Overview
La Parade, also known as M. 11, is a piano piece by Maurice Ravel, part of a larger but unfinished project . It offers a fascinating insight into the composer’s early life and development.
Context and composition
Composed in 1896, La Parade was intended to be part of a series of miniature piano pieces that Ravel intended to publish under the title Sérénade grotesque . This project was abandoned , but the piece remained . Ravel, then a student at the Paris Conservatoire, had already begun to forge a distinct musical identity, moving away from the conventions of the time.
Musical characteristics
The piece , lasting about four minutes, is an excellent example of Ravel’s emerging style:
Tonality : The Parade is written in a polytonal style, mixing dissonant and unconventional harmonies for the time.
Rhythm: It is characterized by lively rhythms and syncopations that create an atmosphere of constant movement.
Atmosphere : As the title suggests, the music evokes the image of a marching band or circus troupe, with motifs that seem to imitate brass instruments and percussion.
A turning point in Ravel’s work
Although less well-known than his later works such as Le Tombeau de Couperin or Ma Mère l’ Oye, La Parade is a significant work because it shows Ravel moving away from the influence of his teachers and exploring his own musical language. It is a piece that foreshadows the virtuosity and subtlety he would later develop, making it an important step in understanding the evolution of his genius .
This work demonstrates Ravel’s precocious creativity and his willingness to experiment with forms and harmonies that were far from the norm at the end of the 19th century . It is a bold prelude to his illustrious career.
History
The story of Maurice Ravel’s La Parade, M. 11 is a story of incompleteness and posthumous discovery, which sheds light on the composer’s early life.
Composed in 1896, La Parade was originally intended to be part of a larger set of piano pieces Ravel had in mind , a project that never saw the light of day. At that time, Ravel, still a student at the Paris Conservatoire, was in the midst of exploring his own musical language. The piece , conceived as a “ballet sketch” based on an argument by the dancer Antonine Meunier, was premiered by her in 1902 but was never published during Ravel ‘s lifetime. It is assumed that he set it aside to devote himself to other works.
For decades, this work remained in the shadows, preserved only in manuscript form. It was not until 2008, more than 70 years after the composer’s death, that La Parade was finally published , revealing to the public a little-known side of Ravel.
This story is all the more fascinating because the piece itself reflects the young Ravel ‘s creative state of mind. It reveals his first attempts to move away from the musical canons of the time, exploring lively rhythms and dissonant harmonies. It is a work that, by its unfinished nature and its history of late rediscovery, offers a unique insight into the composer’s early life and the genesis of his inimitable style.
Characteristics of Music
Rhythm and harmony
Maurice Ravel’s early work , La Parade , is distinguished by a musical approach that was already bold for its time. It departs from 19th-century harmonic conventions , exploring dissonances and a nascent polytonality. The chords do not follow traditional resolutions, creating an atmosphere of tension and uncertainty.
Movement and instrumentation
Rhythm plays a central role in the piece , with lively movements and syncopations reminiscent of a marching band or troop . Ravel uses the piano to imitate the sounds of various instruments, such as blaring brass and pounding percussion. This “virtual” instrumentation contributes to the picturesque nature and energy of the work, evoking the image of a real parade .
Influences and style
Although the piece is imbued with diverse influences, one can already perceive the precision and clarity that would become hallmarks of Ravel’s style. The music, despite its dissonances, remains meticulously constructed. La Parade is an important step in the composer’s development, showing his transition from the influence of his masters to the affirmation of his own musical voice, characterized by a bold harmonic language and innovative rhythmic writing.
Style(s), movement(s) and period of composition
Maurice Ravel’s Parade is an early work, composed in 1896, which takes place at a crucial transitional moment in the history of music.
Period and style
Ravel’s music from this period bridges the gap between late Romanticism and the emergence of modernism. Although he was influenced by the Romantic tradition and was a contemporary of Impressionist composers like Claude Debussy, Ravel always had a very personal stylistic approach . La Parade cannot be clearly classified into a single movement. It is a mixture of different influences:
Pre -Impressionist: It features orchestral harmonies and colors (although the piece is for piano) that prefigure the Impressionist movement, but without the fluidity and blurred contours of Debussy.
French folk music would later be a hallmark of Ravel’s style, as in his Rapsodie espagnole.
Music: Old or New?
At the time of its composition, La Parade was considered innovative . Ravel departed from the traditional music of his time, particularly by exploring bold dissonances and emerging polytonality. The rhythmic structures of the piece are also very modern and complex, distinguishing it from Romantic and Classical works.
Movement
The Parade movement is a crucial step towards modernism. It is characterized by a gradual break with tonality and a freer use of rhythm and harmony. Although the work is pre-Impressionist, its style is already unique . It is refined, technical, precise, and shows a taste for clear structures and careful detail .
