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Overview

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“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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Overview

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“In the Manner of Borodin, M.63/1” is a short piano piece by Maurice Ravel, composed in 1912-1913. It is part of a diptych of humorous pieces or pastiches, the other being “In the Manner of Chabrier”.

is a general overview of this work:

Musical pastiche: As its title suggests, the piece is written ” in the manner of” Borodin, a Russian composer whose music Ravel admired, particularly for its orchestral colors and lyricism. Ravel is not copying an existing work by Borodin, but is imitating his characteristic style.

Style: The piece is often described as a waltz. It evokes the atmosphere and musical idiom of Borodin, with lyrical melodies and a sense of storytelling, although this is handled with Ravel ‘s own finesse and refined harmony .

A nod to Borodin: It contains elements reminiscent of the Russian composer, such as a certain Slavic melancholy, a warm lyricism and a poetic side . Ravel manages to capture the spirit of Borodin while retaining his own musical signature .

Context: These two pieces , “In the manner of Borodin” and “In the manner of Chabrier”, were written at the request of Ravel’s publisher, to be published in a collection of pastiches of French composers of the time, which explains their character of homage and stylistic imitation.

Short and concise: The piece is quite short, like most of the pieces in the collection. It is a miniature, a snapshot of Borodin’s style seen through the prism of Ravel.

In summary , ” In the Manner of Borodin” is a charming musical homage in which Ravel, with his talent as a brilliant forger, manages to embody the lyrical and poetic style of Alexander Borodin while putting his own stamp on it, in a short piece for piano .

History

The story of “In the Manner of Borodin” is closely linked to a friendship and a game of wit between Parisian musicians at the beginning of the 20th century . The idea for the piece did not come from Ravel himself , but from a friend and composer, Alfredo Casella. The latter had already written a series of six musical pastiches in 1911 and proposed to Ravel that he join forces to create a new series of “musical portraits” in the manner of other composers.

Ravel accepted this challenge, choosing two figures he deeply admired: Emmanuel Chabrier, for his French music full of vitality and clarity, and Alexander Borodin, one of the composers of the famous Russian ” Group of Five.” Borodin’s choice was all the more significant because Ravel and his friends, a circle of Parisian artists and intellectuals calling themselves “The Apaches,” had adopted a theme from Borodin’s Second Symphony as their secret rallying sign.

Thus, Ravel composed ” In the Manner of Borodin” in 1912-1913. The piece is a piano waltz, but it is a waltz that has nothing Parisian about it. On the contrary, it is imbued with the lyricism and chromaticism that he associated with Borodin. It contains a Slavic melancholy, a poetic breath and harmonies that evoke the style of the Russian composer, while remaining in the refined and elegant musical language of Ravel .

The piece , along with its companion piece “À la maniere de Chabrier,” was finally published in 1914. They received their public premiere on December 10, 1913 , at the Salle Pleyel, during a concert by the Société musicale ind épendante . This concert marked the birth of this diptych, which was not only a demonstration of pianistic virtuosity, but also an affectionate and humorous tribute to two masters whom Ravel cherished. The piece has since remained a perfect example of Ravel’s genius in appropriating a foreign style and sublimating it with his own signature.

Characteristics of Music

Maurice Ravel’s ” In the Manner of Borodin” is a piece that perfectly illustrates the art of pastiche, where the artist does not simply copy, but imbues himself with the spirit of his model to create an original and personal work. In this short piano waltz, Ravel appropriates Borodin’s musical characteristics with remarkable finesse and intelligence.

The composition is distinguished by several distinctive musical features that echo the style of the Russian composer:

A lyrical and melancholic atmosphere: The piece is imbued with an expressive and warm melody, typical of Borodin’s lyricism, often associated with the Russian soul . Ravel manages to capture this expressiveness with melodic lines that seem to breathe, carried by an “Allegro giusto” tempo that makes them both lively and elegant .

Orchestral Harmonies and Colors: Although the piece is written for solo piano, Ravel uses the keyboard to suggest the sounds of an orchestra. It features rich harmonies and expressive dissonances that are characteristic of Russian Romanticism. The composer frequently uses seventh and ninth chords that create a lush sonic atmosphere and depth of harmony, reminiscent of Borodin’s orchestral writing.

Pedal play and ostinatos: Ravel skillfully uses the sustain pedal to create “harmonic pedals” that give the impression that the melody is floating above a persistent sound base. This technique, combined with repeated rhythmic patterns ( ostinatos), is a nod to Borodin’s writing, particularly the drone effect that gives a sense of anchoring and sonic color.

A Well-Structured Waltz Form: Despite its impressionistic and pastiche character, the piece follows a clear, classical form, a waltz in D – flat major with a binary structure and a coda. This formal clarity is a trademark of Ravel, who, even in his most “impressionistic” works, always retained a keen sense of structure and musical logic, in contrast to the freer style of some of his contemporaries.

