Ravels Orchestral Technique

By Geoff Pearce, London, 2010

By studying original orchestral compositions written by Maurice Ravel (1875 - 1937)

and transcriptions of his own music as well as of others, and reflecting upon key
elements of orchestral techniques (using Jacobs introductory passage from
Orchestral technique: a manual for students, and his five fundamental
qualifications, in addition to synthesising various key aspects of orchestration from
Del Mars Anatomy of the orchestra) I hope to bring to light orchestral techniques that
are either unique to Ravel, or that demonstrate, as Stravinsky (Morgan, 1991, p.124)
once pointed out his Swiss watchmaker tendencies. Ravels techniques will also be
placed into a historical and geographical context with influences discussed as well.
Ravels Daphnis et Chlo will be analysed more thoroughly as it is frequently referred
to in academic texts with particular regard to its orchestration, it was written during a
more mature period of Ravels life.

Ravels first piece written specifically for orchestra was Shhrazade, ouverture de
ferie (written 1898). Russ describes Ravels use of block juxtaposition, climaxes
building up through layers and other aspects as elements that reveal a modernist
agenda, owing to Ravels encounters with exotic music (Javanese Gamelan at the
1889 Paris Exhibition for example) and particularly Russian music, through
performances given by Rimsky-Korsakov (Mawer, 2000, p.118). Russ also comments
on Ravels inventive combinations of instruments; the opening of the Persian theme
is restated by piccolo and flute accompanied by an ostinato in low horn, celesta and
harps one of which plays harmonics; the celli play volont; and there is an
antiphonal juxtaposition of bassoon trio plus side drum against clarinets, horns and
tambourine (Mawer, 2000, p.119). Russ also underlines Ravels curiosity and
inclination to experiment with instrumentation, but in doing so; Ravel takes a risk, a
risk which has his use of Juxtaposition criticised for being crude and lacking
refinement of the larger-scale control of register and shape (Mawer, 2000, p.120).
Del Mar highlights confusion caused to performers and conductors, concerning
Ravels depiction of harmonics in the string instruments; so many of his harmonics
purely in diamond heads sometimes lead to undiscovered errors or misprints since the
relationship between written and sounding notes is by no means obvious (1987,
p.117). Del Mars comment is slightly ambiguous however as it does not relate to a
specific work, though it does appear to relate to Shhrazade, ouverture de ferie.
These inaccuracies of Ravels are most likely owing to a lack of orchestral writing
experience. Nevertheless, according to Stuckenschmidt, Ravel creates orchestral
colours in Shhrazade from the soloistic use of the winds, especially the woodwinds
that produce effects of remarkable sonority. The Rapsodie espagnole expands the
areas of these new sounds even more consciously (1969, p.125).

First performed in 1908, consisting entirely of Spanish-style movements, Rapsodie

espagnole (an orchestrated version based on the earlier Habanera) by Ravel
demonstrates a mature understanding of the orchestra. It is conceived with the full
range of orchestral shapes, colours and registers in mind and is unconstrained by
traditional formal procedures (Mawer, 2000, p.119). He prescribes a wide range of
novel techniques for various sections of the orchestra, as well as presenting moderate
challenges for the players. A high F is usually the upper limit of a harps harmonic
capabilities, but in Feria, Ravel stretches the player to G (see example ia). Ravel also
writes simultaneous harmonics for harp too (see example ib). This is telling of his vast
knowledge of what instruments are capable of.

Example ia Rapsodie espagnole, Feria: harp harmonics

Example ib Rapsodie espagnole, Feria: simultaneous harp harmonics

A hint of Ravels enthusiasm for Mozarts music is revealed by his way of prescribing
the use of col legno in Rapsodie espagnole. He instead writes avec le dos de
larchet; akin to Mozarts collarco al roverscio. Rather daringly Ravel directs mf
rather than the usual p (or softer than p) where strings are directed to play on the
bridge for a glissando glissez en affleurant la cord du cote du chevalet. He pushes
the boundaries of what musicians are accustomed to. Another influence at play on his
orchestration here according to Kelly is Stravinsky, in his treatment of wind and
brass (2010).

