1.

Forlane piano

2. Introduction outline a bit of history, set up structure of paper

a. What we know Tombeau as

b. Forlane one of most famous movements
c. This paper will analyse connections between piano and orchestrational
work, examine in both a historical and modern context
d. Also link to other possible approaches to orchestration, including my
own

Ravel is known for his work as a French impressionist. He had a very

distinctive compositional voice, and a distinct way of composing for the piano.
However, within his pianistic output, his work can be categorized into two large time
periods: pre-1918 and post-1920. In addition, one can find several distinctive sub-
periods even within these two larger periods.
Examining the first period, we can find three sub-periods. The first of these
sub-periods spans 1889-1905, during which time Ravel was attending the Paris
Conservatoire. At this time, he focused his attention on stylistic features from past
composers and past experiences for instance, he was interested in Chabrier and Satie
in the 1890s. He was also interested in Russian composers like Mussorgsky, and
significantly influenced by Liszt, which can be seen in the marked parallels between
Jeux dEau by Ravel (1905), and Les Jeux dEaux a la Villa dEste by Liszt. Some
other piano works from this time include the Srnade grotesque (1892-93), Menuet
antique (1895), Pavane pour une infante dfunte (1899), Sonatine (1903-05), and the
cycle Miroirs (1904-05). (characteristics p30)
During this time, his piano writing was quite pictorial and intricate, with
cascading figures, and fast repetition effects used for visual effects. These effects
often were evocative of various extramusical ideas, such as images of nature or
portraits of mystic figures. (characteristics p30/31) As Smirnov suggests, Ravel
uses and redevelops the instruments possibilities of sound found by the romantic
composers, for the purpose of conveying specific impressionistic contents.
(characteristics p31)
If 1889-1905 was the first of these sub-periods of Ravels piano work from
Ravels pre-1918 period of piano works, then 1905 to the start of World War I would
mark the second of these sub-periods. This second sub-period is marked by
significant artistic ascent, and relatively large compositional output. Ravel had just
graduated from the Conservatoire and was building on the impressionistic ideas of
piano writing he had been developing for the past years. In his Sonatine and Miroirs
(1905), one can see both Impressionistic and Neoclassic tendencies. The Sonatine is
more Neoclassic, with a unique touch of an accompanimental figuration woven
between bits of the melody line. He uses this technique later on as well, notably in
Forlane. (characteristics p37)
While Sonatine is more Neoclassic, Miroirs is more impressionistic, and the
stylistic traits of this piece are closer to traits in several of Debussys works
(characteristics p38). As can be seen by this juxtaposition of these very different
works, Ravel was capable of writing several contrasting pieces at once (characteristics
p38). This ability of his to concentrate on several contrasting pieces at the same time
is particularly notable with two of his next piano works, Gaspard de la Nuit, and Ma
mere loye, which he also worked on simultaneously.
 Gaspard de la Nuit can be seen as the height of impressionism. Some key
features include a layered technique of sound suspension, as well as extreme changes
in dynamics and register (characteristics p40). Chords built on fourths and fifths are
spread throughout the piece, and feature prominently in later works of Ravels as well.
The emotions in the piece are typical of Romanticism, and the writing is often very
pictorial, referencing mythical characters and various natural phenomena
(characteristics p42).
While writing this highly impressionistic, evocative work, Ravel was
simultaneously working on the Neoclassic Ma mere loye. Contrary to the moving,
intricate passagework of Gaspard de la Nuit, the textures in Ma mere loye are much
simpler. In fact, Ravel strove to simplify his textures (characteristics p42). This latter
suite acted as a departure point for discovering new compositional techniques
(characteristics p42), with clear melodies, diatonic harmonic language, waltz-like
figurations. Ma mere loye is filled with simplicity, sincerity, freshness of perception
of life qualities that have always defined Ravels personality. (characteristics p42)
These characteristics are also highly present in Tombeau de Couperin, especially in
