The Cambridge Companion To Ravel
Cambridge University Press0521648564 - The Cambridge Companion to RavelEdited by Deborah MawerFrontmatterMore informationThe Cambridge Companion to RavelThis Companion provides a comprehensive introduction to the life,music and compositional aesthetic of the French composerMaurice Ravel (1875–1937). Leading international scholars offer apowerful reassessment of this most private and elusive musician,examining his work in detail within its cultural context. Supportedby many music examples, the volume explores the full range ofRavel’s work – piano repertory, chamber works, orchestral music,ballets, songs and operas – and makes illuminating comparisonswith the music of Couperin, Gounod, Chabrier and Debussy. Thechapters present the latest research focusing on topics such asRavel’s exoticism and Spanishness and conclude by analysing theperformance and reception of his music, including previouslyuntranslated reviews. Marking the 125th anniversary of Ravel’sbirth, the Companion as a whole aims to secure a solid foundationfor Ravel studies in the twenty-first century and will appeal to allenthusiasts and students of his music.The editor, Deborah Mawer, is Lecturer in Music at LancasterUniversity, where she specialises in French music (c. 1890–1939).She is author of Darius Milhaud (1997) and ‘Darius Milhaud, LaCréation du monde’ (1996), an analytical listening guide. She alsowrites on music analysis and education. Cambridge University Presswww.cambridge.org
Cambridge University Press0521648564 - The Cambridge Companion to RavelEdited by Deborah MawerFrontmatterMore informationCambridge Companions to MusicComposersThe Cambridge Companion to BachEdited by John ButtThe Cambridge Companion to BartókEdited by Amanda BayleyThe Cambridge Companion to BeethovenEdited by Glenn StanleyThe Cambridge Companion to BergEdited by Anthony PopleThe Cambridge Companion to BerliozEdited by Peter BloomThe Cambridge Companion to BrahmsEdited by Michael MusgraveThe Cambridge Companion to Benjamin BrittenEdited by Mervyn CookeThe Cambridge Companion to ChopinEdited by Jim SamsonThe Cambridge Companion to HandelEdited by Donald BurrowsThe Cambridge Companion to RavelEdited by Deborah MawerThe Cambridge Companion to SchubertEdited by Christopher Gibbs Cambridge University Presswww.cambridge.org
Cambridge University Press0521648564 - The Cambridge Companion to RavelEdited by Deborah MawerFrontmatterMore informationThe Cambridge Companion toR AV E Ledited byDeborah Mawer Cambridge University Presswww.cambridge.org
Cambridge University Press0521648564 - The Cambridge Companion to RavelEdited by Deborah MawerFrontmatterMore informationCAMBRIDGE UNIVERSITY PRESSCambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São PauloCambridge University PressThe Edinburgh Building, Cambridge CB2 2RU, UKPublished in the United States of America by Cambridge University Press, New Yorkwww.cambridge.orgInformation on this title: www.cambridge.org/9780521640268 Cambridge University Press 2000This publication is in copyright. Subject to statutory exceptionand to the provisions of relevant collective licensing agreements,no reproduction of any part may take place withoutthe written permission of Cambridge University Press.First published 2000A catalogue record for this publication is available from the British LibraryLibrary of Congress Cataloguing in Publication dataThe Cambridge companion to Ravel / edited by Deborah Mawer.p.cm. – (Cambridge companions to music)Includes bibliographical references (p. ) and index.ISBN 0 521 64026 1 (hardback) – ISBN 0 521 64856 4 (paperback)1. Ravel, Maurice, 1875–1937 – Criticism and interpretation. I. Mawer, Deborah, 1961–II. Series.ML410.R23 C36 2000780 .92–dc21 99–047568 CIPISBN-13 978-0-521-64026-8 hardbackISBN-10 0-521-64026-1 hardbackISBN-13 978-0-521-64856-1 paperbackISBN-10 0-521-64856-4 paperbackTransferred to digital printing 2006 Cambridge University Presswww.cambridge.org