In conclusion, La Parade is a work that demonstrates a new musical vision, heralding Ravel ‘s distinctive style that would become a major force in modern 20th-century music . It is a transitional piece that does not fit into a single box, but represents a key stage in the evolution of classical music.
Analysis: Form, Technique(s), Texture, Harmony, Rhythm
Maurice Ravel’s La Parade, M. 11 is a piano work which, despite its early character, already presents the beginnings of his unique and innovative style.
Musical Analysis
early exploration , although whether the work is monophonic or polyphonic depends on the sections. Overall, it is primarily polyphonic, with multiple melodic lines overlapping and interweaving , creating a rich and complex texture.
Method and Technique
Rhythm: The rhythm of the piece is one of its most striking features. Ravel uses bold syncopations and changes of meter to create a sense of constant, irregular movement, imitating the pace of a fanfare or parade. This rhythmic treatment is very modern for the time and breaks with the regularity of Romantic rhythm.
Harmony and Tonality: The harmony of La Parade is far from conventional . The piece uses an incipient polytonality, where chords of different keys are superimposed , creating dissonances that do not resolve according to traditional rules . Although there are references to tonality ( the piece is sometimes described as being in C major, but with constant accidentals), Ravel explores a chromatic harmony, which contributes to the work’s sense of strangeness and novelty .
Texture and Structure
Texture: The texture of the piece is dense, primarily polyphonic. Ravel uses the different hands of the piano to create distinct melodic lines that intertwine, creating a richness of sound. One has the impression of hearing several instruments at the same time, which is a typical characteristic of his piano writing.
Form and Structure: The form of La Parade is relatively free. It is not built on a classical form like the sonata or the rondo, but it has a structure of successive sections , creating a sense of narrative. These sections, with varied themes , are linked by recurring rhythmic and harmonic motifs. One can perceive an ABA’ structure, where the initial theme returns after a contrasting passage. The piece is closer to a fantasy or a sound poem than to a classical form.
Tutorial, performance tips and important playing points
Important points before you begin
The context: Remember that Ravel was 21 when he composed this work. It is a youthful piece , full of energy and experimentation. The goal is not to play it with the same maturity as Le Tombeau de Couperin, but rather to capture its spirit of discovery and fantasy.
Sounds: Ravel is known for his ability to make the piano sound like an orchestra. Aim to bring out different instrumental “colors”: the bass can sound like drums, the treble like brass, etc.
Interpretation and technical advice
Rhythm: This is the heart of the piece .
Syncopations: The piece is full of syncopations. Play them precisely, respecting the accent shifts. Don’t hesitate to exaggerate them slightly to create that “dance” or irregular march effect .
Tempo: The tempo is lively. Maintain a steady pulse, but be flexible. Ravel does not give a metronomic tempo, which leaves you room for light rubatos, especially in lyrical passages.
Harmony: The harmony is bold for the time.
Dissonances: Ravel uses a lot of dissonances and polytonal chords. Don’t try to “soften” them. Play them with confidence, highlighting their colors and tensions.
Clarity : Despite the dissonances, Ravel’s music is always very clear and precise. Even in the most complex passages, make sure that every note is audible.
Texture: The texture is dense and polyphonic.
Layering Vocals: Identify the different voices in the song. For example, the left hand might play a rhythmic bass line while the right hand has a more sing-song or percussive melody. Highlight these different sonic lines.
Touch: Vary your touch to bring out these voices. A staccato and percussive touch for the rhythms, a more connected and singing touch for the melodies .
by- step tutorial
Beginning of the piece ( Bars 1-8): The introduction is percussive and energetic. Emphasize the syncopated rhythms of the left hand. The right hand should be clear and precise, with an almost “metallic” sound to imitate brass instruments.
Contrasting Passages (Bars 9-16): These sections can be played with a more lyrical and delicate touch, providing a contrast to the energy of the opening. Ravel uses a lot of soft pedals, so feel free to use them to soften the sound.
Virtuosity passages (towards the end): The piece becomes more complex and requires a certain agility. Work these passages slowly, focusing on the clarity of each note. Remember to keep the rhythm steady.
piece ‘s energy and dynamism . The tempo accelerates , the texture becomes denser. Play it with great energy and confidence.
In summary
Spirit: Capturing the fantasy and energy of Ravel’s youth.
Technique: Rhythmic precision (syncopations), clarity of notes, and variation of touch.
Musicality : Highlight dissonances and polyphonic textures, and don’t hesitate to use sound colors to imitate different instruments.
Famous Recordings
Since Ravel’s La Parade is an early work that was only recently published ( in 2008 ), there are no historical recordings in the strict sense of the term, that is , recordings from the time of composition or from Ravel’s first performers . However , the piece has been included in Ravel ‘s complete piano works, and several performers who have left their mark on this work can be identified .
