Overview
“In the Manner of Chabrier, M. 63/2 ” is a piano piece by Maurice Ravel, part of a diptych of pastiches with “In the Manner of Borodin, M. 63/1 ” . Composed in 1912-1913 and published in 1914, this work is a tribute to and imitation of the musical style of Emmanuel Chabrier, a composer whom Ravel deeply admired .
Main features :
Pastiche and Paraphrase: The piece is a “paraphrase on an air by Gounod ” , imitating the energetic, clear and rhythmic style of Chabrier. It is in fact a paraphrase of Sié bel’s romance, “Fais-lui mes aveux ” , from the second act of Charles Gounod’s opera Faust. Ravel enjoys imitating a Chabrier who, himself , would have pastiched Gounod.
Contrast: The piece contrasts sharply with the first of the diptych, “In the Manner of Borodin ” , which is more lyrical and poetic. This contrast highlights Ravel ‘s talent for appropriating very different musical styles while putting his own signature on them.
Character : The piece is marked by its lively, rhythmic and elegant character , typical of Chabrier ‘s style.
Duration : The work is a short piece , lasting approximately two minutes.
Catalogue reference: The piece bears the number M. 63/2 in the catalogue of Ravel’s works established by the musicologist Marcel Marnat.
In short, “À la maniere de Chabrier ” is an ingenious work that demonstrates Ravel’s admiration for his predecessors and his skill in imitating their musical language, while retaining the modernity and finesse of his own style.
History
The story of the composition of “À la maniere de Chabrier ” is part of a context of musical tributes and stylistic games which were very fashionable in Ravel ‘s time.
It all began around 1912-1913, when Ravel began writing two piano pieces that would eventually be published together under the title À la maniere de … . The idea came to him to compose pastiches, that is , respectful imitations of the style of other composers he admired. This practice, common in literature and art, was a way for Ravel to pay homage to his elders and explore their musical language.
For the first piece , he chose to parody the style of Alexander Borodin, one of the composers of the Russian “Group of Five . ” For the second, he chose Emmanuel Chabrier, a figure he particularly venerated . Ravel had a deep admiration for Chabrier’s The King in Spite of Himself, to the point of declaring that he would have ” preferred to have done The King in Spite of Himself than Wagner’s Tetralogy . ”
But Ravel does not simply imitate Chabrier’s style . He goes further, creating a pastiche upon a pastiche. The piece is subtitled ” Paraphrase on an Air of Gounod , ” referring to Siébel ‘s romance , ” Fais-lui mes aveux , ” from the second act of Charles Gounod’s opera Faust. Ravel then amuses himself by imagining how Chabrier, with his exuberant, energetic style and bold harmonies, might have appropriated and transformed this Gounod melody. The result is a piece full of life and spirit, in which we find Chabrier’s characteristic features, such as his full pianistic textures and clear melodic lines, filtered through the refinement and elegance of Ravel’s own language.
The diptych was premiered publicly on December 10, 1913, at the Salle Pleyel in Paris, by the pianist Alfredo Casella. This double homage, to both Borodin and Chabrier, demonstrated Ravel’s ability to appropriate very different musical styles with disconcerting ease , while imprinting his unique personality as a composer.
Characteristics of Music
“In the Manner of Chabrier ” is a true study in style, in which Ravel appropriates and affectionately caricatures the distinctive features of Emmanuel Chabrier’s musical language. The main musical characteristics of this composition are as follows:
An incisive and energetic rhythm: The piece , marked ” Allegretto ” , is animated by a lively and percussive rhythm. We find the energy and clarity that are Chabrier’s trademarks, notably his syncopated rhythms and sharp accents. The writing for the piano is very ” percussive ” , with chords and octaves that give the music a constant momentum.
Shimmering and bold harmonies: Ravel, faithful to the spirit of Chabrier, uses rich and colorful harmonies. We find unexpected chord progressions , delicious dissonances and expressive chromaticisms. The pastiche does not simply reproduce the sonorities, it pushes them to the extreme , as if Ravel were having fun playing with the harmonic ” touch” of his elder .
