Dissertations / Theses on the topic 'Maurice Ravel (1875-1937)'

La place-charnière occupée par Maurice Ravel détermine en partie ses orientations stylistiques. Héritier d'une génération de compositeurs français attachés à l'esthétique romantique finissante du XIXe siècle, il s'affirme également comme un compositeur d'un présent moderne dont il épouse la diversité esthétique. C'est par une analyse comparative du langage ravélien avec celui de ses contemporains que nous pourrons le mieux apprécier l'originalité stylistique d'un compositeur parfois déroutant. Les écrits du compositeur révèlent une personnalité musicale affirmée, apte à intégrer des influences multiples sans jamais se départir de sa propre manière. Le style de Maurice Ravel se reconnaît à ses univers poétiques qui sont le reflet exact de sa personnalité. Il se reconnaît également à la précision de sa technique, part intellectuelle de la création constamment soumise par le compositeur à l'expression de sa sensibilité
The main place occupied by Maurice Ravel partly determines his orientations stylistics. Heir out of a French composer's generation bound to the finishing romantical aesthetic of XIXe century, it also affirms himself as a modern composer of his present time with his aesthetic diversity. By a comparative analysis of the ravelian langage with that of its contemporaries, we will appreciate the stylistic originality of a composer who sometimes diverts the audience. The composer's writings reveal a strong musical personality, ready to integrate different influences without never leaving its own manner. We will find the Maurice Ravel's style on his poetical universes which are the true mirror of its personality. It is also recognized with his technical precision, leaving his intellectual creation constantly subjected to his sensitive expression

Orchestrateur de référence du XXe siècle, Maurice Ravel, avec la Rapsodie espagnole, Daphnis et Chloé, Ma Mère l’Oye, La Valse ou encore avec l’orchestration des Tableaux d’une exposition, ne cesse de nous égarer dans des domaines sonores inattendus. Des réductions pour piano aux enseignements reçus au Conservatoire de Paris, en passant par la lecture des traités d’instrumentation et d’orchestration, Maurice Ravel apprend, dompte et confère à son orchestre une couleur unique qui le place au rang des plus grands orchestrateurs de son temps. Réalisée à partir de quinze œuvres symphoniques du compositeur, une analyse approfondie des aspects de l’instrumentation et de l’orchestration ravélienne a mis en lumière les principaux traits stylistiques de cet orchestrateur. Mais définir la poétique orchestrale de Maurice Ravel ne se limite pas à dresser un inventaire des seuls éléments techniques : c’est également comprendre le rôle et l’impact de ses transcriptions pour orchestre sur son langage et son œuvre. Les orchestrations ravéliennes sont-elles en définitive une simple parure de la version pianistique ou un moyen de créer une œuvre nouvelle ?
Maurice Ravel, a reference among the 20th century composers, has always led his audience into unexpected musical fields with works such as the Rapsodie espagnole, Daphnis et Chloé, Ma Mère l’Oye, La Valse or the orchestration of the Tableaux d’une exposition. While writing piano reductions, while studying at the Conservatoire de Paris and reading treatises on instrumentation and orchestration, Maurice Ravel learned, tamed and gave his orchestra a unique tint, the tint that has made him one of the greatest composer of his time. Based on the study of fifteen of his symphonic works, a thorough analysis of the aspects of Ravelian orchestration has highlighted his main stylistic features. However defining Ravel’s poetical orchestration cannot be restricted to a mere listing of technical elements; it is also trying to understand the role and impact of his orchestra transcriptions on his language and on his work. Are Ravelian orchestrations simply an ornament of the piano version or the creation of a new work?