Reference recordings and notable performances
Alexandre Tharaud (harmonia mundi): Alexandre Tharaud’s recording is often cited as a benchmark . He recorded the piece in his complete works of Ravel for piano, published even before the first official edition of the score. His interpretation is renowned for its clarity, elegance , and sense of color, qualities that perfectly match Ravel ‘s world.
François- Joël Thiollier (Naxos): Thiollier has also recorded a complete set of Ravel’s piano works, including La Parade. His performance is appreciated for its temperament and virtuosity. It is a good example of a more energetic and direct approach.
Aiko Okamoto (ALM Records): In her recording of Ravel’s piano works, Aiko Okamoto offers an interpretation that highlights the richness and complexity of Ravel’s writing, including his early works .
Modern and contemporary interpretations
La Parade is a relatively recent discovery, current performances constitute the “tradition” of the piece . Many young pianists now include it in their recording programs, contributing to its interpretative history. These recordings are often explorations of the piece , seeking to extract its youthful essence and avant-garde spirit. Pianists such as Florian Uhlig have also contributed to the popularity of this work, offering technically impeccable and musicologically informed performances .
Episodes and anecdotes
Being an early work that was only recently published , Ravel ‘s La Parade has a rich history, even if it is not filled with public anecdotes like other famous works. Here are some episodes and anecdotes that shed light on its fascinating journey :
Ravel’s “unfinished project”: Ravel originally intended to collect several of his early piano pieces into a collection entitled Serenade grotesque . La Parade was to be the first piece . However, the composer abandoned the project and left the score aside . This shows how demanding Ravel was of himself , even discarding works that, in hindsight, were already very promising .
Forgotten for a century : After being abandoned by Ravel, La Parade remained in limbo for nearly a hundred years. The manuscript, preserved in the Bibliothèque nationale de France, was known to Ravel specialists, but it had never been published for the general public. It was not until 2008 that the score was published , allowing pianists around the world to finally discover this early work.
The Critical Edition: The publication of La Parade was not without difficulty. Ravel’s manuscript contained erasures and unfinished passages. Musicologists had to do painstaking work to decipher the composer’s handwriting and decide on the best options for a playable version. This work was accomplished by musicologists Douglas Woodfull-Harris and Roger Nichols, who succeeded in restoring a score faithful to Ravel ‘s initial vision.
A “piece for collectors”: Before its official publication, the score of La Parade was a holy grail for Ravel specialists and collectors. Handwritten copies circulated confidentially in select circles. The 2008 edition put an end to this “secret market” and made the work accessible to all.
An insight into the genesis of Ravel’s style: Although an early work, La Parade is an anecdote in itself. It shows that Ravel, at only 21 years old, already had a unique style. The chromatic harmonies, complex syncopations, and orchestral texture of the piano are features that would become trademarks of his mature style. The piece is proof that Ravel’s genius was not the result of sudden enlightenment, but of continuous exploration and work from the beginning .
In short, the story of La Parade is less a story of anecdotes linked to performers than a story of oblivion, rediscovery and posthumous consecration, which allows us to better understand the evolution of Ravel’s genius.
Similar compositions
Due to its unique nature, Ravel’s La Parade is difficult to compare directly to other works, even by the same composer . However, there are a few pieces that share some of its stylistic characteristics or that come from the same period of Ravel’s career .
Ravel’s Piano Works
Grotesque Serenade (1893): This is the sister piece to La Parade . The two works were intended to be part of the same collection . Grotesque Serenade shares with La Parade a playful spirit and polytonal writing, showing the same bold exploration of the limits of classical harmony by the young Ravel.
Antique Minuet (1895): Composed a year before La Parade, this Minuet already displays a very personal writing style , with a clarity of texture and harmony that move away from Romanticism. It shares with La Parade a piano writing that sounds almost orchestral.
Jeux d’eau (1901): Although later and more clearly impressionistic, this work is a major turning point for Ravel. Like La Parade, it is an exploration of piano sound color and virtuosity. It shows how far Ravel had progressed in his ability to evoke images through sound.
Other composers
Erik Satie: Some of Satie’s pieces , notably the Gymnopédies and the Gnossiennes, share with La Parade a spirit of apparent simplicity, beneath which complex structures and harmonies are hidden. Satie, like Ravel, sought to break with the romantic conventions of his time.
Igor Stravinsky: Stravinsky’s early works, such as the Symphony in E-flat major or some of his piano pieces, show a similar interest in percussive rhythms and unconventional harmonies that characterize The Parade.
Emmanuel Chabrier: Ravel was a great admirer of Chabrier. We can find similarities with the energy and exuberance of certain of Chabrier’s pieces , such as the Bourrée fantasque, which share with La Parade a lively rhythm and orchestral color.
(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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