Maurice Ravel: Concerto for Piano and Orchestra in G major
Movement I (Allegramente) – overall comment
This movement opens with a whiplash sound and rapidly builds momentum through passages which demonstrate Basque and Spanish influences alongside recollections of Stravinsky and Gershwin.
STRUCTURE: SONATA FORM. However, the traditional key structure of the form has been modified in this case.The Exposition is a substantial section, containing a number of distinct themes of character, including ideas of significance in the transition passage. The Development section is replaced by a mechanical section – a toccata built on the opening idea and the E¨ clarinet idea from the transition. The Recapitulation begins with a powerful reminder of the opening, but the section is shorter, and the second subject is recapitulated within the piano cadenza. The Coda revisits the toccata style of the development, and reminds us briefly of some opening figures.
The structure has been analysed according to the following outline:
EXPOSITIONStarts bar 1(106 bars) / DEVELOPMENT
Fig. 10 (65 bars) / RECAPITULATION
Fig. 18(83 bars) / CODA
Fig. 29(69 bars)
First Subject: / Transition / Second Subject / Development / First Subject / Transition / Second Subject
Bar 1 – Fig. 4 / Fig. 4– Fig. 7 / Fig. 7- Fig. 10 / Fig. 10 – Fig. 18
(including cadenza at Fig. 17) / Fig. 18 – Fig. 20 / Fig. 20 – 26 / Fig. 26–Fig. 29
(Cadenza) / Fig. 29 - end
THEMES: The opening theme contains important motivic ideas for this movement –and indeed, the rest of the concerto. While it is said to suggest a Basque folk melody, thematic material from the transition passage is representative of Spanish elements, and a number of the other thematic ideas derive from the idiom of jazz.
MOOD:With the exception of two quiet interludes, this movement is vivacious, lively and jazzy, with a very ‘American’ feel. It probably reflects the business and bustle of the USA that Ravel encountered on his travels in 1928!
TONALITY: The overall tonality is G major.
HARMONY:Mainly diatonic – but there is also evidence of bitonality, modality, higher discords, dissonances, false relations, chords with raised and lowered 3rds, ‘jazzy’ chords and ‘blue’ notes.
WRITING FOR PIANO: A ‘pyrotechnic’ piano part which is a real ‘tour de force’! This presents challenging and fiery passage-work offset by magical, even mysterious, moments of repose, when the piano indulges in dreamy, languid soliloquies that demonstrates Ravel’s love of jazz. Ravel delights in the piano's expressive potential, and fully employs the instrument's sonority, weaving, for example, a trill into a melody.
WRITING FOR ORCHESTRA:This is a whirlwind of orchestration, which emerges as a demonstration of sheer musical colour. It begins with solos for the piccolo and trumpet, and employs creative use of percussion, glissandi and other similar instrumental devices and effects. The orchestra complements the soloist by reinforcing the sensation of relentless energy,and the instruments are used to their maximum ability. Note particularly the demanding writing for trumpet, bassoon and horn at various points in the movement.
MOVEMENT 1: AllegrementeStructure: SONATA FORM
SECTION / FIG / THEMES / COMMENTS
EXPOSITION
First Subject / Bar 1 – Fig.4 / S1a:
(including figures x, y and z as outlined in general comments)
S1b:
/ STRUCTURE: 1+14+9+12+5+2
RHYTHM: Duple; an exuberant and energetic start to the movement with 2 minim beats to the bar.It is probably fair to say that the success of this movement depends on its speed! The fast quavers propel the music forward, and the inclusion of triplets, syncopation and strategically placed string chords add to the momentum. Steady crotchets at the end of the phrases are directional and purposeful.
TEXTURE: Generally, this is melody dominated homophony. The orchestra takes the lead here andthe instrumentation is colourful, with much of interest. Within this section there are: piccolo and trumpet solos; pizzicato/arco/divisi strings; glissandi in piano, swirling upwards and downwards; and active and interesting percussion work. The accompaniment here is effective, building up to the main event.
Bars 1 – Fig. 1: With the whipcrack and snare drum roll in the first bar, the piano figuration provides an accompaniment very typical of Ravel, in that it is mechanical and repetitive in style.The arpeggio triplets in the pianoand high register of the tremolando cello lines contribute stylistically to the long snare drum roll. While the double basses remain tacet throughout this opening sentence, other strings are heard divisi, pizzicato and pp, which supports the colouring.