Cambridge University Press0521648564 - The Cambridge Companion to RavelEdited by Deborah MawerFrontmatterMore informationContentsList of contributors [viii]Acknowledgements [x]Chronology of Ravel’s life and career [xi]Note on the text [xv]Introduction Deborah Mawer [1]Part I · Culture and aesthetic1 History and homage Barbara L. Kelly [7]2 Evocations of exoticism Robert Orledge [27]3 Musical objects and machines Deborah Mawer [47]Part II · Musical explorations4 Ravel and the piano Roy Howat [71]5 Harmony in the chamber music Mark DeVoto [97]6 Ravel and the orchestra Michael Russ [118]7 Ballet and the apotheosis of the dance Deborah Mawer [140]8 Vocal music and the lures of exoticism and irony Peter Kaminsky [162]9 Ravel’s operatic spectacles: L’Heure and L’Enfant Richard Langham Smith [188]Part III · Performance and reception10 Performing Ravel: style and practice in the early recordingsRonald Woodley [213]11 Ravel and the twentieth century Roger Nichols [240]Appendix: Early reception of Ravel’s music (1899–1939)Roger Nichols and Deborah Mawer [251]Notes [267]Select bibliography [283]Index of names and works [287][vii] Cambridge University Presswww.cambridge.org
Cambridge University Press0521648564 - The Cambridge Companion to RavelEdited by Deborah MawerFrontmatterMore informationContributors[viii]Mark DeVoto, composer and writer, has been Professor of Music at TuftsUniversity since 1981. He is the editor and co-author, with his late teacherWalter Piston, of the much acclaimed book Harmony (Gollancz, 1978;5/1987); he has published extensively on Berg (and Bartók), including hisrecent edition of the Altenberg Lieder, Op. 4 (1997) for the Alban BergSämtliche Werke.Roy Howat is a concert pianist known especially for his expertise in Frenchmusic: among his teachers were two close associates of Ravel, VladoPerlemuter and Jacques Février. His publications include Debussy inProportion (Cambridge University Press, 1983), contributions to books onSchubert, Chopin, Debussy and Bartók, Urtext editions of music by Fauréand Chabrier, and several volumes of the Œuvres complètes de ClaudeDebussy (Editions Durand), of which he is one of the founding editors.Peter Kaminsky is Associate Professor of Music Theory at the University ofConnecticut at Storrs. He has published work on Schumann’s piano cycles,Paul Simon, Mozart opera and score study in Music Theory Spectrum, CollegeMusic Symposium, Theory and Practice, The Instrumentalist and Clavier;current interests include endings in Brahms’s music and the role of genre inthe solo music of Sting.Barbara L. Kelly is Lecturer in Music at Keele University and author of the newRavel article for the forthcoming second edition of The New GroveDictionary of Music and Musicians. She researches on late nineteenth- andearly twentieth-century French music, including Darius Milhaud, and onissues of French national identity from 1870 to 1939.Richard Langham Smith is Reader in Music at the University of Exeter and hasbeen admitted to the rank of ‘Chevalier de l’ordre des arts et des lettres’ forhis contribution to French music. Author and editor of several books onDebussy, including Debussy Studies (Cambridge Univeristy Press, 1998), hehas also reconstructed Debussy’s unpublished opera, Rodrigue et Chimène,which opened the new Opéra in Lyon in 1993.Deborah Mawer is Lecturer in Music at Lancaster University and Vice-Presidentof the Society for Music Analysis. Her research focuses on the analysis ofearly twentieth-century French music (1890–1939), including DariusMilhaud: Modality and Structure in Music of the 1920s (Scolar Press, 1997)and an analytical listening guide, ‘Darius Milhaud, La Création du monde’(Teaching and Learning Technology Programme, 1996); she also writes onissues in music education.Roger Nichols read music at the University of Oxford and subsequently lecturedat various other universities before becoming a freelance writer andbroadcaster in 1981. He has published widely on French music of the last 200 Cambridge University Presswww.cambridge.org