A concepção da interpretação de uma obra musical pode advir de um processo sustentado por reflexão e ímpeto, agregando razão e emoção, o qual é gerado por impulsos e diversos conhecimentos, sendo estes musicais e/ou extra-musicais, objetivos e subjetivos. Estes são criados e reunidos ao longo da vida, durante o período de formação musical e a partir de contatos com diversas artes e normalmente dinamizado ao longo da leitura de uma determinada obra, de maneira consciente e inconsciente. Aprofundam-se através da prática musical, pesquisas e também da chamada tradição oral, através da relação mestre/discípulo. Este memorial disserta sobre meu processo de leitura, estudo e performance das Valsas Nobres e Sentimentais de Maurice Ravel, realizado durante meu curso de mestrado. Procuro reconhecer e esclarecer algumas de minhas escolhas musicais e os conhecimentos que mobilizei, adquiri e transmutei ao longo deste processo, paralelamente às reflexões de meu orientador, Ney Fialkow. Para tanto, foi necessário o registro de alguns dos meus encontros de orientação, momentos de meus estudos, algumas de minhas performances e idéias que foram geradas e despertadas durante todo este percurso. O possível reconhecimento e verbalização de todos estes registros podem muitas vezes tornar-se imprecisos, ou até mesmo impossíveis. Não há aqui a pretensão de desenvolver um guia de estudo, nem tampouco uma versão final da minha interpretação, já que esta se encontra sempre em movimento e renovação. É um registro de um determinado momento e como o mesmo se deu, ora sustentado por argumentos fundamentados em pesquisas ora por um universo fantástico e etéreo.
The interpretation concept of a musical piece may result from a process based on reflection and momentum, adding reason and emotion, which is generated by impulses and diverse knowledge, being this knowledge musical and / or extra-musical, objective and subjective. It is created and gathered throughout lifetime, during the period of musical training and from contacts with various types of art being normally activated while reading a particular piece of music in a consciously and unconsciously manner. This knowledge is deepened through musical practice, research, and the so called oral tradition, and through the master / disciple relationship. This memorial speaks about my process of reading, study and performance of the Noble and Sentimental Waltzes by Maurice Ravel, performed during my Master’s course. I try to recognize and clarify some of my musical choices and the knowledge I activated, acquired and transmuted along this process, in parallel with the reflections of my advisor, Ney Fialkow. Therefore, it was necessary to record some of my meetings with the advisor, moments of personal studies and some of my performances and ideas that were generated and arouse along this period of time. The possibility of recognition and verbalization of all these records can often become inaccurate or even impossible. There is not any intention here to develop a study guide, nor a final version of my interpretation, as this is always dynamic and renewable. It is a record of a particular moment and how it was carried out. At times, supported by arguments based on researches and at other times by a fantastic and ethereal universe.

Abstract This thesis deals with Maurice Ravel's Concerto for piano and Orchestra in G major. At first, it makes readers acquainted with important matters in author?s life and then it presents a genesis of the work and its first reception. Overview of the main inspiration sources, which are reflected in Concerto in G major follows. On basis of the analysis of harmony, musical form, piano stylization and comments of the first interpreter of the work, Marguerite Long, are formulated conclusions, important for acquirement of appropriate viewpoints for the proper interpretation. These attitudes are confronted with top performances of this composition, first by Marguerite Long and than by renowned pianists from different countries (Leonard Bernstein, Boris Krajný and Hélène Grimaud). Supplement of this thesis is a CD, which documents a few examples of the basque music, which was one of the main inspiration sources of the Concerto in G major and contents recordings of this piece of all above-mentioned pianists.