An example of Ravels meticulous attention to timbre is revealed by his succession of

the two main different types of muting of a wind instrument (in this case the cor
anglais), switching between con sord, whereby the player uses a device to mute the
instrument, and bouch, by which the player uses their hand to mute the instrument.
The difference is extremely subtle. This nevertheless does not deter Ravel from using
them in close proximity (example ii) and exploiting these subtleties. This gives rise to
the question of how necessary the different styles are, though perhaps they become
more distinguishable when they are played swiftly after one another. This could be
considered to be moderately experimental.

Example ii Rapsodie espagnole, Prlude la nuit: muting of the cor anglais.

Kelly (2010) states he was always careful to ensure that the writing for each family
of instruments worked in isolation as well as in the complete ensemble. It isnt
entirely clear in which context Kelly refers to, but one can assume that she is referring
to Ravels scrupulous attention to all aspects of an instruments potential; no
instrument is neglected. This is especially so in Daphnis et Chlo.

Daphnis et Chlo (a choreographic symphony in three movements first performed in

Paris, 1912) opens with extreme delicacy, beauty, warmth and is poised with tension.
From the first bar of the introduction, the muted strings slowly build up upon one
another, along with a pianissimo timpani roll. Then just before the flute solo begins,
the muted cor anglais undulate between two chords. All of the accompanying
instruments to the flute solo are muted with either pianissimo or pianississimo
prescribed. Del Mar suggests that the slender style of flute tone is often thought of as
belonging to the French school of playing, particularly its lithe quality (1987, p.166).

Not long after Debussy pioneered the use of a wordless orchestra in Sirnes, Ravel
too utilises the quasi-instrumental chorus effect, to add colour to his orchestral
spectrum (Del Mar, 1987, p.499). Ravel even goes to the extent of muting the chorus
at one stage; bouches fermes (three measures in from figure ten); somewhat novel
at the time.

At figure twelve Ravel gradually opens up and exposes the orchestra by writing Otez
les Sourd. for violas and second violins, then several measures afterwards the double
basses are directed to gradually remove their mutes (enlevez les sourdines par pupitre
jusqu'a), and the celli and first violins Otez les Sourd.. The choir is directed to
open mouths (Bouches ouvertes). Similar prescriptions are in place for the wind
instruments too.

Ravels rather unique choice and implementation of instruments in Daphnis et Chlo

is certainly that of a modern sounding orchestra and composer. Del Mar remarks that
Ravels use of the wind machine (Eoliphone) is used merely as colour, on top of an
already composed piece of music (1987, p.423). A frequent choice in Debussys
orchestral music was the use of the antique symbol, it too appears in Daphnis et
Chlo. An unusual choice of instrument was the sarrusophone. It appears in Rapsodie
espagnole more frequently than in Daphnis et Chlo; where it seems only to appear
on one page as a momentary replacement for the double bassoon (Del Mar, 1987,
p.423). Castanets which when used in a classical orchestra tend to suggest a Spanish
theme, are used here however with Basque drums to evoke scenes from ancient
Greece.

Perhaps one of the most illustrative and impressionistic sections from Daphnis et
Chlo is the daybreak scene, figure 155 (Part III. no sound but the murmur of streams
collected by the dew dripping from rocks). Ravel portrays daybreak with rapid
arpeggios in the harp, alternating doubled flutes and A clarinets, muted violas, celli
double basses, violins, all of which are instructed to remove their mutes one by one up
to and by figure 156. The violins are perhaps muted for the longest duration so that
they do not overwhelm the other higher register instruments; thus forming a fine
tapestry of timbre and demonstrating Ravels aural imagination. Stuckenschmidt
interprets the music as masterfully extended and subliminated chamber music
through the domination of the harp, flute and clarinet (1969, p.126). The double bass
and celli function as a sonorous backdrop, suggestive of the horizon. Muted horns
playing tritones accompany the doubled clarinets. Gradually as day begins to break,
more swift arpeggios sound from the celesta that plays with the flute, revealing more
light. At figure 156 in the score Ravel writes gradually day breaks and after one
measure one hears birdsong (see example iii). At this point the birdsong is vividly
represented by solos from various higher registered instruments. The violins warble
harmonics and the piccolo then flute tweets. The double bass and celli begin an
ascent, rendering the rising sun. From figure 155 to 157 all instruments increase their
dynamic values and the majority ascend in pitch.
Example iii Daphnis et Chlo: complex tapestry of orchestral colours.

