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Classics Explained: RAVEL - Boléro and Ma Mère l’oye

An exploration of Ravel's Bolero and Ma Mere L'Oye narrated by Jeremy Siepmann

Jeremy Siepmann (reader)

  • Catalogue No: 8558032-33
  • Label: Naxos
  • Series: Educational, Classics Explained
  • Length: 97 minutes

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Contents

Ravel: An Introduction to … RAVEL: Bolero and Ma Mere L'oye

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  • Jeremy Siepmann (reader)

Bolero-Introduction; cue to unadorned Bolero rhythm, Part 1

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Bolero rhythm, Part 2: an extended variation of Part 1

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' Motto ' rhythm complete

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But here we have snare drums and plucked violas and cellos

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Section 1: Introduction of ' the theme ' by solo flute

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Flute continues with Part 2 of theme

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Section 2: Complete statement of theme by clarinet as flute joins ' motto ' group

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Introduction of ' discordant ' harp into the unfolding picture

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Section 3: Bassoon introduces closely related variant of theme

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...but then veers upwards, slowing rhythm and introducing new syncopation

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Section 4: ' Petite ' E flat clainet takes over theme, including variants

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Section 5: Oboe d'amore takes over theme but returns to its original form

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Section 6: Theme now shared by two instruments: uted trumpet and flute

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Section 7: Tenor saxophone takes Theme as trumpet replaces horn in ' motto '

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Section 8: Theme taken by soprano saxphone, ' espressivo '

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Section 9: Theme: celeste, piccolos and horn; Motto: flute and French horn

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Section 10: Theme: Oboes, horns, clarinets; Motto: plucked violas and violins

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Section 11: Theme taken by First Trombone, complete with jazzy slides

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Section 12: Theme: flutes, oboes, clarinets, sax; Motto: bassoons, horns, trumpets

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Section 13: Violins at last take the main tune, joining massed winds

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Section 14: Violins divide into four groups, each ' double-stopping '

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Section 15: Trumpet, trombone 2 and tuba join the foreground

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Section 16: First trombone and soprano saxophone ' rejoin ' theme

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Section 17: Fortissimo; all strings ' double-stopping '; trumpets added

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Section 18: Entire orchestra now employed, ' as loudly as possible '

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Section 19: Sudden, amazing change of key, lurching from C to E major

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Section 20: Key now lurches back to C, as jazzy trombones whiningly protest

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Cue to complete performance

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Bolero (complete)

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Pavane de la Belle au bois dormant-Opening figure on flute; rising, falling, and then reeated

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Same again, with emphasis on delicacy of scoring

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answering variant, accompanied by plucked double basses

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Reminder of opening figure

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... and now its rhythmical mirror image, or almost...

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Answering Phrase 2: a near-inversion, over ' James Bond ' accompaniment

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Pivotal Phrase 3, reversing direction but keeping rhythm of Phrase 2

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Reprise of Phrases 1 and 2, but with new accompaniment

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Further Reprise of Phrase 2, now on violin, accompanied by harp

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Pavane (complete)

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Petit Poucet (Tom Thumb)-Introduction; Opening, with multi-metre rising scales from muted violins

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Change of metre continue as solo oboe introduces Theme One

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Oboe yields to Cor Anglais for Theme Two, against lower (still muted) strings

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Theme One returns, shared by clarinet and flute, muted horn added to accompaniment

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'Motto' rhythm dominates as intensity increases from lower strings to full orchestra

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Fear subsides as Theme Two returns, again in Cor Anglais but now in a different key

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Sensational sound effects evoke a wood at night, with screeches, cuckooing etc.

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Texture thins; Theme one returns, delicately scored for strings and piccolo

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The main part of movement ends, with waltz-like march(!), featuring flute

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Petit Poucet (complete)

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Laideronnette, Imperatrice des Pagodes-Introduction; opening bars, followed by Theme One

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Oriental-orchestral equivalent of an imprial telephone bell

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... oboe ' answers ' with a very slightly varied version of Theme One

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Expanded derivative of the ' telephone bell ' interrupts the theme again

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Fragments of theme in flutes and cor anglais, with ' James Bond ' tag in violins

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'Gamelan ' music from flute and piccolo, accompanied by harp, xylophone and strings

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arrival of Empress; upper strings yield to winds, celeste, harp and (very discreet) gong

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Laideronnette, Imperatrice des Pagodes (complete)

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Les entretiens de la Belle et de la Bete- opening

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Characteristic pattern of two short phrases answered by a long one

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Clarinet, flutes and violas, with ' sighing' figure derived from downward string motif

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Varied reprise of opening, entry of the ' Beast '; ' Watch it ! Watch it ! '

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Again the ' Beast ' growls; again the cautious warning ' Watch it ! ' from the winds

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Derivative of Beauty's Theme from flute, combined with ' caution motif ' in strings

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' Beast's theme ' rises in pitch with each successive ' gowl ' (representing hope?)

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' Beauty ', ' Beast ' and ' Caution ' motifs all combine simultaneously

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' Beast ' (contra-bassoon) climbs ever higher, handing over to bassoon proper

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Harp's upward glide heralds the moment of transformation; love song, fear, release

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Les entretiens de la Belle et de la Bete (complete)

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Le jardin feerique-Introduction; Opening bars are unfuuuuuuuuurled by the strings alone

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The rhythmic basis, and its guises. First, a question: ' Where went my childhood?'

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The question intensified:' Oh where went ... my childhood?'

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The answer, with a falling inflection: ' Gone is your childhood.'

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The plea: ' Bring back my childhood!'

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The response: ' Seek in ... your mem'ry. There it ... will be.'

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Ravel's use of tone colour to change the feeling of the music

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Further illustration of the same point

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Continued

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The nobility of the strings

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Bells evoked by French horns; the final, opulent, moving climax of the whole suite

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Le jardin feerique (complete)

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