the movement Forlane.
Ravels Valses Nobles et Sentimentales (1911) also hark back to previous
sentiments, in particular to the Romantic period, and they evoke a certain simplicity.
Indeed, Ravel disclosed a clear intention of writing a cycle of waltzes in the style of
Schubert, but these waltzes capture not only characteristics of Schuberts waltzes, but
also characteristics of Chopins and Schumanns waltzes (characteristics p42)
These waltzes do certainly capture a Romantic sensibility, but they also seek a
type of simplicity and connectedness. As Smirnov states, The virtuosity in Gaspard
de la Nuit is replaced in Valses Nobles et Sentimentales by transparent textures that
underline the harmony and melody. (characteristics p42-43) Furthermore, Ravel
keeps a sense of cohesion by interconnecting movements with recurring motifs. It is
possible that idea of creating an integral cycle was inspired by Schumann for
instance, Schumanns cycle Papillons employs this technique. After all, Ravel did
find Schumanns output appealing, which is demonstrated by the formers
orchestration of Carnaval in 1914.
As one can see, Ravel has established the main principles of compositional
style in this first half of his piano output, and he has evolved as a composer over this
time. Within this period, he has transitioned from shorter melodic lines to longer,
more complex lines, and has learned to treat textures in not only an elaborate,
colouristic manner, but also in a more melodic, simple approach. These differences
can be seen in the progression of his work over this time, as detailed earlier. Le
Tombeau de Couperin sits at the end of this first half of Ravels piano output. It
marks a deviation from Ravels native impressionistic ideas in many ways
(characteristics, p. 24), in both pianistic and formal approach. Today, it stands as a
hallmark of Ravels piano output.
The title Le Tombeau de Couperin suggests homage to Couperin, but Ravel
suggested that this suite was written as homage to all French music of the 18th century
(characteristics, p24). As Kasianenko states: The classical musical traditions are
instilled here with psychological depth, and a fine understanding of the pianos
potential for colourful sonorities. (characteristics, p44) Through this piece, Ravel
revives the traditions of the eighteenth century French art of honouring the deceased;
indeed, each movement dedicated to one of Ravels friends, deceased in the war.
(characteristics, p24)
 Overall the suite boasts original cyclic form, with some flexibility on choosing
the order of movements. (characteristics, p45) One possible way of categorizing or
grouping the six movements consists of three groups. (characteristics, p45) The first
group would contain the first two movements, the Prelude and Fugue. The second
group would be composed of the next three movements, Forlane, Rigaudon and
Menuet: three contrasting dances. The last grouping would hold the longest
movement, the Toccata.
Examining these movements and structures more in depth, the idea of a
Prelude and Fugue refers back to Baroque traditions. The three dance movements are
all structured in ternary form, and all refer to different types of dances while the
Rigaudon and Menuet are French dances, the Forlane is a type of Italian folk dance.
Last, the Toccata refers to a different style of Baroque structure more hefty and
intricate than the dances, while not as strictly contrapuntal as the fugue. In Tombeau,
the Toccata also links back to the first movement as a structural arch.
Overall, the resulting structure mostly stays in the key of E minor. Four of the
movements Prelude, Fugue, Forlane, and Toccata, are in E minor. The remaining
movements stay in keys with a third relationship to E minor: Rigaudon is in C major,
while Menuet lies in G major. Thus the bulk of the suite is in E minor. Overall, the
writing lies more in the Neoclassical direction of Ma mere loye, and Valses Nobles et
Sentimentales, than the more evocative, impressionistic direction of works such as
Gaspard de la Nuit. Despite this direction, an innovative element present in Le
Tombeau de Couperin is is Ravels treatment of figurative texture, which is
melodically important (for instance, in the Prelude). This treatment can also be seen
in later works Sonata for Violin and Piano, and g minor piano concerto.
Forlane, the third movement of this suite, is in E minor, like most of the piece.
The organization is ternary, with some rondo characteristics and recurring motives
that provide a structural backbone to this lively, flowing movement.