Fig.1 – Fig.2: Technically of interest here in the score is the rapid glissandi contrary motionheard crescendo in the piano part, swirling upwards and downwards, effectively building up the texture and increasing the expectancy. The texture is further enriched by percussion rolls, with animated and imitative bursts in the woodwind. The passage concludes with anascending glissando spanning four 8ves in piano, along with a row of strong, staccato contrary motion chords that are timbral rather than functional in effect.
Fig. 2 – Fig. 4: An orchestral passage – the piano remains tacet throughout. This features a feisty trumpet solo, accompanied by chordal support in brass, harp and strings (though no double bass at first). From Fig. 3, the full orchestra builds up the texture:additional accents propel the music forward and the strong upward thrust allied with parallel harmonies and syncopated movement in brass lead us to expect more than the anti-climax that it brings.Flutes and unison 2nd violins wind their way suddenly downwards as the momentum suddenly collapses, for 2 bars of solo cor anglais accompanied by quiet pizzicato strings to conclude this opening section.
THEMES:
Bars 1 – Fig.1
Above the triplet pp accompaniment in the high register of the piano, the lively S1a theme is heard fin the piccolo. This theme is written low for piccolo, apparently to suggest a fife, in line with Gallic traditions; this has been acknowledged as being suggestive of a Basque folk melody.It begins pentatonically, and it is worth identifying three motives, (x,y and z) from its opening bars:
[Pentatonic scale here is G-A-C-D-E].
To clarify this figuration in the analysis,
fig x = interval of 5th, with the repeated note
fig y = step of a tone (here on the 5th and 6th degree of the key)
fig z = the combination of a tone and a minor 3rd.
Derivatives and combinations of these motifs are seen throughout the movement – and indeed, throughout the entire concerto.Note also the ‘free’inversion of fig x at bar 10 – a falling 4this another favourite with Ravel.
Fig.1 – Fig.2:The pentatonic flavour and derivative figures of the theme are clearly evident throughout the passage.
e.g.Fig 1/clarinet in B¨ (at soundingpitch):
At this point the intervals in the motif are a minor 3rd followed by a tone; this is the opposite order to that first identified in bar 3.
Fig.2 – Fig.4: The first 12 bars of S1 are repeated, heard in the trumpet.
HARMONY:
Bars 1 – Fig 1: Slightly dissonant colouring to begin. The combination of G and neighbour-note F# triads in the piano is not strictly bitonalas the music is obviously quite settled in G. Note that the piano entry begins on a semi-tone interval between the two hands i.e. D and C#. Interestingly, this is a device seen in a great deal of Ravel’s piano music.The continued andinsistent inclusion of semitones and neighbour-note dissonances in the harmony (noticed in the piano, string parts and harp) do not detract from the home key of G major; the clashes are added colours in this lively picture. The 15 bar sentence concludes with descending parallel triads, still on the dominant chord; in a sense everything up till now has been on the dominant! The first real G major chord in root position comes in bar 24/Fig.2. Those that appear in bars 14, 15 and 23 don’t really count because they are part of a series of “decorative” parallel chords; the piano’s RH continues to play second inversion G major arpeggios, which also resolve onto the dominant chord in bar 16. This is the first unequivocal dominant chord in the movement, and the parallel triads in bars 16-221 are dominant (7th) chords or the triad above and below that chord – i.e., C major and E minor. It’s almost as if bars 1-25 are a big “upbeat” to the tonic key. Although the RH plays G major chords at the start, the lowest note (in the orchestra) is a (sustained) D, making it a tonic 6/4 chord, which is first resolved at bar 16.[Similar parallel chords against a “static” chord occur in bars 394-41, 1864-188and 313-320 – also bars 58-61, 68-71 of the 2nd movement, these being in the same 2nd inversion as some of those in the 1st movement.] Note the #4 in strings and L.H. piano [bars 14-15], which gives a subtle taste of D major.
Fig.1 – Fig.2:Note the held notes in clarinetsat Fig. 13which are the root and 7th of the prevailing V7 chord, followed by pedals in flute, cor anglais and trumpet. This feels like the 7th of the dominant harmony (D-F#-A-C), and the chord is reinforced by the starting points of the piano’s glissandi (despite additional notes of the occasional chords in the upper strings). This is dominantpreparation for the strong down beat bringing the resolution to the tonic chord of G majorat Fig. 2.
Fig. 2 – Fig. 4: This repeat of the opening material is still rooted in G. Pitches in horns and trombones are flanked by accented appoggiatura type movement, resolved onto either the tonic chord (as at Fig. 2) or the dominant chord (8-10Fig. 3)These are reminders of the F# major chords at the opening – even more so in the harp.The music shifts up a gear pitch-wise at Fig. 3, changingkey signature to two #s – B minor. The final two bars[42-43] are clearly based aroundthe note of F# - the key of the next section.