In short, “In the Manner of Borodin” is not a simple imitation, but an interpretation of Borodin’s style by a Ravel who has assimilated the elements of his model to merge them with his own writing. The result is a work which, in evoking Russian music, is undeniably and profoundly Ravelian, testifying to his technical mastery and his ability to create unique musical atmospheres .

Style(s), movement(s) and period of composition

Period and Movement

” In the Manner of Borodin” was composed by Maurice Ravel in 1912-1913, which places it at the heart of the period of modern music, more precisely in the last years of Symbolism and musical Impressionism. Ravel is often considered one of the leading figures of these movements, although he always sought to distance himself from labels.

A Dialogue between Tradition and Innovation
The piece is a perfect example of Ravel’s style, which is both innovative and deeply rooted in tradition.

Innovative: The work is innovative in its approach to harmony. Ravel uses complex chords (ninths , elevenths ) , expressive dissonances and superpositions of tones that are characteristic of his style at the time. He moves away from the strict rules of classicism to explore new sounds, much like his Impressionist contemporaries.

Traditional: However, Ravel never abandoned his attachment to classical forms and a certain structural clarity. The piece is a waltz, a traditional form. Moreover, it is a pastiche, that is , a work that imitates the style of another composer. In this case, it is Alexander Borodin, a composer of the Russian Romantic and nationalist period.

A Crossroads of Styles

The piece is a fascinating mix of several influences and styles:

Impressionist and Symbolist: The treatment of the piano, with the use of the pedal and ostinatos to create sound atmospheres and colors, is typically impressionist. The overall mood is more evocative than narrative.

Romantic and Nationalist: Ravel pays homage to Borodin by incorporating elements of his style: lyrical and expressive melodies, a certain Slavic melancholy and a narrative side . It is Borodin’s romantic and nationalist style that is imitated, showing Ravel’s admiration for Russian music.

Neoclassicism : Although it is more clearly identifiable in his later works such as Le Tombeau de Couperin, neoclassicism is already present here through the attachment to a clear, classical form (the waltz) which contrasts with the richness and boldness of the harmony.

In conclusion, “In the Manner of Borodin” is a work that demonstrates the complexity of Ravel’s style. It is both a modern piece , innovative in its harmonic language and sonority, and a traditional homage to a Romantic composer, all within a classical formal framework.

Analysis: Form, Technique(s), Texture, Harmony, Rhythm

Musical Analysis of “In the Manner of Borodin”
Maurice Ravel’s ” In the Manner of Borodin” is a piece that, beneath its simple waltz-like appearance, reveals great technical and structural sophistication. It is a perfect example of Ravel’s ability to imitate a musical style while adding his own signature.

The Method and Techniques
method for this pastiche is that of stylistic imitation. He does not literally copy a Borodin melody, but appropriates the characteristics of his style to transpose them into his own musical language. The main technique is the pianistic transcription of an orchestral thought. Ravel uses the sonorities and dynamics of the piano to evoke the richness and color of a symphony orchestra, in the manner of Borodin, whose music was particularly famous for its instrumentation.

Texture and Shape
The texture of the music is predominantly homophonic, with a clear, expressive melody in the right hand, accompanied by harmonic accompaniment in the left hand. However, moments of subtle polyphony can be heard, particularly when the main melody is doubled or enriched by other melodic lines that move independently .

The form is that of an ABA waltz, with a coda. It is a simple and clear structure, but Ravel adds variations and developments.

Part A: The main waltz is presented , with its lyrical and melancholic melody.

Part B: A more contrasting passage, often more lyrical and with a change of mode (moving from major to minor) or tonality .

Part A’: The return of the main waltz, often with subtle variations in accompaniment or harmony.

Coda: The piece ends with a concluding section which uses waltz motifs.

Harmony, Scale and Rhythm
Key : The main key is D flat major (

D♭
major), a key often associated with lyricism and a certain softness. The piece uses modulations and harmonic borrowings that enrich the sound palette.

Harmony: The harmony is both romantic and modern. Ravel uses seventh and ninth chords that create complex and expressive sound colors. There are also unresolved dissonances and chromaticism that reinforce the melancholic atmosphere of the piece .

Scale: The scale used is the diatonic (major) D-flat scale , but Ravel inserts chromatic notes and motifs that evoke exotic or oriental scales, which is another characteristic of Borodin’s music.

Rhythm: The rhythm is that of a waltz, with a well-marked three-quarter time signature . The tempo is “Allegro giusto,” meaning “fast, but in tune ,” which gives the music a lively yet elegant character . The use of ostinatos in the accompaniment (a repetition of rhythmic patterns) is a technique borrowed from Borodin that adds a hypnotic and lingering character to the piece .