Ravels piano writing generally embodies elements of polystylism

(characteristics p 50). Indeed, this type of polystylism can be seen in the
Neoclassicism/Impressionism duality that is evident through the works we have
parsed in this essay. But even within each individual work, one can see a variety of
influences. As Sviatoslav Richter states, Ravels compositions are too dynamical
and temperamental, for being called typical impressionistic; and too colourful for not
being called so. (characteristics p51)
Indeed, Ravels work is defined by imaginative use of colour, radiant, unusual
harmonic language, as well as a love of archaicism. (characteristics p51) This last
element can be seen in his use of diatonic modes and plagal cadences, and both of
these features are strongly present in Tombeau de Couperin. (characteristics p51) In
particular, within Forlane, plagal cadences are highly present.
Ravel was also fond of complex chord structures, including ones built on
sevenths and ninths, as well as certain characteristic pianistic figurations. Some of
these include smaller descending thirds often depict singing of birds, chirping of
insects (ex Oiseaux Tristes, Petit poucet from Ma mre loye), ascending and
descending arpeggiated passages that illustrate the motion of water (Jeux deau,
Ondine), as well as fast repetitive figurations express features of dance, restlessness,
or excitement (Scarbo, Alborada del gracioso) (characteristics 53)
Another technique Ravel was fond of was polyphonic development of themes.
This is particularly prominent in Pavane pour une infante dfunte (characteristics 53),
but is also visible in the middle iteration of the theme in Forlane. One way Ravel
employs this technique is by expanding from a small thematic segment, creating a
sense of musical unity. Bolero is perhaps his most famous example, and most
extensive use of, this technique. Another possibility for employing polyphonic
development is through the use of motivic development throughout the course of a
piece. This is a technique that he uses throughout Forlane he starts off with a theme,
and redevelops parts of the theme into different sub-themes throughout the piece.
Within this method, he also creates musical unity, as he did with expanding from a
singular fragment, but in a slightly different manner.
Harking back to his Neoclassical techniques, Ravel often uses structures
common to older times. For instance, toccata-like structures are a common feature of
his work, and can bee seen in pieces such as Toccata at end of Tombeau de Couperin,
the third movement of Sonatine, and the finale of his G major piano concerto. His
works are also highly influenced by French and Spanish baroque and folk dances.
Overall, his works are characterized by a clearly defined genre, assembling of
climaxes and their resolutions, and an integral construction of thematic material and
musical structure. (characteristics p 54)
Generally, Ravels works also demonstrate clarity of from, orchestral
compositional thinking, and a deep connection to traditions of classical and Romantic
music. (characteristics p 54) Ravels work Forlane is no exception, in that it
definitely embodies these characteristics. Forlane is definitely a dance, and a lively
one at that. As Marguerite Long complains, Pianists often forget that Forlane is an
animated and lively dance. Its three episodes and refrains should be performed in
exactly the same tempo, with the exception of the slightly fluctuating movement of
the last section (characteristics 47)
Overall, the polystylism previously outlined is highly present: there is a
contrast between more and less stable sections, as well as contrast between chordal
and more fluid sections. There is also a clear orchestrational thinking within this
work, as well an integral structure based on a theme that outlines the whole piece.
Indeed, the piece is made up of sections similar to each other due to monothematic
material, with a few differing sections that nevertheless hark back to the theme.
Examining the structure in more detail, we can see the theme from which the
piece is constructed. The theme is a delicate melody, dance-like feeling of 6/8 with
lilting 3 within the 6. This dance-like affectation is emphasized further with dotted
rhythms. The first and final appearances of the complete theme occur within an ABA
structure, where an iteration of the thematic melody moves to a more chordal structure
that flutters around G sharp minor and F sharp minor before returning to another
iteration of the thematic melody.
In the first of these recurrent sections, measure 1-8, and 25-28 mark the
melody that outlines this first ABA structure. This structure, and the melody itself,
both recur throughout the piece several other times, in measure 55-62 as just the
melody, and at 96-123 as a complete ABA block. There is also a hint at this melody
toward the very end of the piece, at measures 155-161. However, the melody also
generates most of the other material within the piece as well.
Pianistically, the texture is overall quite light and lively throughout the entire
work. There is some contrast between different types of texture some sections are
more chordal, while others are more fluid. Within the first section, from measures 1-
28, the melody keeps a sense of fluidity over a more chordal bass. Within the chordal
texture, we can see a marked use of pedal notes in the low register, and descending
figures toward the end of the melodic figures that mirror descending figures in the
melody the first instance of this is from m. 3-5.
 Still within this first ABA block, we see some expansion in B section, as the
melody climbs up to F#5 at m13. This marks the high point of this phrase. After this
point, the melody then then sinks down low to middle C register, with the low bass
descending to G#1. The dynamics also open up with the high point of the phrase,
rising up to mf from the p dynamic in the A section. Overall, the chordal treatment of
the texture remains similar, despite these dynamic and registral expansions. As this
section forms a miniature ternary form, the A section does return after this B section,
in an exact repetition.
After this first ABA block, Ravel elaborates on the material within the
previous section, creating a similar structure with related material. The A material