Cambridge University Press0521648564 - The Cambridge Companion to RavelEdited by Deborah MawerFrontmatterMore informationix Contributorsyears, including Ravel (Dent, 1977) for the Master Musicians series, RavelRemembered (Faber, 1987), Debussy Remembered (Faber, 1991) and A Life ofDebussy (Cambridge University Press, 1998).Robert Orledge is Professor of Music at the University of Liverpool. His researchfield is French music between 1850 and 1939 and his main publications areGabriel Fauré (Eulenburg, 1979; 2/1983), Debussy and the Theatre(Cambridge University Press, 1982; 2/1985), Charles Koechlin: His Life andWorks (Harwood, 1989; 2/1995), Satie the Composer (Cambridge UniversityPress 1990; 2/1992) and Satie Remembered (Faber, 1995).Michael Russ is Senior Lecturer in Music at the University of Ulster. He haspublished work on Webern, Bartók and Musorgsky, including a monographon Musorgsky’s Pictures at an Exhibition (Cambridge University Press,1992).Ronald Woodley is Senior Lecturer in Music at Lancaster University where he isactive both as a musicologist (medieval and twentieth-century periods) andas a performer on clarinet. His publications range from John Tucke: A CaseStudy in Early Tudor Music Theory (Clarendon Press, 1993) to an essay onirony in Prokofiev in The Practice of Performance, ed. John Rink (CambridgeUniversity Press, 1995); he is currently completing a book on the music ofSteve Reich. Cambridge University Presswww.cambridge.org
Cambridge University Press0521648564 - The Cambridge Companion to RavelEdited by Deborah MawerFrontmatterMore informationAcknowledgementsAll contributors appreciatively acknowledge the pioneering work of ArbieOrenstein – documentary, editorial and biographical – that has facilitated thewriting of The Cambridge Companion to Ravel. I am also grateful to Roger Nicholsfor his perceptive comments on the book chapters at draft stage and to Roy Howat,who has been generous both with his time and specialist knowledge. Thanks aredue to Penny Souster at Cambridge University Press for her support and of courseto the individual contributors to this volume. In particular, special thanks go to mypartner, Ronald Woodley, who also took on the sizeable task of producing all themusic examples with his characteristic meticulousness and finesse.Additionally, I should like to acknowledge the generous financial assistancegiven to me as editor to assist the research stage of this book at the BibliothèqueNationale de France, both by the British Academy/Humanities Research Board andby Lancaster University.Copyright materials are reproduced as follows:Musical excerpts from Sites auriculaires, String Quartet, Shéhérazade (songcycle), Sonatine, Introduction et allegro, Rapsodie espagnole, Gaspard de la nuit,L’Heure espagnole, Daphnis et Chloé, Valses nobles, Trois poèmes de StéphaneMallarmé, Le Tombeau de Couperin, La Valse, Sonata for Violin and Cello, L’Enfantet les sortilèges, Chansons madécasses, Sonata for Violin and Piano, Boléro, Concertofor the Left Hand and Concerto in G are reproduced by kind permission of EditionsA.R.I.M.A. Corp. and Editions Durand S.A., Paris/United Music Publishers Ltd.Excerpts from the Pavane pour une Infante défunte, Jeux d’eau, Miroirs andDarius Milhaud, La Création du monde are reproduced by kind permission ofEditions Max Eschig, Paris/United Music Publishers Ltd.Excerpts from Noël des jouets, A la manière de . . . Chabrier and Frontispice arereproduced by kind permission of Editions Salabert, Paris/United MusicPublishers Ltd.The excerpt from the Menuet antique is reproduced by kind permission ofEditions Enoch et Cie., Paris/United Music Publishers Ltd.The excerpt from Gounod, Faust is taken from Edition Peters No.4402 and isreproduced by kind permission of Peters Edition Limited, London.[x] Cambridge University Presswww.cambridge.org