Tutorial, performance tips and important playing points

Introduction

Playing Ravel’s “In the Manner of Borodin” is like engaging in a conversation with two masters . On one side , there is the lyrical passion of Alexander Borodin, and on the other, the refinement and elegance of Ravel. To succeed in this piece , you must find the balance between Russian melancholy and French clarity . Here is a tutorial, performance tips, and key points to guide you.

1. The Lyrical and Flexible Waltz

The piece is a waltz, but it is far from a simple dance piece. Focus on a tempo of “Allegro giusto,” which means “fairly fast, but with a sense of justice and accuracy.” Don’t rush; the lyricism of the melody needs to breathe.

Rubato: Ravel doesn’t specify rubato, but to capture Borodin’s romantic spirit, you can slightly speed up and slow down in certain places. The idea is to make the melody sing, not play it mechanically.

Right hand: The melody should be cantabile, that is , “singing.” Use a deep, supple touch so that each note has weight. Think of the melody like a cello or horn voice in an orchestra, with a full, warm sound.

2. The Rhythm of Accompaniment

The left hand, in addition to providing harmony, maintains the waltz rhythm. Balance is crucial.

The first beat: The first beat of the measure to

3/4

is heavy and accentuated. Give it a boost, but avoid making it too heavy. It should start the movement of the measure.

The second and third beats : The next two beats are lighter and gently accompany the first beat. Think of a pizzicato string or a light cymbal crash. The goal is to create a fluid, danceable rhythm.

The ostinato: Ravel uses a rhythmic ostinato in the first theme . Make sure this ostinato remains steady and stable. It is the foundation upon which the melody unfolds .

3. Harmonies and the Pedal

The piece is rich in harmonies that create a special atmosphere . The pedal is essential to reveal its full splendor.

The “Ravelian sound”: This is the result of judicious use of the pedal . Change pedals with each chord change to avoid muddiness, but keep the fingering legato. Sometimes, one note of the melody is held longer than the others, creating a subtle resonance that adds richness to the harmony.

Dissonances: Ravel uses ninth chords and dissonances to add tension and color. Don’t be afraid of these dissonances. Let them express themselves and resonate; they are an integral part of the beauty of the music.

4. Important Points to Work on

Clarity : Even when using the pedal, always maintain a sense of clarity. Each voice should be audible. Work on the melody and accompaniment separately before combining them.

Character : Beyond technique, interpretation is key. Think about what Ravel is trying to say. It’s a conversation between two eras, two styles. The transition from the lyrical theme to the more intimate and melancholic part must happen naturally.

Dynamics: Ravel’s dynamic indications are precise and must be respected . From “p” to “ff,” each dynamic has a meaning. Don’t overload the interpretation. Subtle nuances are as important as grand flights of fancy.

In short , to succeed with this piece , you must find the right balance between romantic expression and formal clarity . Feel free to listen to recordings of great pianists for inspiration, but don’t forget to find your own voice in this beautiful waltz.

Famous Recordings

Despite being a short piece and often considered a miniature, “In the Manner of Borodin” has been recorded by many great pianists, often as part of complete piano works by Ravel.

famous recordings , classified by type of performance :

Historical and great tradition recordings

These recordings bear witness to a time when performance was often freer and more expressive, with particular attention to poetry and color .

Vlado Perlemuter: He is an essential reference for the complete Ravel works. Perlemuter worked with the composer himself , and his interpretations are therefore of a rare authenticity. His ” In the Manner of Borodin” is both lyrical and crystal clear, with an intimate understanding of Ravel’s nuances.

Robert Casadesus: Another figure of the great French tradition . Casadesus brings an elegance and refinement that are characteristic of the French school , with a perfect mastery of rhythm and a clear and elegant sound .

Samson François : Samson François ‘ interpretation is more romantic and personal. He favors poetry and freedom of phrasing, which gives his version a more pronounced melancholy, entirely in the spirit of Borodin’s pastiche.

Standard and contemporary recordings

These recordings are often the result of a more in-depth search for the composer’s intentions, with great fidelity to the score and impressive technical virtuosity.

Jean-Yves Thibaudet: Thibaudet’s complete Ravel works are highly acclaimed . His playing is both virtuoso and poetic, and his version of “In the Manner of Borodin” is extremely fluid. He highlights the colors and harmonies of the piece with remarkable transparency.

Martha Argerich: Although she did not record Ravel’s complete works , her recordings of his works are legendary. Her fiery and passionate style , combined with impeccable technique, gives a particular intensity to the piece .

Angela Hewitt: Known for her clarity and musical intelligence, Angela Hewitt’s interpretation is a modern reference . She highlights the structure of the piece while respecting its poetic character .

Steven Osborne: His recording is renowned for its impeccable sound and analytically thought-out interpretation , while retaining emotion and poetry. It is often cited as a benchmark for Ravel’s complete piano works.