Le répertoire pour piano à quatre mains et deux pianos occupe une place importante dans la création de Maurice Ravel. En effet, ses compositions originales constituent des étapes décisives de sa carrière (Sites auriculaires, Ma mère l'Oye, Frontispice). Par ailleurs, les versions pianistiques de ses œuvres orchestrales (Shéhérazade, Rhapsodie espagnole, la Valse, "Fanfare" de l'éventail de Jeanne, boléro) sont des révélateurs de sa démarche créatrice. Ses adaptations des nocturnes et du prélude à l'Après-midi d'un faune de Claude Debussy mettent également en lumière l'originalité et la force de son talent de transcripteur. La qualité de ces partitions a permis à certaines d'entre elles d'acquérir une parfaite indépendance, notamment la version pour deux pianos de la valse. Le présent travail tente de cerner l'apport de Ravel sur le plan des spécificités de l'écriture pour piano à quatre mains et deux pianos. Il propose une étude du cadre historique et définit le rôle du jeu à quatre mains dans la vie du compositeur. Les activités, les préférences musicales, les relations artistiques et la création de Ravel sont ainsi présentés sous un angle nouveau. La production française de l'époque est mise en lumière à travers un schéma d'analyse qui rassemble les paramètres spécifiques des formations. Une place importante est consacrée à la discussion de la genèse et des particularités des œuvres originales. Celles-ci sont ensuite soumises à l'analyse systématique, tout comme les premières versions et transcriptions
The four-hand and two-piano repertories hold a significant position in Maurice Ravel's creative work. His original compositions mark decisive stages of his career (Sites auriculaires, Ma mère l'Oye, Frontispice); moreover, piano versions of his orchestral works (Scheherazade, Rhapsodie espagnole, la Valse, "Fanfare" from l'éventail de Jeanne, Bolero) are very revealing in terms of his creative processes. His adaptations of Claude Debussy’s nocturnes and the prelude to the Afternoon of a faun shed light as well on the originality and power of his abilities in transcribing. The quality of these scores has allowed them to attain fully independent stature, particularly in the case of the two-piano version of la Valse. The present study attempts to establish ravel's contribution to the realm of specifically pianistic textures in four-hand or two-piano music. It offers an examination of the historical background and defines the role of four-hand piano playing in the composer's life. Ravel's activities, his musical preferences, his artistic relationships and his creative mind are thus presented from a new angle. French repertory from the era is brought to light using an analytical plan based on the converging of the specific parameters in each type of instrumentation

Ce travail de thèse propose une analyse des techniques instrumentales et orchestrales liées au violon dans treize partitions de Maurice Ravel. Dans le cadre de l’orchestre symphonique, sont ainsi présentées diverses observations concernant le traitement de cet instrument ainsi qu’une approche comparative de ses modes de jeu dans les œuvres de ce compositeur. Ces observations conduisent à une réflexion sur la façon dont les nombreuses possibilités violonistiques sont mises au service de la constitution d’un style et de modes d’expression caractéristiques, notamment à travers le timbre et une couleur instrumentale spécifiques. En exposant les techniques et les possibilités expressives du violon, cette étude contribue à mettre en lumière l’importance de cet instrument dans le domaine de l’orchestration du début du XXe siècle, à travers l’écriture ravélienne, ses constances, son évolution, ses innovations et sa postérité
This thesis proposes an analysis of instrumental and orchestral techniques related to violin in thirteen Maurice Ravel's scores. In the framework of the symphony orchestra, various observations are presented on the treatment of this instrument as well as a comparative approach of its modes of play in the works of this composer. These observations lead us to reflect on the way in which the numerous violinist possibilities are put at the service of the constitution of a style and of characteristic modes of expression, particularly through the specific timbre and instrumental color. By exposing the techniques and the expressive possibilities of the violin, this study contributes to highlight the importance of this instrument in the field of the orchestration of the beginning of the 20th century, through the Ravelian writing, its constancies, its evolution, his innovations and his posterity

In his song cycle, Chansons madécasses (1926), a chamber work for voice, piano, flute, and cello, Maurice Ravel combines twentieth-century musical experimentation and exoticism with the late nineteenth-century style characteristics present in the vocal elements and instrumentation. Because early twentieth-century music appears to be closely connected to modern concerns, performers may tend to dismiss the style and technique of the early twentieth century as simply "old-fashioned" rather than examine and consider those elements as resources and valuable tools for interpreting and presenting authentic performances. The focus of this research includes a discussion of the historical, social, and textual implications of the music and poetry; a formal musical analysis of the work, including comparisons of an early twentieth-century, mid-century, and late twentieth-century recordings with regard to the use of vibrato and portamento in the voice, cello, and flute; and an examination of Chansons madécasses for elements of authentic Malagasy music and poetry. The paper also suggests methodologies for performance practice which reflect the results of these analyses. The beginnings of the rejection of traditional form - harmonic, rhythmic, and melodic structures - found in the early part of the century began to free composers and performers to explore musical presentations that gain their power not only from startling and unexpected elements of exoticism and interpretation but also from their romantic roots, which spurred the desire for a raw, even melodramatic, emotionalism. Ravel, without sacrificing the integrity of his native language, is able to blend his text with his accompaniment in a way that uses both the poem and the music to advance the "plot" and emotion of the narration, producing what might be described as a near perfect union of form and theme, structure and idea.