Cambridge University Press0521648564 - The Cambridge Companion to RavelEdited by Deborah MawerFrontmatterMore informationChronology of Ravel’s life and careerThis chronology is compiled from various sources, but special acknowledgement should bemade of Roger Nichols’s work in cementing part of the biographical foundation in hisRavel (London: Dent, 1977). For any one year, entries within contemporary events areordered as follows: history; science/literature/arts; musicians/music.yearravel’s lifecontemp orary events1875Maurice Ravel born at Ciboure, nearSaint-Jean-de-Luz (7 March); insummer family moves to ParisThird Republic founded in France; newParis Opéra opened; Bizet dies; Carmenpremiered1876Mallarmé, L’Après-midi d’un faune;Falla born18771878Edison invents phonographEdouard Ravel (brother) born1879Exposition Universelle (Paris)Sir George Grove, A Dictionary of Musicand Musicians (London, 1879–89)188018811882telephone transmission of Paris Opéraperformance; Musorgsky dies; Bartókbornpiano lessons with Henry Ghys1883Stravinsky bornWagner dies; Webern born188418851886Berg and Varèse bornharmony lessons with Charles RenéStatue of Liberty, New York; Liszt dies1888meets Ricardo ViñesBorodin dies1889attends Exposition; enters juniorpiano class at Paris ConservatoireExposition Universelle (Paris); EiffelTower completed; Cocteau born188718901891Nijinsky born; Franck diesfirst prize for piano; joins de Bériot’spiano class and Pessard’s harmonyclass18921893[xi] Cambridge University PressRimbaud dies; Prokofiev bornMilhaud and Honegger bornplays Chabrier’s music to thecomposer (with Viñes); composesSérénade grotesque and Ballade de laReine morte d’aimerGounod and Tchaikovsky diewww.cambridge.org
Cambridge University Press0521648564 - The Cambridge Companion to RavelEdited by Deborah MawerFrontmatterMore informationxii Chronology of Ravel’s life and career18941895Chabrier dies; Debussy, Prélude àl’après-midi d’un fauneleaves Conservatoire1896Röntgen discovers X-raysBruckner dies1897early Sonata for Violin and Piano andSites auriculaires completedConcerts Lamoureux (Paris); Brahmsdies1898returns to Conservatoire for Fauré’scomposition class; private lessonswith GedalgeSpanish–American War (Treaty ofParis); Mallarmé dies; Gershwin born1899composes Pavane pour une Infantedéfunte; Shéhérazade (overture)first performedBoer War begins; Chausson dies;Poulenc born1900enters Prix de Rome (first time);leaves Fauré’s classParis Métro opened; Freud, TheInterpretation of Dreams1901third prize in Prix de Rome; composesJeux d’eauVerdi dies1902failure in Prix de Rome; starts StringQuartetDebussy, Pelléas et Mélisande completed(begun in 1893)1903failure in Prix de Rome; startsSonatineWright brothers’ first flight; Wolf dies1904Quartet first performed; meetsGodebski familyBalanchine born; Dvořák dies1905‘l’affaire Ravel’ (removed afterpreliminary round of Prix de Rome);signed up by DurandRussian Revolution; Einstein, SpecialTheory of Relativity; Tippett and Jolivetborn; Debussy, La Mer1906Miroirs and Sonatine first performed;starts La Cloche engloutie andHistoires naturellesShostakovich born; Schoenberg,Chamber Symphony No. 11907Histoires naturelles and Introductionet allegro first performed; finishesL’Heure espagnole (vocal score);teaches Vaughan WilliamsPicasso, Les Demoiselles d’Avignon;Grieg dies1908Rapsodie espagnole first performed;composes Gaspard de la nuit; startsMa Mère l’Oye; father diesRimsky-Korsakov dies; Messiaen born1909Gaspard first performed; firstconcert abroad (London);orchestration of L’Heure espagnole;starts Daphnis et Chloéinaugural season of Ballets Russes(1909–29); Albéniz dies1910Ma Mère l’Oye first performed atopening concert of Sociéte MusicaleIndépendante (SMI); finishes firstversion of Daphnis (piano score)Balakirev dies; Stravinsky, L’Oiseau defeu; Debussy, Préludes (Bk. I) Cambridge University Presswww.cambridge.org