A full and generous piano writing : Unlike some of Ravel’s pieces which explore a more ethereal and delicate writing , ” À la maniere de Chabrier ” is characterized by a generous use of the keyboard. The chords are often played with both hands, creating a dense and powerful sonic texture. This sonic fullness is another distinctive feature of Chabrier’s style.
Melodic clarity : Although the texture is rich, the melody always remains clearly audible. Ravel manages to preserve Gounod’s melodic line (“Fais-lui mes aveux ” from Faust) while drowning it in complex, chromatic piano writing. This is the heart of the pastiche exercise: to show how a Chabrier would have “transformed” a simple, romantic melody into a piece full of vitality and spirit.
The stylistic contrast: The piece , lasting about two minutes, is very contrasted with its sister piece, “In the Manner of Borodin ” . While the former is more lyrical, poetic and melancholic, the one dedicated to Chabrier is exuberant, lively and full of humor. This opposition highlights Ravel’s virtuosity , capable of embodying diametrically opposed musical aesthetics with the same ease .
In short, Ravel does not simply quote an aria; he reproduces its spirit by absorbing Chabrier’s musical characteristics. He creates a work that is both a faithful imitation and a personal reinterpretation , thus demonstrating his mastery of musical language and his admiration for the composer.
Style(s), movement(s) and period of composition
“À la maniere de Chabrier ” is a composition that stands at a stylistic crossroads, and analyzing it requires considering several facets. Although it is often associated with Impressionism due to the period of its composition (early 20th century ) and its author, it is more precisely an example of Neoclassicism tinged with Modernism. It is both a traditional homage and an innovative work.
Style and Period
Maurice Ravel, one of the masters of early 20th-century French music , is often categorized as an Impressionist, alongside Claude Debussy. This movement is characterized by a particular attention to sonority , timbre, and harmony , creating moods rather than clear forms. This is reflected in Ravel’s piano writing, which is very colorful and evocative . However, Ravel himself preferred to be considered a classicist or neoclassicist, as he placed primary importance on form , structure , and clarity .
Composed in 1912-1913, “À la maniere de Chabrier ” is a perfect example of this neoclassicism. Ravel does not just make “impressionist ” music; he refers to a 19th -century composer , Emmanuel Chabrier, and even borrows a theme from another composer of the same period , Charles Gounod, to reinterpret it with his own modern signature.
Ancient or Innovative?
The music of “À la maniere de Chabrier ” is paradoxically both old and new.
Ancient/Traditional: The piece is a pastiche, that is , a respectful imitation of a bygone style. Ravel immerses himself in the musical language of Chabrier, with its frank rhythms and bold harmonies, but still rooted in post-romanticism and French nationalism . He appropriates a melody by Gounod, a typically romantic composer. As a result, it sounds like a journey through musical time, a nod to a bygone era .
New/Innovative: Despite this traditional aspect, the work is fundamentally modernist in its approach. Ravel uses harmonic and pianistic techniques that are specific to the early 20th century . Pastiche is not a simple copy, but a reinvention. Ravel takes Chabrier’s style and filters it through his own writing, with its clarity , precision , and sophistication, creating a work that is resolutely of its time. It is this critical distance and mastery that make it innovative, even if it is adorned with the trappings of tradition.
In conclusion, the music of “À la maniere de Chabrier ” cannot be pigeonholed . It demonstrates the complexity of Ravel’s style, which draws on his predecessors while remaining a profoundly original composer of his time.
Analysis: Form, Technique(s), Texture, Harmony, Rhythm
Maurice Ravel’s “À la maniere de Chabrier ” is a piano piece which, despite its brevity , presents a rich musical analysis, faithful to the spirit of the composer it honors.