Cette synthèse du pianisme ravélien vise à éclairer les œuvres de façon inédite. Sans apporter une nouvelle compréhension des œuvres par leur dimension corporelle, elle se révèlerait inutile. Mais au-delà de son intérêt purement musical, elle appelait une question fondamentale : qu’est-ce qui a rendu possibles tel geste et telle posture à l’époque de Ravel ?
This synthesis of Ravelian pianism aims at considering musical works in a new way. Without bringing a new comprehension of works in their body dimension, it would appear useless. But beyond its musical interest, it required a fundamental question: what made possible such gesture and posture during Ravel’s time ?

This dissertation contains a comparison from a historical and theoretical perspective of the passacaglia from the Piano Trio in E Minor, Op. 67, written by Dmitri Shostakovich (1906-1975), and the passacaglia from the Piano Trio in A Minor, written by Maurice Ravel (1875-1937).Before the history and theory discussion of these two movements begins, a background is given on the passacaglia form and its origins. References are made to the beginnings of the passacaglia in Italy and Spain, as well as the gradual evolution of the form into the keyboard music of the 17th century. Early published examples of passacaglias are displayed in chapter two.The third and fourth chapters of this dissertation are the focus of the comparison, where historical and theoretical information is discussed and deciphered. In the history section, details of the life of the composer during the time he wrote the piece are provided. The theory section contains a concentrated examination and comparison (enhanced by musical examples) of melody, harmony, rhythm, texture, and form, as used by Ravel and Shostakovich in these two passacaglias.It was concluded in this dissertation that both of these master composers used the passacaglia form successfully in their piano trios. As a result, they contributed musical masterpieces in the genre of the piano trio for musicians and scholars alike to investigate, study, and perform.
School of Music

Kaikhosru Shapurji Sorabji (1892-1988) was an English composer-pianist of Parsi descent. Although he composed many works for piano, these compositions remain largely unknown to the public due to the composer's self-imposed 40-year ban on public performances of all his works and the immense technical difficulty of his music. This research proposes a comparative study of Sorabji's two versions of Rapsodie espagnole de Maurice Ravel-Transcription de concert pour piano (1923, 1945). These transcriptions are based on Ravel's orchestral work and are different in terms of the style of their arrangements: the 1923 version is more of a literal transcription, whereas the 1945 version has been expanded upon the former. This dissertation compares the differences between the two versions, as well as identifying how Sorabji infused his own style into the 1945 transcription. This study relies on primary sources including writings and manuscripts of Sorabji, and secondary sources such as articles on interpreting Sorabji's piano works and biographies about Sorabji.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Esse trabalho tem como foco a versão de “Quadros de uma Exposição” de Modest Musorgsky feita para violão solo por Kazuhito Yamashita. Através de uma contextualização histórica e estética, insere essa obra no cânone do repertório para violão e estuda os impactos causados pela gravação desta e por sua performance. Comparando-a com o original para piano e com a orquestração feita por Maurice Ravel, analisa as técnicas violonísticas empregadas de maneira incomum. Discute as formas de escrita para o violão, seus efeitos e possibilidades de execução
This work is about the guitar version of Modest Musorgsky’s “Pictures at an Exhibition” made by Kazuhito Yamashita. By an esthetic and historical context, analyses the insertion of this piece in the classical guitar repertoire and studies the impacts by the recording and performance of it. Making a comparison with the original piano piece and with the orchestration made by Maurice Ravel, makes an analysis about the guitar techniques used in an unusual way. Debates the guitar writing, his effects and the performance possibilities