Seong-Jin Cho: More recently, this recording has been praised for its technical mastery and the maturity of its interpretation, highlighting the orchestral aspect of the piece .

These recordings offer a wide range of interpretations, from the elegant romanticism of the ancient tradition to the analytical clarity of modern interpretations, illustrating the richness of this small work and Ravel’s genius.

Episodes and anecdotes

The story of “In the Manner of Borodin” is dotted with little anecdotes that shed light not only on the piece itself , but also on the mind of its composer, Maurice Ravel, and his entourage.

The Apache War Cry

One of the most famous anecdotes concerns the group of Parisian artists and intellectuals that Ravel frequented at the beginning of the 20th century , who nicknamed themselves “The Apaches.” This name, given to them by a journalist, referred to their character as marginal and rebellious individuals. What is less well known is their secret “war cry”: a musical theme taken from the beginning of Alexander Borodin’s Second Symphony. This theme , played and sung in gratitude, became a symbol of their friendship and admiration for the Russian composer. It was therefore quite natural that Ravel, in accepting the challenge of composing a pastiche, chose Borodin as the subject, in homage to this musical complicity that united them.

The Italian Friend and the Musical Challenge

The very idea for the piece did not come from Ravel, but from one of his friends, the Italian composer Alfredo Casella. Casella had already published his own series of musical pastiches and invited several composers, including Ravel, to join it. Ravel, with his sense of humor and his passion for pastiche (which he had already practiced on other occasions), accepted the challenge with enthusiasm. This gave rise to this diptych, “In the manner of Borodin” and “In the manner of Chabrier,” two pieces that demonstrate his ability to imitate the style of very different composers , one Russian and lyrical, the other French and clear.

Pastiche and authenticity

The most subtle, and most revealing, anecdote of Ravel’s genius is found in the music itself . Ravel, a good “genius forger” as he has often been called, does not simply copy Borodin. He appropriates the style and adds his own touch. The piece is a waltz, a form not particularly associated with Borodin. Ravel uses this popular form to infuse it with the Slavic soul, melancholy, and lyricism characteristic of the Russian composer. It is a work that, on the surface, is by Borodin, but in its harmonic details and fine phrasing, is unmistakably Ravel ‘s . This duality is a musical inside joke for those familiar with the music of both composers.

Creation in peacetime… before the war

The piece was first performed in public in December 1913 at a concert of the Independent Musical Society . It was an event celebrating musicians ‘ friendship, humor, and creativity . No one could have suspected that a year later, the First World War would break out, and that the serenity and frivolity of these artistic exchanges would be swept away by the conflict. “In the Manner of Borodin” therefore remains a testament to an era of peace and carefree artistic creativity that preceded the great upheaval of the 20th century.

Similar compositions

Pastiches and tributes

In the manner of Chabrier, M.63/2 by Maurice Ravel: This is the diptych of the piece . Ravel imitates the energetic, clear and rhythmic style of Emmanuel Chabrier, another composer he admired. The contrast between the two pieces is perfect.

Tributes to a Master by Alfredo Casella: Ravel’s friend who inspired the creation of the diptych. Casella wrote several tributes to composers such as Fauré and Debussy, and his pieces share the same intellectual approach to pastiche.

Forgotten Images of Claude Debussy: Debussy, a contemporary and rival of Ravel, also wrote pieces that borrow from other styles or evoke foreign moods . “Homage to Rameau,” in Images, Book I, is an example of his approach to the past .

Russian influence

Scheherazade, Op. 35 by Nikolai Rimsky -Korsakov: Ravel admired Russian music and, like his friend Borodin, Rimsky-Korsakov was a master of orchestration and oriental lyricism. The orchestral colors and narrative atmosphere of this work have inspired many French composers .

The Poem of Ecstasy, Op. 54 by Alexander Scriabin: Ravel also appreciated Scriabin’s music. Although very different , this work shares with Ravel a great harmonic sophistication and an exploration of sound colors.

Igor Stravinsky’s The Rite of Spring: Although the styles are different, Stravinsky’s work had a huge impact on Ravel and his contemporaries. The bold use of rhythm and the evocation of a mythical past resonate with Ravel’s interest in national music.

Piano pieces and miniatures

Preludes , Book I and Book II by Claude Debussy: Debussy’s preludes are piano miniatures that, like “In the Manner of Borodin,” explore a particular musical idea or atmosphere . They include evocative titles like “The Girl with Flaxen Hair” or “The Hills of Anacapri,” which are similar to the idea of a musical sketch.

Album leaves by Claude Debussy: These little piano pieces are also perfect examples of charming miniatures, which share with Ravel a great finesse of writing .

Fantasy Pieces, Op. 3 by Sergei Rachmaninov: These piano pieces share with “In the Manner of Borodin” a melancholy and lyricism that are characteristic of Russian music.

(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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