Transition
Passage:
Meno Vivo / Fig. 4 / Theme Ta =
Theme Tb=
The above theme is as notated on the E flat clarinet part. At concert pitch, this would sound:
Theme Tc in piano=
(played senza pedale) / STRUCTURE: 8+3+8+4+8
Ta
Piano Soliloquy / Tb
Pf and orch. / Tc
Piano Soliloquy / Tb
Pf and orch. / Tc
Pf + horn
Fig. 4/8 bars / Fig. 5/3 bars / Fig 54/8 bars / Fig. 6/4 bars / Fig. 64/ 8 bars
This section begins with the first dreamy soliloquy for piano solo in this concerto (Ta). Above sustained chords in the strings and a gentle rhythmic pattern beginning to emerge in percussion, other solo lines are added at Fig. 5(Tb). From bar 55 i.e. Fig 54, a second piano solo commands the stage with a new theme (Tc). Fig. 6 corresponds with Fig. 5, with the addition of the harp glissandi. Structurally, bar 67 corresponds to bar 55.
TEXTURE: A complete change of mood and texture. Apart from some straightforward imitation in clarinet and trumpetat Fig. 5, and then in piccolo, clarinet and trumpet at Fig. 6, the passage is homophonic (melody plus chordal accompaniment). The piano has two solo sections, but plays accompanying figurationto the alternating thematic material.
THEMES:This passage has three significant musical ideas.
Theme Ta: A quirky rhythmic idea with plaintive melodic lines which seems representative of ‘a little Spanish guitar-strumming’ (Gerald Larner).
Theme Tb: This bit of blues influenced material displaces the first theme. At Fig. 5, the distinctive strains of Tb are heard in E¨ clarinet closely followed by muted trumpet.
Theme Tc: This emerges as a slow fox-trot on the piano –but is actually reminiscent of the solo entry of Gershwin’s piano Concerto in F – very simple, but with a different musical flavour. At Fig. 54, this theme Tc is heard espressivo in the R.H. piano part, accompanied by a cheeky fox-trot rhythm in the L.H.
When Tb returns at Fig. 6in piccolo (mfespressivo), the echoing statements are heard again in E¨ clarinet and trumpet.The addition of the harp, wood block and cymbal help to create the ‘Broadway’ feel to the music. Theme Tc at bar 67 begins with the same L.H as before in bar 55, but note that the R.H. line is set a perfect 4th higher. This ensures that the melodic phrase will end on the tonic of F# as this section concludes, and the final note - typical of Ravel - is repeated, harking back to the repeated E at the start of Tc.The F# is not harmonised by a tonic chord, however, but by a B7 chord (with, in jazz terms, a #9) [bar (704) 71-74], which functions as the dominant of the following E major section. The slow, chromatic descending line in the horn is a delightful touch.
TONALITY:The notes of the F# major triad are suggested throughout this passage, but the flattened inflections are strong in the score. These could be theflattened degrees typical of the Dorian or Phrygian modes – common in Ravel. It could also be the result of Ravel adopting the style of the Blues; this passage could be related to a Blues scale.
HARMONY:Diatonic, with flattened inflections in the melodic part. It is static, and the F# major chord is sustained by the middle strings (divisi/arco)at Fig. 5, with first violins added at Fig. 6. Note the 7th of this chord is held by the horns at bar 67 – and there are“bluesy” 3rdsin the piano with the false relationship of the Aª in the R.H. against the sharp staccato of the A# in the L.H. (Similarly, note from bar 70 the Dªs in the RH against the D#s in the left hand of the piano).Dominant preparation for the next section begins in bar 71 with a B7 chord.As the phrase extends, the chromatic downward movement in the horn comes to rest on the note B, root of the dominant chord.The interval left sounding at the end of this passage is a perfect 5th (B →F#), which isdominant of the next section.
Second Subject / Fig. 7 / Note the obvious jazz influences here – a direct link with Gershwin’s Rhapsody in Blue.