La thèse se propose de vérifier la présence du saxophone dans le répertoire français et italien pour orchestre de la première moitié du XXème siècle, avec le but de confirmer la possibilité d’intégrer le saxophone à l’orchestre de façon permanente.Le choix d’étudier le répertoire pour saxophone dans l’orchestre en France et en Italie des premières décennies du XXème siècle a été fait car cet instrument, créé par Adolphe Sax, facteur d’instrument d’origine belge, a sa première diffusion sur le territoire français pendant la seconde moitié du XIXème siècle, avant de « s’expatrier » dans d’autres pays. C’est à la France donc de vanter les premières compositions pour le saxophone, et c’est au XXème siècle que cette production augmente considérablement. La France, avec son goût pour la couleur du timbre des instruments, influence l’Italie d’une façon particulière, pays où cet instrument est déjà présent au milieu du XIXème siècle, aussi grâce aux appréciations de Gioachino Rossini (qui à l’époque est à Paris), qui poussent le Lycée Musical de Bologna à acheter les produits de la maison Sax. La thèse est subdivisée en trois parties : la première, d’empreinte théorique, dédiée à la présence du saxophone dans les traités d’instrumentation et d’orchestration français et italiens, ainsi que d’autres pays des XIXe et XXe siècle ; la seconde, de caractère illustratif, dans laquelle on analyse les partitions de trois compositeurs français (Ravel, Honegger et Ibert) ; la troisième, toujours de nature illustratif, dédiée à l’étude des compositions de deux auteurs italiens (Marinuzzi et Zandonai)
The thesis’ purpose is to examine the presence of the saxophone in the French and Italian repertoire for orchestra in the first half of the 20th century, and aims at confirming its possible, permanent inclusion in the orchestra. The decision of investigating the repertory of the saxophone in the orchestra in France and Italy in the first decades of the 20th century was made because this instrument, created by the inventor of plenty of other musical instruments, Adolphe Sax (born in Belgium), spreads out for the first time in France during the second half of the 19th century and then ‘expatriates’ to other countries. It is France that can boast the first compositions for this instrument and it is in the 20th century that its production grows excessively. France, with its taste for the color of the instruments’ timbre, influences especially Italy, where the instrument is already present in the first half of the 19th century, thanks to Gioachino Rossini’s appreciations (who was in Paris at that time), pushing the Liceo Musicale in Bologna to buy the maison Sax’s products. My thesis is divided into three parts: the first, with a theoretical purpose, is dedicated to the presence of the saxophone in instrumentation and orchestration treatises published in France, Italy and other countries in the 19th and in the 20th century. In the second part, of explicative kind, the scores of three French composers (Ravel, Honegger and Ibert) are analyzed. Finally, the third section, of explicative kind as well, is dedicated to the study of some compositions by two Italian authors (Marinuzzi and Zandonai)

Interprétation possible de l'Ut pictura poesis d'Horace pour comprendre le phénomène de l'interférence des arts autour de la figuration aquatique, cet essai a été enrichi des apports de différentes disciplines comme la littérature, l'esthétique, la linguistique. Il vise à construire une esthétique cohérente, apte à expliquer la puissance d'incitation artistique des images aquatiques et de l'eau elle-même en tant qu'élément naturel. Au sein du genre mélodique, la création des compositeurs français converge dans la recherche d'une poétique musicale tendant vers une fusion artistique du texte, de la musique et de l'image évoquée. Les préoccupations de durée et de fuite du temps qui sont au coeur de l'époque charnière des XIXe et XXe siècles sont greffées sur les images de l'eau. Le poème s'impose comme expérience de pensée et de perception et, loin de mettre seulement la musique au service du texte, la mélodie, entre métaphore et figuralisme, révèle le poème comme musique. Trois poèmes et leurs mises en musique sont objets d'étude et de comparaison : Le Jet d'eau de Baudelaire, Soupir de Mallarmé et Il pleure dans mon coeur de Verlaine. L'ouverture des artistes à la nature de l’élément aquatique éveille en eux ce que Bachelard appelle "l'imagination de la matière". Ainsi, le personnage d'Ophélie, entre créations originales et universaux dont Shakespeare l'avait doté, devient porteur de symboles. La figure d'Ophélie imprègne des vertus de l'eau "mélancolisante" les Poèmes d'automne de Dupont. Peut-on aller jusqu'à décrire une esthétique de la fluidité ? C'est à cette question que cet essai risque une réponse
This study, a possible way of interpreting Horace's Ut picture poesis, is an attempt to understand the mutual interplay of the arts around water-related representations. It draws from the various disciplines such as literature, aesthetics, and linguistics and aims at constructing a coherent aesthetics that will highlight the power of water and aquatic imagery as artistic stimulants. Within melody as a genre, the creations of French composers converged in the quest for a musical poetics tending towards an artistic fusion of text, music and metaphors. The concern for the ephemeral and for time as duration which was at the heart of the transition period at the turn of the 20th century finds its expression through water images. The poem imposes itself as an experience of thought and perception. Melody, far from merely placing music at the service of text, reveals – beyond metaphors and figuration -- the poem itself as music. Three poems and their musical adaptations are analysed and compared in this study : Baudelaire's Le Jet d’eau, Mallarmé's Soupir and Verlaine's Il pleure dans mon coeur. The willingness of artists to embrace the aquatic element awakens in them what Bachelard called, "the imagination of matter". In that sense, the character of Ophelia, whether through original creations or through the universal features Shakespeare endowed her with, becomes centrally symbolic. The figure of Ophelia suffuses Dupont's Poèmes d'automne, with the melancholy-inducing virtues/qualities of water. Could one go as far as to talk of an aesthetics of fluidity ? This study attempts to provide an answer to this question

