Beruflich Dokumente
Kultur Dokumente
STRUCTURE: Vlado Perlemuter (1904 2002) was a French pianist who was one of the leading
exponents of Ravels piano music. In fact, in 1927 he studied all of Ravel's solo works for piano for a period
of six months with the composer himself! Perlemuter often said that one of the reasons why Ravels piano
music kept its place in the modern repertoire was because of its formal strength. Roy Howat, in his
musical essay Ravel and the Piano presents some interesting observations regarding the finale of the G
major piano concerto:
the finales dimensions can be measured directly against the preceding Adagio by a tempo equivalence of quaver
= 72 in the Adagio to bar = 72-6 in the finale (taking Perlemuters suggested tempo). Six bars of the finale thus
correspond to one of the Adagio a suggestive figure since the finales total of 306 bars is conveniently a multiple of
six. If the total length of the finale is mirrored backwards from the end of the Adagio by counting back 306 quavers or
51 bars, it takes us back to the main turningpoint of the Adagio at bar 58 (Fig.4). Whether this was planned or
153 bars
153 bars
EXPOSITION
DEVELOPMEN RECAPITULATION
T
Transition
Second
Subject
Development
First
Subject
Second
Subject
Introductory
material (16
bars)
Fig.5 (22
bars)
Fig. 14
S1a: Fig. 20
(16 bars)
CODA
Starts Fig.26 (12
bars)
Concluding
material (12 bars)
CODETTA:
Fig. 11 (39
bars)
CODETTA
material:
Fig. 24
(26 bars)
THEMES: It is possible to identify three distinct themes in the Exposition section. After an introductory
passage, the first main idea is heard a piercing, Gershwinlike clarinet theme (S1a). The second idea is
more folk-like, modal and syncopated and actually ends in a surprise cadence to E major; Fig 5 Fig 7
includes travelling material and feels like a link/ transitional passage; the third is a contrasting theme,
and march-like, with fanfare type patterns (S2). The development section is set in perpetual motion, with
touches of earlier themes (mainly S1b and S2) and the recapitulation section is much reduced and
differently scored, presenting the themes in rapid succession.
MOOD: High-spirited and impetuous.
TONALITY: G major.
HARMONY: The writing includes some repetitive passages with quite static harmony, parallel chord ideas
which are often used for timbral effect, bitonality and tritonally opposed ideas, higher discords, dissonant
and chromatic arrangements, and even clusters.
WRITING FOR PIANO: The piano part is almost totally percussive, again utilising rushing motor rhythms.
Sometimes the finger work is challenging in that it can go in rather unexpected directions. Lots of
acrobatic writing for keyboard is in evidence, with repetitive sounding patterns in the high register that can
sound static and, at times, a little lacking in invention.
WRITING FOR ORCHESTRA: Ravel presents a cacophony of sound which includes percussion, woodwind
shrieks, glissandi and chromatic patterns in brass it really is a journey that grows theatrically in waves of
sound. There are fiendishly difficult sections for bassoons as they imitate double scale passages on the
piano, and some tricky sequences for trumpet in which there is too much figuration.
BARS
THEMES
COMMENTS
1
Fig.
5
Introductory material
STRUCTURE: 4+12+12+4+4
TEXTURE: The snare drum roll, bass drum bang and opening four
chords (i.e. fig f) set the circus atmosphere and introduce the solo
pianos quiet entry, heard above detached pizzicato chords in the
strings. Note the percussive and mechanical nature of the piano
accompaniment throughout this section. From Fig.1, one prominent
melody dominates the texture, building up to a repeat of the opening
four chords in strings, brass, bassoon and percussion.
q q
q
S1a=
The first theme, S1a, is a short yet very distinctive 6 bar phrase,
reduced to just 4 bars when repeated in the piccolo at Fig. 2. It
starts with a Gershwin-like, piercing squeal which is answered by a
trombone glissando at 2Fig. 2. Note the extremes of pitch here, and
the use of the diminished 8ve, both at the outset of the theme and
between the acciaccatura B up to B (as written in the score), bar
20. This was an interval favoured by Ravel, identified as being a part
of his style (see background notes). Following the theme in the
piccolo, short upward chromatic interjections are heard in brass.
These contribute to the build up in the atmosphere.
HARMONY: The opening ff chords are dissonant. The bassoon, violas
and cellos establish the tonic in 6/4 position, but the brass
superimpose alternative colourings, which suggest the chord is
dominant of V over the dominant pedal. Whether its resolved in the
traditional manner is another matter! At least the dominant is quite
affirmatively resolved by the single bass G in bar 4. The piano
accompaniment mainly utilises perfect 5ths, but also has 4ths and
tritones in its make-up; but the interest here is horizontal not vertical,
and timbral rather than functional. The left hand part emphasizes the
tonic chord in some shape or form on the first semiquaver beat of
each bar until Fig.1, while other beats and the right hand are more
peripatetic, though keeping the same intervallic style. The strings
support with sparse pizzicato chords, maintaining the tonic of G. Note
that the G major is coloured with F# from the outset (Ravel
sometimes favoured the flattened 7th), but also note the sharpened
subdominant degree #4 i.e. C#s. (This could also be an allusion to
the first movements bitonal opening).