S2a =
S2b =
/ STRUCTURE: 5 + 4 + 12 + 5 + 3 + 3
S2a +
fox-trot rhythm / S2b+fox-trot
rhythm / S2 thematic material / S2a +
fox-trot rhythm / S2b+fox-trot rhythm / S2a –link to development
Fig.7/5 bars (3+2) / Fig.76/4 bars(2+2) / Fig.8 /12 bars in solo piano / Fig.9 /5 bars (3+2) / Fig. 96/ 3 bars (2+1) / Fig.310 /3 bars
TEXTURE: Initially dominated by the piano soloist, this idea expands into the orchestra from Fig. 9, where we note the theme in different instruments. The texture is melody dominated homophony. As far as the instrumentation is concerned, the piano leads the way here, though the theme high in the first bassoon gives an interesting dimension to the timbre. Occasionally, solo lines cut through the reduced orchestration, and it is possible to note a variety of performance directions (i.e. divisi, con/senza sordini, pizz etc).
THEMES:Second subject material –S2a and S2b, with the fox trot chords from the transition used to further support the style. It is particularly noticeable here that the thematic content can be closely linked to, and is seemingly dependent on, motifs y and z from the first subject theme.
For example:
Interestingly, the first use of figure y in this second subject is also placed on the 5th and 6th degree of the key – just as it was at the start of S1. The 12 bars solo piano work also includes the 3 step figure as indicated in theme S2b (i.e. 1-2-3 of the scale). Note its usage in Fig. 84 and Fig. 87, where it is inverted. This is an important idea which will later achieve further recognition at the beginning of the second movement.
TONALITY:Like S1, the second subject also begins pentatonically [the scale here being B-C#-E-F#-G#]. The overall tonality is that of E major.
HARMONY:The first chord of Fig. 7 is dissonant (with the A# /B semitone clash)–but the tonic of E is quickly established. Note the higher discords (e.g. bars 76 and 78), and also the diminished 8ve interval in the L.H. at bar 78. This was a favourite feature of Ravel’s musical style. The ‘fox-trot’ rhythm chords are heard above the same chords sustained and muted in strings, p. The static harmony of E major 7th is evident in bar 80, with appoggiatura leanings (i.e. the B# and D#) to the C# and E that appear in bar 843.The fox-trot rhythm idea is repeated above a sustainedsubdominant chord of A in the lower strings [bars 82-3].(This harmonic idea is used again in bar 103). In the 12 bar piano solo, Ravel utilises appoggiatura leanings towards the harmony notes, and also includes some bare 5ths (bars 88 and 90, R.H.piano) as well as bare 4ths (bar 93). (This bare, organum type of movement has been used more extensively by Ravel in other compositions.) Harmony from Fig. 9 is based on that at Fig. 7 – but is a chromatic continuation of the previous bar’s dominant chord (bar 95), which resolves onto the E major chord in bar 97. The Fx is not an enharmonic of Gª; rather, the Gªis an enharmonic (presumably just for notational purposes) of Fx, a chromatic passing note within the B7 harmony, which resolves in the 2nd bassoon and 2nd horn parts to G#, just like the A# resolves to the B – i.e., A-A#-B in minor 3rds with F#-Fx-G#. Something similar happened in bars 74-6, but the Fx and A# were appoggiaturas there. This could well be the basis for the staccato quaver appoggiatura figure in bars 99 (A#/C#) and 103 (B#/D#), though the first pair don’t resolve in the same parts; the second pair do – in the French Horns – after a bar’s rest!).The pizzicato bass reinforces the movement of dominant and tonic harmonies, and with jazzy overtones heard above, the piano then bursts into a virtuosic flourish which leans on Ravelian ‘arpeggios’ based on the underlying harmony – including the chromatic appoggiaturas. At the end of the section, the chord is F#7 in second inversion (bar 106) in preparation for the key change at the start of the Development section.
DEVELOPMENT / Fig. 10 / This section uses a number of earlier ideas:
S1
Fig z
S1b / STRUCTURE:The development section falls into four identifiable subsections:
Fig. 10 – Fig. 12 / Fig. 12 – Fig. 14 / Fig. 14 – Fig. 17 / Fig. 17 – Fig. 18
4 x 4 bar phrases / 4+ 4; 4+4; 3 / 8 + 3 + 9 + 9 / Piano cadenza 1
TEXTURE:This section is controlled by the piano, who leads the orchestra through the development of some earlier ideas. It is a very mechanical section, and the repetitive and sequential methods employed here are so typical of Ravel’s compositional style. It feels very much like a toccata in nature; and as a toccata is a type of display piece for keyboard which is fast moving and virtuosic - as a display piece to demonstrate the dexterity of the performer - the description is appropriate! The orchestral support is quite minimal to start with, but it does build up throughout the section. Things to note are: unison pizzicato and divisi in strings, alternating pizzicato and arco in strings, glissandi in strings and trombone, extended trills in strings. Monophonic texture at Fig. 17, as both hands of the piano move in parallel rhythm an octave apart.