within this block is made up of descending material derived from the beginning. This
descending material is constructed in a type of free inversion from the ascending
beginning material, spread out over three octaves and combined with a flourish at the
end. Within this second block, the material appears in measures 29-37, and measures
46-54.
This material is very light and fast moving; in addition, the material is softer
than in the first section. Here it is marked pp, as opposed to p. To create rhythmic
interest and heighten the flighty feeling of this material, this section begins on the
second half of the bar, which offsets the sense of rhythm and adds a sense of lightness.
The registral contrast started in the B section of the previous ternary structure is
heightened, with the right hand beginning in G5, contrasted with the left hand
beginning on E2. Instead of a chordal treatment of the left hand, the bass is free-
flowing, arpeggiating an E minor triad in open voicing this creates a lighter feeling
texture than the texture within the first structure. Overall, this material is stably
rooted in E dorian.
The B section of this second material is connected to the more chordal section
of the first material. This material is also light, and stays in pp, in the mid-high
register (up to C#5). However, this chordal section is less stable than the first B
section, revolves more around F sharp. This centering around F sharp also ties into
later material that brings out an overt F sharp pedal. Like the first section, this second
larger section from measures 29-54 is ternary, and the descending material from
measures 29-37 returns at 46-54. The close of this second section leads back to an
iteration of the main melodic theme, in measures 55-63.
From the second section and following appearance of the theme, Ravel dives
into material derived from the chordal material at the beginning, combined with the
flourishes present in the descending material of the second ternary formation. This
third major section highlights F sharp, and the beginning of this material (m. 63-71)
lies mostly in B Aeolian. While the texture mirrors that of the B material of the first
section (m. 9-24), the dotted rhythms present in that section, as well as the rest of the
piece up until this point, are absent. However, there is still a noticeable lilt in the
texture, which is inherent in the 6/8 rhythm. Another noticeable difference in this
section is the slightly higher overall, and closer, registration of this section in
comparison to the corresponding section at the beginning (m 9-24), as well as the pp
dynamic.
These changes mark the beginning of the third ternary formation within the
piece. As mentioned before, the beginning of this formation (m. 63-71) is in B
Aeolian for the most part, but resolves to E major at the end. Despite this fairly static
harmony, the section does not feel stable, and in the end, this entire ternary formation
(m63-95) is a prolongation of a II pedal.
 Curiously, in measures 71-76, the E from the resolution in 71 is kept, although
in E minor. The note E is further emphasized by means of a ringing pedal in the left
hand, and this pedal is reiterated every half bar. However, this E doesnt feel stable,
instead sounding like a lower neighbour note to F sharp. In measure 75, it goes down
goes down to D, then moves back up to F sharp in 80 through a whole tone passage in
measure 79. Now the II pedal culminates in an explicit, ringing F sharp pedal in the
left hand, and this pedal tone is re-articulated with a flourish every bar, with accents
on the second half of each bar. These flourishes refer back to the ones at the ends of
descending structures starting back at measure 33, while the chordal material itself
harks back to measures 64-71.
While the first half of this F-sharp pedal excerpt (m. 80-87) contains a simple,
ringing pedal, the second half of this F-sharp pedal excerpt features descending F
sharp octaves within this pedal, as well as elaboration on the chords in the right hand.
The registration remains toward, the top of the piano, and remains in pp for the whole
excerpt. Following this excerpt, Ravel completes the ternary structure he started in
measure 64 with another iteration of the B minor material from 64 to 71.
Following this third distinct ternary structure, Ravel brings back the initial
melodic material, and the entire ternary substructure this material is connected to.
However, he differentiates this instance of material from the beginning by increased
contrapuntal elaboration: at measure 100, he layers an altered version of the melodic
motif on top of the already playing theme. Otherwise, this section is nearly identical
to beginning, with the B section untouched.
From measure 124 onward, Ravel introduces another chordal section, similar
texture to the beginning of the F sharp pedal section (m. 64-70). However, this
section is in E major, and the texture is more robust. This robustness is both linked to
register, and to voicing. The beginning of this section (m. 124-131) is firmly planted
down in the middle register of the piano, and introduces E major in closed voicing.
Note that this is the first time that E major occurs in this entire movement.
From this confident statement, Ravel proceeds to introduce a chordal motif
with a flourish in three different registrations, two distinct times (m. 132-135). In
both of these flourishes, the first repetition is in the top register, the second in the
middle, and third in the low register. This registration is very orchestrational and
evocative, and the whole passage takes place over a crescendo that culminates in
measure 136. This point takes place in the middle register of the piano, at a dynamic
of forte this is the first and only forte moment in the whole piece. Following this
climactic moment, the register suddenly shifts up by around an octave, with a subito
pp dynamic (m138-139), transitioning back to E minor.
From measure 139 onwards, Ravel moves into the last section of the piece.
This section is characterized by a pp dynamic, even with a highly dynamic, unstable
texture. As with several earlier sections, the beginning is offset by half a bar to
further destabilize the structure. The harmony is also highly unstable, with rapidly
fluctuating augmented triads, and the whole structure behaves as a destabilization of
