............................26 Contrary Opinion ...............................................................................26 Late Nineteenth-Century Notational Developments..........................27 Apocopation.......................................................................................28 Debussy and Language: Pelléas et Mélisande...................................29 Text Setting in Debussy's Mélodies, 1880-1904................................30 Debussy's Mélodies: Editions ............................................................34 Debussy's Influence on Ravel............................................................36 Ravel's Views on Appropriate Texts .................................................36 iv 5. RAVEL'S NOTATION..............................................................................38 Clarity ................................................................................................38 Deciphering Ravel's Mute e Notation................................................39 Portamento Notation..........................................................................41 The Slur and Portamento in L'Heure espagnole................................42 Grace Notes and Parentheses.............................................................44 Apocopation ......................................................................................45 Text Underlay ....................................................................................47 Answers ............................................................................................48 Jane Bathori .......................................................................................49 Pierre Bernac......................................................................................51 Robert Gartside..................................................................................51 Pierre de Bréville's Foreword: Note sur l’e muet...............................52 Approaches to Apocopation Notation................................................54 Premiere Recording of L’Heure espagnole .......................................56 6. REVISIONS TO THE HISTOIRES NATURELLES Elden Stuart Little: Consistencies and Discrepancies........................57 Changes to the Syllabification of the Vocal Line ..............................58 Other Observations from Ravel's Revisions ......................................60 Apocope Prior to the Revisions .........................................................61 Ravel's Motivation for the Revisions.................................................62 A Flexible Approach to Diction.........................................................63 From the Histoires naturelles to L’Heure espagnole ........................64 Comparing the Vocal and Orchestral Scores to L’Heure espagnole .66 7. TIE AND APOCOPE IN OTHER PRE-WWI SONGS Introduction: Use of Ties and Apocope in Early Songs ....................70 “Ballade de la reine morte d’aimer” (ca. 1893) .................................70 “Un grand sommeil noir” (1895) .......................................................72 “Sainte” (1896) ..................................................................................73 “Chanson du rouet” (1898) ................................................................75 “Si morne!” (1898) ............................................................................75 Épigrammes de Clément Marot (1895-9): ........................................76 “D’Anne qui me jecta de la neige.” .......................................76 “D’Anne jouant de l’espinette.”.............................................77 “Manteau des fleurs” (1903)..............................................................79 Shéhérazade (1903) ...........................................................................80 “Asie”.....................................................................................81
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