Cambridge University Press0521648564 - The Cambridge Companion to RavelEdited by Deborah MawerFrontmatterMore informationxiii Chronology of Ravel’s life and career1911Valses nobles et sentimentales firstperformed (anonymously); L’Heureespagnole premiered at theOpéra-Comique on 19 May1912ballet productions from orchestrations Massenet dies; Cage born;of Ma Mère l’Oye and Valses nobles (as Schoenberg, Pierrot lunaireAdélaïde); Daphnis premiered byBallets Russes on 8 June, Théâtre duChâtelet; leaves Paris for break1913orchestrates Musorgsky,Khovanshchina (with Stravinsky) forDyagilev’s performance in JuneBritten born; Stravinsky, Le Sacrepremiered to uproar in Paris1914Trois poèmes de Stéphane Mallarméfirst performed; orchestration ofSchumann and Chopin for Nijinsky;London production of Daphnis; startsLe Tombeau de Couperinoutbreak of World War I1915Piano Trio first performed; producesedition of Mendelssohn; enlists astruck driverFrench–American radio link fromEiffel Tower; Einstein, General Theory ofRelativity1916illness: returns to ParisBattle of the Somme; Granados dies1917mother dies; finishes Le Tombeau deCouperin (piano)Bolshevik Revolution; Satie, Parade1918composes Frontispice; orchestrates‘Alborada’ (Miroirs) and someChabrierDebussy dies; Stravinsky, L’Histoire dusoldat1919holiday at Mégève; Le Tombeau firstperformed and four movementsorchestratedParis Peace Conference (1919–20),including Treaty of Versailles1920holiday at Lapras; completes La Valse(piano score); declines Légiond’honneur; starts L’Enfant et lessortilèges; concert in Vienna; balletproduction of Le Tombeau; concertperformance of La Valseformal inauguration of League ofNations; Ballets Suédois (1920–5);Stravinsky, Pulcinella1921moves to ‘Le Belvédère’Saint-Saëns dies1922Sonata for Violin and Cello firstperformed; orchestrates someDebussy; concerts abroad (England,Holland, Italy)BBC set up; Joyce, Ulysses; Eliot, TheWaste Land; Stravinsky, Mavra1923further concerts abroad (as aboveand in Belgium); starts Sonata forViolin and Piano and Ronsard à sonâmeregular Eiffel Tower broadcasts; BBCmusic broadcasts; Stravinsky, Les Noces Cambridge University PressMahler dies; Stravinsky, Petrushkawww.cambridge.org
Cambridge University Press0521648564 - The Cambridge Companion to RavelEdited by Deborah MawerFrontmatterMore informationxiv Chronology of Ravel’s life and career1924Tzigane first performed; concerts inSpainFauré and Puccini die1925L’Enfant et les sortilèges premiered on21 March in Monte Carlo; startsChansons madécassesSatie dies; Boulez and Berio born1926concerts abroad (Belgium, Scandinavia,Germany, Britain); L’Enfant performedon 1 February at the Opéra-Comique;Chansons madécasses first performed;concerts in Switzerland1927Sonata for Violin and Piano firstperformed; first signs of neurologicalupset; begins North American tourLindbergh Atlantic flight; Stravinsky,Oedipus Rex1928arrival in New York; back in Franceby late April; award of Hon. D.Mus.