Stuckenschmidt contrasts Ravels orchestra with Debussys veil over sound and
Strausss brutal energy. Ravels is laid on with a most sharply pointed brush, which
makes for a penetrating sound impression (1969, p.127). According to
Stuckenschmidt Ravel achieves this by not favouring the more characteristic or
striking colours of the instruments, he requires the service of the players to produce
pure colours (1969, p.127); this being another subtlety of Ravels. Ravels tapestry of
timbre is vivid; each instrument can be heard clearly within the tapestry, but none of
the instruments (colours) protrude insubordinately, they are together, yet retain their
distinction. Similar to Debussys Prelude a l'apres-midi d'un faune, Ravel gives the
main orchestral roles to the wind family. The strings act generally as sonorous
foundations to the music.

A parallel is drawn between Gustave Mahler and Ravel, whereupon they both have
soloistic tendencies in their music, Stuckenschmidt comments that their application of
these soloistic colours is reckless and bold, and that these tendencies were rarely seen
since concerted music of the seventeenth century (1969, p.126). Both composers are
said to group entire choirs of instruments, but this is interpreted as an extension of
their soloistic inclinations.

There are examples of very unusual techniques applied to various instruments. Ravel
writes natural harmonics for trombone (example iv). These notes are intended to be
played without the use of the slide, although Ravel does not, unlike Vaughan
Williams stipulate that the notes should sound out of tune (Del Mar, 1987, p.322).

Example iv Daphnis et Chlo: natural harmonics on trombone.

A series of flute harmonics appears too, at figure forty four; this being another very
subtle orchestral technique of Ravels. The main difference in sound is that the flute
loses the typical vibrato quality; it produces a simpler tone.

Ravel paid enormous detail to every instruments capabilities that he wrote for. He
took into account all aspects of an instruments articulation, timbre, dynamics, register
and technique, rarely allowing for ambiguity in his writing. Kelly suggests that Ravel
regarded orchestration as a task separate from composition, involving distinct
technical skills (2010); an observation that gives rise to many questions. How can
one compose music for orchestra without considering which instrument one is writing
for? For instance Ravel is considered generally as a tonal composer. The tritone
harmony played by French horns that appears for example in Daphnis et Chlo is
woven in very subtly, buried rather deeply amongst other colours. But, was it his
compositional use of harmony that determined the choice of instrument and its
prescription, or, was there another, orchestral purpose for the moment?

Although Ravel wasnt on the whole concerned with French nationalism, his music
nevertheless reflected French idiosyncrasies, his use of the orchestra being a dominant
aspect. In parts, Daphnis et Chlo reveals impressionism in Ravels style of
orchestration, using various qualities from instruments as well as combinations to
evoke powerful scenes and sentiment. He instruments and applies the harp, antique
cymbal or the wind machine as splashes of colour.

Ravel wasnt merely a craftsman of sound, but an artistic experimenter too. He

pioneered the prepared piano (piano (luthal)) for instance, in LEnfant et les
Sortilges. He suggested that if one does not have the piano with the extra pedal that
they can place paper on the strings to create the effect (Del Mar, 1987, p.468).

There is a degree of romanticism in Ravels writing. Kelly remarks that his orchestral
textures are exuberant (2010). There are powerful tensions between the Romantic
idiom and classical restraint (Kelly, 2010). Ravels scores are exceptionally lucid,
which is evident in the listening of his orchestral music. The clarity of sound and lines
that are produced are all due to Ravels many hours spent transcribing various works,
and his fascination with mechanical precision.
 Bibliography

Books

MAWER, D. (2000). The Cambridge companion to Ravel. Cambridge companions to

music. New York, Cambridge University Press.

DEL MAR, N. (1987). Anatomy of the orchestra. Berkeley, University of California

Press.

JACOB, G. (1982). Orchestral technique: a manual for students. London, Oxford

University Press.

LARNER, G. (1996). Maurice Ravel. 20th-century composers. London, Phaidon.

STUCKENSCHMIDT, H. H. (1969). Maurice Ravel: variations on his life and work.

London, Calder & Boyars.

MORGAN, R. P. (1991). Twentieth-century music: a history of musical style in

modern Europe and America. The Norton introduction to music history. New York,
Norton.

WHITTALL, A., & WHITTALL, A. (1999). Musical composition in the twentieth

century. New York, Oxford University Press.

Online

KELLY, B. L. Ravel, Maurice. [online], Grove Music Online. Oxford Music Online,
available at: http://www.oxfordmusiconline.com/subscriber/article/grove/music/52145
(accessed Jan 13, 2010).