previous descending structures. Fragments from the descending passage at measure
29 are stuck in a sort of limbo; the passage is unable to descend and simply circles
around. At the very end, the initial theme comes back, and continues in an upward
trajectory to a high register, balanced by a low E in the bass.
In examining Ravels approach to orchestrating Forlane, it is important to note
how he was influenced by the current orchestrational traditions. In Ravels time, two
very distinct schools of orchestral treatment had emerged: the French and German
schools. In the French tradition, La Clart Franaise, or French Clarity, was an
important orchestrational approach. This French approach contrasted sharply with the
German tradition, which fuses orchestral sections to act as a singular mass, with thick,
layered textures. From Beethoven, this tradition continues through Berlioz, and
culminates in Wagners exploitation of instrumental colour, reaching its final stage
in the sheer picturesqueness of Rimsky-Korsakov. (La Clarte Franaise 141)
The line of French composers working in La Clart Franaise developed
independently of Berlioz. Their tradition focused on more individual colouristic
aspects than the German school, and has depended upon instruments being able to
fulfil several roles at once. For them, the function of rendering line or mass, as
we call it by analogy from painting, is not separated from that of rendering colour.
(La Clarte Franaise 141) One result of this preference is linked to the French affinity
for instruments whose special aptitude is for marking out a line and at the same time
establishing an unmistakable colour. (La Clarte Franaise 142)
Two notable instruments that often have prominent roles in French music
include the flute and harp, neither of which are particularly amenable to inflection.
While the French often use the harp for clear-cut indications of thematic substance,
Germans often use the harp merely as an element of the background texture (La Clarte
Franaise 142). For instance, Wagners harp is usually not distinctly heard, and serves
to only add background figurations. This is also usually the case for Berlioz as well,
although sometimes he follows in the footsteps of the French model , for instance in
the second movement of his Symphonique Fantastique.
Ravels orchestration of Forlane, which follows from his piano version,
certainly adopts this French style of orchestration. As mentioned earlier, he was
influenced by Russian composers as well, although his style is distinctly French. His
orchestral works often began as piano works, and, as Scott Goddard summarizes,
Ravel builds up a version in which the original colours are made more brilliant and
the light and shade more contrasted. (Notes, 293) This intensification in colour
certainly connects back to the ideas of La Clart Franaise.
In Forlane, the orchestra does not merely increase or diminish, but it
definitely alters the meaning of the work. For instance, that which, on the
pianoforte, was a continual variance of shades has become a pleasant monotony of the
wood-wind. (Notes, 294) While Ravel does inevitably alter some timbral aspects of
the piece, he uses these alterations to draw attention to certain aspects of the piece,
such as structural and registral aspects. As in the French tradition, colour and mass
are related concepts, not separate as in the German tradition. Overall, there is very
little, if any filler material in this very clean orchestration.
Within Forlane, and his orchestrations in general, Ravel never alters a note of
the works that he takes from the pianoforte and places in the orchestra. In addition,
he tends to keep his registrations consistent with the piano score. To preserve the
integrity of his lines, he also refrains from switching between instruments mid-phrase,
especially in the melody line.
As far as instrumentation itself goes, along with the treatment of the
instrumental sections, the orchestration is subtle. While the strings are sometimes
melodic, they are often subsidiary, allowing the flute and oboe to carry the melody.
The woodwinds are very active overall, with delicate passagework. The brass play an
important role as well, although they are usually doubled by other instruments. The
harp plays an interesting role as well. Here, Ravel uses harp mostly chordally, but in
a prominent way. For instance, in the F sharp pedal section, harp harmonics uphold
the F sharp pedal, and sometimes the harp doubles the melody line as well.
 While Ravel uses orchestration in a colourful, imaginative way, his
orchestration also underlines the structure of the piece. For instance, at measures 1-8,
and 25-29, Ravel employs the same orchestration he features the principal melody in
the strings over woodwind chords, colouring these chords with pizzicato strings and
light staccatos toward the second half of each phrase. He then goes on to a similar
orchestration whenever the theme appears later in the piece, with subtle changes: at
measure 59, where a subsidiary voice briefly appears in the piano, foreshadowing the
canonic passage at 100, Ravel introduces a new clarinet line. This clarinet line is re-
introduced at measure 100, doubled in the viola. Even here, the orchestration highly
resembles the orchestration of the initial section.
As in the piano version, the B section of the ternary structure outlined by the
melodic material is identical in measures 9-24 and 104-119. Here the melody moves
to the flute and oboe for the first three measures, with horn, clarinet and bassoon
continuing to articulate the background chordal structures. These are coloured with
pizzicato strings and harp. At measure 12 (and 107), the violins move to arco, and
propel the texture up in register, to where the first violins take over the melody,
doubling flute. The rest of the woodwinds doubles the violins as they move up, but
move to chords, where they are doubled by the harp and joined by violins and violas.
Note that the harp also doubles some of the notes from the melody.
As in the beginning, Ravels treatment of the descending section in measure
29-37 is quite woodwind-heavy. The descending figure is split between flute, clarinet
and oboe. He also transforms the arpeggiated piano line in the left hand into string