碩士
東吳大學
音樂學系
100
The inspiration for “Gaspard de la Nuit”(1908) was a small book of poems by the same title given to Ravel(1875-1937). The book was written by a early 19th century French poet Aloysius Bertrand (1807-1841). From that small volume of prose poems, Ravel chose three, “Ondine”, “Le Gibet”, and “Scarbo”. The piano suite “Gaspard de la Nuit” is a masterpiece of musical styles the best embodiment in Ravel piano music. Connecting music, includes both pre-idea of Ravel music, but also indicates that the latter part of his creative direction. Ravel uses the rich musical language personality to describe three different image and mood in poem “Gaspard de la Nuit” by Bertrand. On the other hands, Ravel makes a lot of new explorations and attempts in the the piano performance techniques by making use of many distinctive and abstruse technique and means.This enriches and promotes the multiplicity development of piano performance technique in 20th century. “Gaspard de la Nuit”. The research includes three parts. The first part presents Ravel’s music career and literary background, and discuss how Ravel’s music is related to literature, and survey all his literature related music works. The second part would analyze the composition in detailed, containing its structure, tonal, motives, harmonic analysis, tempo and musical terms. The third part discusses the connection between music and literature in “Gaspard de la Nuit”. Program: J. S. Bach(1685-1750): Italienisches Konzert in F Major, BWV971 L. v. Beethoven(1770-1827): 32 Variations in C minor, WoO 80 M. Ravel(1875-1937): “Gaspard de la Nuit” Ⅰ Ondine Ⅱ Le Gibet Ⅲ Scarbo N. Kapustin (1937- ): Variations, Op. 41

No human condition is invested with more diverse and complex perceptions, ideals and emotions than childhood. Although it has long been accorded a particular significance in the context of his life and work, Maurice Ravel’s conception of childhood, together with the musical language through which it found expression, has never been the subject of a detailed, extended study. This thesis, therefore, explores the roles and realisations of childhood in Ravel’s music, arguing that they were inextricably linked with the language, traditions and idioms of the literary fairytale – an hypothesis Ravel himself supported when he wrote that his intention in his fairytale-based Ma mère l'Oye was to evoke ‘the poetry of childhood’. Through a study of these intertwined themes, the thesis develops new analytical and interpretative approaches to three major works: the piano duet suite Ma mère l’Oye (1910), the Trois chansons for mixed choir (1914-1915), and the opera L’Enfant et les sortilèges (1919-1925). These works span a fifteen-year period that saw a decisive evolution in Ravel’s compositional style, and was crucially impacted by the great cataclysm of the First World War. Ravel deliberately aligned his music with the traditions of the fairytale through the creation and expressive manipulation of musical and dramatic structure, language, gesture and perspective. One may trace the voice and presence of the storyteller in Ma mère l’Oye, a work dedicated to two children for whom Ravel was a favourite companion and teller of fairytales. L’Enfant et les sortilèges presents a detailed portrait of its eponymous Child, set within a fairytale in which traditional elements combine with a complexity of dramatic, musical and psychological construction that invokes the zeitgeist of the 1920s. The shadows of real events intrude more disturbingly upon the Trois chansons, whose distorted fairytale narratives represent a direct and personal response to the War. In its balance of musical interpretation and explication, supported by a clearly defined historical and philosophical context, the study yields new insights into a central facet of Ravel’s musical identity.
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Thesis (Ph.D.) - University of Adelaide, Elder Conservatorium of Music, 2008