Musical analysis
Method and Technique
The main method of composition is pastiche, that is , a respectful imitation of another composer’s style. Ravel uses this technique to recreate Chabrier’s aesthetic, characterized by dense piano writing and rhythmic energy. The writing technique is also that of paraphrase, with Ravel taking an existing theme ( the romance “Fais-lui mes aveux ” from Gounod’s opera Faust) and transforming it according to Chabrier’s ” manner .”
Texture and Shape
The texture of the piece is predominantly polyphonic or, more precisely , homophonic with rich harmonic figuration. Although Gounod’s melody is always present, it is supported by a very busy piano writing , with full chords, octaves and arpeggios which give the music a characteristic density and fullness of sound . The texture is never monophonic; the accompaniment is always present .
The form is that of a character piece , which does not adhere to a strict structure like the sonata or the rondo. It develops in a fluid manner , following the main theme and its variations. It can be broken down into a simple binary or ternary form (ABA’ or ABC):
Part A: Introduction to Gounod’s theme, presented in the style of Chabrier.
Part B: Development with new melodic and harmonic ideas, while maintaining the initial momentum.
Part A’ or Coda: Return of the main theme , often transformed or enriched, leading to a rapid conclusion.
Harmony, Scale and Tonality
The harmony of the piece is tonal, but with chromatic enrichments that give it a modern color. Ravel uses seventh and ninth chords , as well as bold sequences that evoke the audacity of Chabrier.
The main key is D major, but it constantly sails into distant regions, creating a sense of tonal floating typical of early 20th- century works.
The scale used is the diatonic scale of D major, but the use of chromatic notes and frequent accidentals considerably enriches the musical language and blurs the harmonic lines.
Pace
The rhythm is one of the most important features of the piece . It is lively, incisive, and percussive, with a tempo marked ” Allegretto .” Ravel uses numerous syncopations and accents to recreate Chabrier’s rhythmic dynamism. The constant use of energetic accompanying movement in the left hand reinforces this sense of rhythmic liveliness.
Tutorial, performance tips and important playing points
To perform Maurice Ravel’s “À la manè re de Chabrier ” on the piano , it is essential to understand the spirit of the work and master the technical challenges it presents. Here is a tutorial, tips, and important points for playing this piece successfully .
1. Understand the spirit of the work
Before touching the piano, soak up the character of the piece . Remember that this is a pastiche, an affectionate imitation of the style of Emmanuel Chabrier. His style is lively, spirited, sometimes a little heavy, with a very present rhythmic energy . Ravel, with his own sensitivity, brings a touch of refinement and clarity .
Performance tip: Don’t aim for a delicate, ethereal sound like Debussy . You need strength, energy, and a certain sonic generosity . Imagine Chabrier having fun, laughing, and making the notes dance. Humor and wit should be palpable in your playing.
2. Important technical points
This piece is an excellent exercise in polyphonic clarity and rhythmic precision.
Rhythm: The tempo is marked ” Allegretto ,” which is moderate , but it should not be slow. The rhythm should be percussive and precise. Pay attention to the many syncopations that give the piece its character . They should be clear and not sag. Work on complex rhythms slowly, with a metronome if necessary.
Chords: The writing is very rich in chords, often played with both hands. To achieve a homogeneous sound , it is crucial to master the sound balance. The left hand, although playing the accompaniment, must not overwhelm the right hand. The harmony must be clear and the chords must be played together, without rolling.
Melody : Although the work is dense, Gounod’s melody must always remain audible. It is the soul of the piece . Make sure the upper notes of the right hand sing, while controlling the volume of the other voices. The technique of controlling the weight of the fingers is essential here.
3. Tips for practicing the piano
Work in sections: Don’t tackle the entire room at once. Separate it into small sections and master them one by one.
Slowness and precision: At first, work very slowly . Focus on the clarity of each note, the accuracy of the rhythms, and the placement of your hands. Speed will come naturally with mastery .
Pedal : The sustain pedal is crucial, but use it sparingly. Too much pedal can make the sound muddy, especially with the harmonic richness of the piece . Change the pedal with each harmony change to keep the sound clean and precise .