chords, with pizzicato chords in cello, and adds dotted rhythm figures to these chords
as well. The flourishes at 31-32 are expanded, and allocated to cor anglais and violin.
When the descending section repeats at measures 46 to 54, Ravel repeats the
orchestration exactly for structural emphasis.
Throughout the piece, there are several other orchestrational parallels that
mirror motivic and structural parallels. For instance, from measures 38-46, Ravel has
peppered beginnings of phrases with little flourishes, which recall both the later F
sharp pedal section (m. 63-95) and the descending figure sections that bookend
measures 29-63. These flourishes are often initiated with a harp dyad. In this section
(m. 38-46), Ravel also moves the melody between the oboe and cor anglais. He also
initiates an F sharp pedal in the horn, again relating to measures 63-95.
Ravels scoring in the section between measures 63-95 provides contrast to the
scoring within the previously preceeding section. The material suddenly moves up in
register, to very light string harmonics and pizzicatos backing a high-register
woodwind chorale texture. This texture continues until measure 72, where the flutes
are left on their own in the top register, with an extremely sparse background
containing muted trumpet, high clarinet, pizzicato second violin and harp harmonics.
Here the harp has a prominent role, as it sustains first an E pedal and then an F sharp
pedal (m. 79).
At measure 79, the E pedal moves back up to F sharp, and oboe flourishes
appear in the texture. As the piano writing becomes slightly more complex at
measure 80, the instrumentation barely changes a couple more string instruments are
introduced. However, the instrumental parts do become more active. Once more, the
orchestration at measures 88-95 exactly parallels the orchestration at measures 63-70,
emphasizing the structural commonalities between these excerpts.
Following this section, Forlane travels through a more contrapuntal version of
the beginning section in measures 104-123. At measure 124, he moves to the more
chordal E major section, where he allocates the top voices to clarinet and bassoon,
with strings underneath. This is not nearly as drastic a change orchestrationally as the
transition from measures 62 to 63, as it is neither a major timbral change nor a
registral change. He stays with this voicing until measure 133, and it is interesting to
note that the bassoon part is quite high, going up to B4. Ravel is exploiting the colour
of the high bassoon to create a delicate effect.
Ravels treatment of the tumbling ending section (m. 139) is quite interesting
and perhaps unexpected. The harp is extremely active, with constant pedal changes,
doubling all the chords present in the strings. The oboes have control over the tune,
with the first oboe emphasizing the flourishes, and the second one articulating the
descending lines. At 147, the colour changes violins and clarinets take charge,
accompanied by flute doubling second violin, horns doubling viola, all supported by
pizzicato cello and bass figures, as well as bassoon pedal. The harp disappears
completely until the colour shifts again, at 151. Here the principal line moves to the
oboe, sometimes doubled by flute, and doubled by cor anglais at the end. The strings
support it underneath, with harp in a higher register. This colour shift is particularly
notable, since in the piano, the passage from measure 151 to 154 is an exact repetition
of the previous four bars. The last few bars consist of the initial motif moving
through various instruments, up until the high register of the piccolo. Then the
flourish figure is heard one more time, and falls down to the cello and bass.
3. My orchestration
a. Compare style
i. First of all, it is important to note that the orchestra I wrote for
is much larger
1. Ravels scoring
2. My scoring
ii. Far more modern long lines are kept, but traded off between
instruments, whereas Ravel tended to keep them in a single line
iii. Ravel tended to keep sections of instruments to distinct roles
iv. I blend things much more, use more extreme ranges ex low
piccolo, high bassoon, high solo cello, muted trumpet (practice
mute)
v. Unusual doublings examine that section
vi. Notable exception E major section toward end, where I use
distinct instrumental blocks in roles
vii. More unusual instruments, such as crotales, xylophone
viii. More modern techniques muted brass with different mutes
(harmon, practice), trombone glissandos, snap pizz, slap tongue
(clarinet), string glissandos, stopped horn
ix. Unusual treatment of instruments ex. muted trumpet line starts
off piece
x. While Ravel never changed notes, I changed a few (in terms of
registers, and notably at the end, with added figurations, which
deviates greatly from Ravels texture)
xi. Nevertheless, there are similarities I look for a certain clarity
that is also present in the Ravel
xii. Role of harp often similar marks out melody descending E
minor section
xiii. Highly active woodwinds
xiv. Notably, brass in contrapuntal section for both
b. Compare to piano version
 i. Lines generally preserved
ii. Gestures have been highlighted ex harp glissandos for rising
lines
iii. Highlighted registers, ex. E dorian sections with falling texture
iv. Structure has been preserved similar orchestration for each
rondo section (with some small changes last time with added
string trills in high register
1. Always muted trumpet though!
v. Far more notes at the end highlighting of different feeling,
rapidly changing augmented chord harmonies
vi.
c. Compare to orchestration
i. Orchestrational styles
1. Again, mine is more modern
2. Still attempts to preserve the integrity of the Ravel
piano work
3. More modern interpretation, which still attempts to
capture the colour and feeling of various sections
4. Conclusion
a. This line of French composers continues to be an important influence
1. Could be argued that more recently, it has continued on
a separate path, with figures such as Messiaen,
Dutilleux, Murail, Fineberg, Grisey, spectral composers
b. Many composers look to Ravel, even those out of this tradition
c. Different directions that have spawned from this movement, how they
have been influenced by Ravel and Debussy
d. The leaving out of Toccata and Fugue have inspired composers to
orchestrate them