At Fig. 1, it is interesting to note that S1a in the clarinet is notated in
G major against the G major of the orchestra. (Remember that this is
a transposing clarinet in E). This is carried on into Fig. 2, where the
key signature for the piccolo is similarly at odds with the piano and
orchestra. Harmony at Fig. 2 has shifted to the chord of the
subdominant, which in the last four bars leads to a repeat of the
terse chords of the opening. Again, the G flat could be the
enharmonic of F# (again for notational convenience since the
clarinet is in E and notation in D# major would be unnecessarily
complicated). This is the key this material is in, with mostly (tonic)
arpeggios. This would underline further the link between the outer
movements i.e., G against F# (semitone away). Interestingly, when
the accompanying chord changes to C major, the piccolos
answering phrase is in this keys dominant (C#), with the arpeggio
outlining a dominant 9th chord. Again, note that the two chords/keys
are a semitone apart. This has to be more than pure coincidence.
S1b
Fig.
3Fig.
5
S1b =
Fig.
5Fig.
7
Semiquaver patterns;
Fig.
7Fig.
10
S2a =
S2b =
S2a1 =
S2c =
S2d =
Fig.
7:
Fig.
7:
Bars
Fig.
9:
Also fig f.
[The above quotes are as
written in the score, not
at concert pitch. It would
be good transposing
experience for the
students to re-write these
as they would sound].
Fig.
9:
Bars
11 bars - S2
S2a
S2b
79818381
83
85
14 bars S2
S2c
S2d+
a1
3+2
85287
87290
Fig. 8
S2a
S2b
S2a1
S2c
S2
d
S2c1
S2d
9597
9799
99101
1012103
10
3210
5
10521062
1062
Fig.
10
S2a
11
Fig.
10
6
bars
jazz
y
4+2
Fig.1
01
Fig.
11
Non-thematic passagework
Fig.138
Fig.139
Amin
Dim7 built on D#
DEVELOPMENT: Fig. 14 Fig. 20. This section emerges as an extended crescendo which
builds up by repeating the main ideas, almost in an ostinato-like way. It is also interest to
note, that structurally, this point is exactly half way through the movement.
It will be useful for students to understand the harmonic scheme of bars 152-213: first inversion chords of E flat, C and
A major i.e., a key scheme of descending minor 3rds, (this is, probably coincidentally, typically octatonic, since the
notes of these three chords use up all the notes of an octatonic scale - e.g., semitone-tone scale on C); the C# (3rd of
A), occasionally transformed into its enharmonic of D flat, probably again for notational reasons, then becomes a pedal
for the remainder of the development, supporting B flat minor, F# minor, E flat major and E minor chords or, as is
mentioned below, a C# chord, which acts as an incomplete dominant 9th (or vii7) of D i.e., dominant preparation for
Gs dominant.]
Process Fig.
1
14
Ravel enjoyed opening pieces with dark timbres!). Note the variety of
techniques: cello 1 arco, cello 2 pizzicato; divisi and unison
playing in lower strings; arco to begin, but changes to pizzicato at bar
162. The bassoons certainly have their work cut out in delivering the
continued semiquavers; the phrases are divided between the two
bassoons probably for technical reasons. This is fiendishly difficult for
bassoons, so this arrangement would help facilitate their breathing. It
feels as if the bassoons are attempting to emulate the high piano
lines of the previous section but they are handicapped by not being
able to play them as fast. The timbres throughout this passage are
low.
THEMES: Introductory semiquavers in cello 1 re-introduce figure z in
the bassoons:
e.g. bar 162 -
Process Fig.
2
15
Fig z
S1b
S2a1
Process Fig.
3
16
Fig z
S1b
S2a1 + S2a
Process Fig.
4
17
Fig z
S2c + S2d
STRUCTURE: 8 bars.
S1b
Fig a1
S2a
Process Fig.1
5
8
Fig z
S2c + S2d
a1 (descending, as at
Fig.18)
S1b
S2b
STRUCTURE: 8 bars.
TEXTURE: The overall dynamic is louder. Thematic material
continues in the same style, but orchestrated differently as the
woodwind now lead[s] the way.
THEMES: At Fig. 18, the viola begins with four chords reminiscent
of figure f, but then continues with the semiquavers occasionally
extending the intervals as before (bars 194/5).Themes S2c + d + a1
are now heard in E clarinet, and S1b is heard in the upper register ff
in harp, and mf, staccato in piccolo in bar 202. Note that, for the first
time in this development section, this theme enters on the first beat
of the bar (and has again been shortened by just a beat!). S2b is
Fig z
S1b
S2b
S2a1
RECAPITULATION: Fig 20 - end. The reprise of the opening section is much abbreviated.
The recapitulation section reflects the exposition, but there are differences. The corresponding sections will therefore
be given and some main changes highlighted.
First
subject
section
Fig.
20
S1a
Fig.
21
S1b.
Second
subject
section
Fig.
22
S2
S1b
Fig.
26
Free material
Figure f
drum).
RHYTHM: Semiquavers and linked repetitive patterns make their
way to the four final chords which recall the opening four chords of
this movement.
HARMONY: Note the interplay between the E minor/G major triads in
the piano part from Fig. 26, decorated by their appoggiatura
neighbours. This light-hearted continuous pattern finally brings the
four final chords. Here the 9th acts as a normal dissonant chord tone,
resolving finally to a root of the tonic in 6/4 position. The root of the
tonic chord finally sounds in the bass parts on the last beat of the
movement. Note the percussive 9ths in the right hand piano part,
and also that the pianos final bass note is an A because the
required G is out of the pianos range.