4. Pitfalls to avoid
Heaviness: It needs to be strong, but not brutal. The sound must remain elegant and controlled , even in loud passages (forte).
Lack of clarity: Ravel’s writing is very precise . Imprecise and disordered playing would take away all meaning from the piece .
Neglecting Character : Never forget the historical and stylistic context. This piece is a tribute. If your interpretation is too serious or too romantic, you will miss out on Ravel’s playful spirit.
In short, to succeed in “À la manè re de Chabrier ” you must combine a solid and precise technique with a keen sense of humor and elegance . It is a character piece that demands both intellectual and musical commitment .
Famous Recordings
Historical and traditional recordings
These recordings, often made by pianists who knew the composer or who come from the same stylistic lineage, are references for the authenticity of the approach.
Vlado Perlemuter: This is an essential reference for the complete piano works of Ravel. Vlado Perlemuter worked with the composer himself . His recording is a precious testimony to the interpretation of the period, with great clarity and fidelity to the musical text. His interpretations are known for their poetry and sense of phrasing, combining the French tradition with a delicacy of touch.
Walter Gieseking: A legendary pianist, Gieseking is famous for his interpretations of Debussy and Ravel. His recording of “À la maniere de Chabrier ” is highly regarded for its crystalline sound and elegance , which highlight the nuances and harmonic details of the piece .
Robert Casadesus: Another great name of the French school , Casadesus left a complete Ravel collection that still stands as a benchmark . His playing is marked by great technical precision and clarity of structure, which perfectly suit the neoclassical character of this work .
Reference and standard recordings
These recordings, although more recent, are considered modern references for their technical quality and depth of interpretation .
Jean-Efflam Bavouzet: His complete works for piano by Ravel, recorded on the MDG label, have been highly acclaimed by critics. His interpretation of “À la maniere de Chabrier ” has been praised for its virtuosity and clarity of execution, while preserving the energy and humor of the piece .
Alexandre Tharaud: Alexandre Tharaud has also recorded a complete Ravel collection that has been very successful . His approach is more lyrical and sensitive, emphasizing color and expressiveness. His interpretation offers a more intimate and poetic perspective on the work .
Angela Hewitt: Renowned for her clarity , precision , and musicality , Angela Hewitt has recorded Ravel ‘s complete piano works for Hyperion Records. Her “À la manère de Chabrier ” is remarkable for its fine touch and limpid harmony, even in the densest passages.
Modern and contemporary interpretations
These more recent recordings bring new perspectives, often with particular attention to sonority , rhythmic momentum or a more personal reading of the score.
Bertrand Chamayou: A leading French pianist, Bertrand Chamayou is known for his lively and colorful approach to the repertoire. His recording of Ravel is very dynamic and powerful, with great attention to the contrasts and energy of the music.
Kun-Woo Paik: Kun-Woo Paik’s recordings are often noted for their power, dramatic intensity, and virtuosity. His interpretation of “À la maniere de Chabrier ” can offer a very powerful and daring reading of the piece .
It is worth noting that many talented pianists have recorded this work, each bringing their own unique vision. Listening to different versions allows one to better appreciate the richness of this short but fascinating composition by Ravel.
Episodes and anecdotes
Despite its short duration , ” À la maniere de Chabrier” is a piece full of anecdotes, because it is set in a context of complex relationships and humor between musicians.
1. The musical bet and the friendship between Ravel and Godebski
The idea for the diptych In the Manner of… was born from a bet or a joke. In 1912, Ravel spent time with his friends Ida and Cipa Godebski, a couple who held a lively artistic salon . It was there that Ravel, urged on by his friends or perhaps in response to a challenge, began composing two musical pastiches. One, “In the Manner of Borodin,” was a response to a request from Cipa Godebski, who admired the Russian composer. The other, “In the Manner of Chabrier,” was the result of his own admiration. It was in this atmosphere of lightness and friendship that these two works were born .