5. Biblio:

6. Suckling, Norman. La Clarte Franaise in Orchestration. Music

& Letters, vol. 27, no. 3, 1946, pp. 141146.
www.jstor.org/stable/728143.

7. Orenstein, Arbie. Maurice Ravel's Creative Process. The

Musical Quarterly, vol. 53, no. 4, 1967, pp. 467481.
www.jstor.org/stable/741228.

8. Goddard, Scott. Maurice Ravel: Some Notes on His Orchestral

Method. Music & Letters, vol. 6, no. 4, 1925, pp. 291303.
www.jstor.org/stable/725957.

9. E. L. Music & Letters. Music & Letters, vol. 41, no. 4, 1960, pp.
378379. www.jstor.org/stable/733065.

Edited biblio
1. Biblio:

2. O. Ivanchenko, Characteristics of Maurice Ravels Compositional Language

as Seen Through the Texture of his Selected Piano Works and the Piano Suite
Gaspard de la Nuit (Ph. D. dissertation, University of Miami, 2015)

3. N. Suckling, La Clarte Franaise in Orchestration. Music & Letters, vol.

27, no. 3 (1946), 141146. www.jstor.org/stable/728143.

4. A. Orenstein, Maurice Ravel's Creative Process, The Musical Quarterly, vol.

53, no. 4 (1967), 467481. www.jstor.org/stable/741228.

5. S. Goddard, Maurice Ravel: Some Notes on His Orchestral Method. Music

& Letters, vol. 6, no. 4 (1925), 291303. www.jstor.org/stable/725957.

6. E. L, Music & Letters, Music & Letters, vol. 41, no. 4 (1960), 378379.
www.jstor.org/stable/733065.