(Oxford); Boléro premiered at theOpéra; concerts in SpainJanáček dies; Barraqué and Stockhausenborn1929concerts abroad (England,Switzerland, Austria); starts the pianoconcertos; La Valse first staged at theOpéraWall Street crash, New York; Dyagilevdies1930‘Quai Maurice Ravel’ opened atCiboure; finishes Concerto for theLeft HandStravinsky, Symphony of Psalms;Milhaud, Christophe Colomb premiered1931finishes Concerto in G; completerest urged by doctord’Indy dies1932piano concertos first performed(Vienna and Paris); starts DonQuichotte à Dulcinée; taxi accident(October); concert in Switzerland1933finishes composition of DonQuichotte; more obvious symptomsof degenerative brain diseaseHitler becomes Chancellor of Germany;Duparc dies1934treatment at Swiss clinic;orchestration and first performanceof Don QuichotteElgar, Delius and Holst die; Birtwistleand Maxwell Davies born1935tour of Spain and North Africa withLéon Leyritz; second Spanish tripBerg and Dukas die1936further decline in healthSpanish Civil War; BBC televisionbroadcasts; Respighi and Glazunov die1937brain operation attempted; ten dayslater Ravel dies (28 December)Paris Exposition; Gershwin and Rousseldie; Shostakovich, Fifth Symphony Cambridge University Presswww.cambridge.org
Cambridge University Press0521648564 - The Cambridge Companion to RavelEdited by Deborah MawerFrontmatterMore informationNote on the textIn order to avoid unnecessary repetition, references to frequently cited Ravel textsare given in short-title form in the supporting endnotes (and Appendix); the fullreference can be found in the Select bibliography. Where no author is given for ashort title, the item is usually an unsigned interview with Ravel (or his ‘Anautobiographical sketch’, as dictated to Roland-Manuel). Unless otherwiseindicated, endnote references relate to the most recent edition of any text detailedin the Select bibliography. More occasional references to Ravel (and non-Ravel)literature are given in full at their first citation in the notes for any one particularchapter.Across the book, there are so many references to Arbie Orenstein’s celebratedsource book of Ravel readings that it makes sense to abbreviate this as follows:RR Arbie Orenstein (ed. and trans.), A Ravel Reader (New York: ColumbiaUniversity Press, 1990).References to articles or interviews reprinted in RR are given in their Englishtranslation; however, since RR is presently out of print, the original source is alsoincluded in the full reference (unless stated otherwise, page numbers are for RRonly and include Orenstein’s editorial notes). Titles given in French refer to theoriginal source (or, if appropriate, to its reprint in Orenstein’s French edition:Maurice Ravel: Lettres, écrits, entretiens (Paris: Flammarion, 1989)); translatedquotations in the text have usually been supplied by the author of the chapter.Musical references employ a mixture of bar numbers and rehearsal figuresdepending on the available editions of the work concerned. Rehearsal figures arestill the main means of referencing orchestral or staged works, and so thefollowing shorthand has been used in the main text: Fig. 1 1 refers to the barpreceding Figure 1; Fig. 1 denotes the relevant bar-line (analogous to the start of amovement or scene); Fig.1 1 refers to the first full bar of Figure 1. This shorthandis used just to identify a particular starting point; to avoid any confusion, extent isindicated more fully, as in Fig. 1, bars 1–2.In musical discussion the sign ‘/’, as in G/Fs or major/minor, indicates asimultaneity whereas the sign ‘–’, as in G–Fs or I–V, indicates a progression.Separation of pitches by commas indicates a neutral, basic listing, such as for thecomponents of a scalic collection or chordal formation. Modes are referred to inthe same way as major or minor scales (e.g. C major), hence C aeolian or Ephrygian.[xv] Cambridge University Presswww.cambridge.org
4 Ravel and the piano Roy Howat [71] 5 Harmony in the chamber music Mark DeVoto [97] 6 Ravel and the orchestra Michael Russ [118] 7 Ballet and the apotheosis of the dance Deborah Mawer [140] 8 Vocal music and the lures of exoticism and irony Peter Kaminsky [162] 9 Ravel’s operatic spe
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