2. Humor and hidden reference
The subtitle of the piece , “Paraphrase on an Air by Gounod,” is in itself a humorous anecdote. Ravel is not content to simply imitate Chabrier. He is imagining how Chabrier would have treated a theme that is completely foreign to him. The theme in question, “Fait-lui mes aveux” from Gounod’s Faust, is a simple and romantic melody. It is by contrasting it with Chabrier’s passion and audacity that Ravel creates the comic contrast. It is a sort of ” pastiche of the pastiche,” a musical mise en abyme that demonstrates Ravel’s brilliant and ironic wit.
3. The Ravel-Chabrier relationship
This was not only for his music, but also for his character . Chabrier’s exuberant temperament, his humor, and his ” generous coarseness ” appealed to Ravel , who, on the surface, was much more reserved . This admiration is reflected in the piece , which captures the composer’s boundless energy and wit without mocking him, but rather paying him an affectionate tribute.
4. Godebski’s little note
Ravel’s friend Cipa Godebski himself left a handwritten note on a version of the score. In it, he explains how the idea for the piece came to him while talking with Ravel and suggesting Gounod’s theme . This note is a testament to the genesis of the work and the friendly collaboration that surrounded its creation .
Ultimately, these anecdotes underline that “À la maniere de Chabrier” is not only a piece of music, but also a capsule of the spirit of the times, of humor between friends, and of admiration between composers, capturing the essence of a relationship that was both intellectual and personal between Ravel and Chabrier.
Similar compositions
Compositions similar to Ravel’s ” À la maniere de Chabrier” can be grouped into several categories: those that share the same composer , the same kind of pastiche, or that evoke the same composer (Chabrier).
1. By the same composer: Maurice Ravel
” In the Manner of Borodin, M. 63/1″: This is the twin and inseparable piece of “In the Manner of Chabrier.” These two works form a diptych in which Ravel, in the same spirit of pastiche, imitates the lyrical and sometimes exuberant style of the Russian composer Alexander Borodin. The contrast between the lyricism and harmonic richness of “Borodin” and the percussive energy of “Chabrier” is one of Ravel’s great achievements.
“Le Tombeau de Couperin” (1914-1917): This suite of six piano pieces is a direct homage to the style of 18th-century French composers , particularly François Couperin . As in pastiches, Ravel uses ancient forms and rhythms (the fugue, the minuet, the forlane) to reinvent them with his own modern harmonic and pianistic language.
2. Pastiches and tributes to other composers
Musical pastiche is a well-established tradition. Many composers have paid homage to their peers or imitated their style.
Alfredo Casella – ” In the Manner of…” (1911): This collection by the Italian composer Alfredo Casella, a contemporary and friend of Ravel, contains pieces in the same spirit of homage. It includes pastiches of works by Wagner, Debussy, Fauré , and even Ravel himself .
Erik Satie – “Les Gnossiennes” and “Gymnopédies”: Although not directly pastiches, these minimalist pieces by Satie influenced Ravel and share with “À la maniere de Chabrier” a certain spirit of experimentation and humor. Satie’s simplicity is an interesting contrast to Ravel’s complexity, but the two composers shared a taste for originality and a rejection of Romantic bombast.
3. Works by Emmanuel Chabrier
To understand the spirit of “À la maniere de Chabrier”, there is nothing better than to look at the works of the master himself .
“Dix Pi è ces pittoresques”: This collection for piano by Chabrier is a direct source of inspiration for Ravel. It features the dense piano writing, the bold harmony and the witty character that Ravel so well imitated .
“Bourrée fantasque”: This piano piece is an excellent example of Chabrier’s energy and rhythmic vivacity. Its percussive character and bold melodic construction echo Ravel’s style in his pastiche.
“España “: This orchestral rhapsody by Chabrier is famous for its exuberance and vivacity. Chabrier ‘s brilliant and colorful treatment of the orchestra, and his ability to evoke atmospheres without conforming to strict forms, profoundly influenced Ravel.
(This article was generated by Gemini. And it’s just a reference document for discovering music you don’t know yet.)
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