Noisette, Philippe. “Marina Abramovic Enflamme le Boléro ...
The Power of Orchestration in Ravel’s Boléro
-
Upload
kyle-vanderburg -
Category
Documents
-
view
160 -
download
4
Transcript of The Power of Orchestration in Ravel’s Boléro
Kyle VanderburgApril 28, 2012
MUTH5863-Advanced Orchestration
The Power of Orchestration in Ravel’s Boléro
Maurice Ravel’s best-known work, Boléro, is a straightforward work for orchestra that
keeps listeners engaged primarily through its orchestration. Originally written as a ballet,
Boléro consists of three significant elements; an ostinato that first appears in the snare drum
in measure one1, a quarter/eighth accompaniment that first appears in the violas and cellos
in measure one, and a sixteen-measure theme that first appears in the first flute in measure
five. Apart from the reorchestration of the theme, the only development of material is
through volume. The work begins with viola, cello, snare drum, and flute all playing
pianissimo, and crescendos by way of written dynamics (pp to ff) and instrumental density.
The work is almost entirely in the key of C major, except for a brief period of E major at
rehearsal 18 through the eighth measure of rehearsal 18. With the majority of musical
attributes in stasis, this allows Ravel to focus almost entirely on orchestration to create
tension throughout Boléro.
Structure
The main theme of Boléro (figure 2) is composed in such a way as to contrast with
the strict snare drum ostinato (figure 1). The ostinato is in strict time, with the metric feel
clearly established, and together with the quarter- and eighth-note accompaniment, serves
as a static pad upon which the main theme is presented. While this material is not the
primary focus of the work, Ravel’s treatment of it is similar to his treatment of the primary
theme. The theme is first presented in the snare drum, then moves to flute, to bassoon, and
with each repetition to louder and more numerous instruments.
Figure 1
1 All measure numbers/page numbers refer to the Kalmus Orchestra Library edition.
The main theme contrasts with the strict time seen in the accompanimental passages
in two rhythmic ways. First, the sixteenth-note triplets that appear in the ostinato are not
present in the theme, and second, the theme includes several instances of hiding the
barlines, as seen between measures three-four, four-five, seven-eight, and 10-11. This
provides tension between the two forces, in which the melodicism of the theme tries to
break free of the strict timekeeping of the accompaniment.2 As seen with the ostinato, this
theme first appears in the flute, and slowly moves through the orchestra, being passed
around increasingly louder instruments in larger numbers.
Figure 2
Orchestral Size
Ravel presents this material using an expanded orchestra. The score to Boléro calls
for, in addition to the standard orchestral instrumentation, oboe d’amour, English horn, E-flat
clarinet, piccolo trumpet, a saxophone section (consisting of sopranino, soprano, and tenor),
and celeste. This expanded palette of orchestral color (including one of the first instances of
2 Deborah Mawer, The ballets of Maurice Ravel(Burlington, Ashgate, 2006), 223.
saxophone usage in orchestral repertoire) allows Ravel to utilize new solo instruments and
blend unique combinations of new and old instruments.
Density of Orchestration
The chief way that Ravel creates interest in Boléro is through orchestral density.
Similar to the dynamic structure of the work, Boléro is orchestrated by slowly expanding the
size of the orchestra, creating a wedge-shaped form. For example, the primary theme first
appears in the first flute in measure five, moves to the first clarinet two measures after
rehearsal 1, continues to the first bassoon two measures after rehearsal 2, and makes its
way to increasingly louder, more numerous, and lower pitched instruments. From the
bassoon it is passed back to the clarinet (reh. 3 measure 3), to the oboe d’amour (reh. 4 m.
3), flute and trumpet (reh. 5 m. 3), tenor saxophone (reh. 6 m. 3), sopranino saxophone
(reh. 7 m. 3), flutes, horns, and celesta (reh. 8 m. 3). The textural crescendo builds in this
manner to the final iteration of the primary theme, which includes flutes, piccolo, trumpets,
piccolo trumpet, first trombone, saxophones, and first violins. While these instruments all
play the primary theme, they are not necessarily in the same key. For example, in the last
iteration of the tune, Ravel places the theme in thirds, creating a thicker sound.
Comparison to Advanced Orchestration Techniques
As part of this final project, the author composed a significantly shorter orchestral
work which, like Boléro , primarily utilizes a single theme. This shorter work, Palilalia3, was
composed prior to this analysis of Boléro , and used techniques covered in this course. For
example, Palilalia at times utilizes the klangfarbenmelodie of Berlioz4, while Boléro presents
the primary theme intact every iteration. While this technique was not used by Ravel,
several others presented in this course were utilized. Palilalia strives to keep the separation
of tone color in the beginning sections by reducing the primary theme to one player
(measures 5-20, 66-81), much like Ravel starts Boléro with the theme in the first flute
(measures 5-20) and then moves on to the first clarinet (measures 22-38). Additionally,
3 A speech defect marked by abnormal repetition of syllables, words, or phrases.4 Measures 85-95 in Palilalia, movement IV, measures 77-87 in Symphonie Fantastique.
portions of Boléro operate in the Brahmsian method of attempting to mask the barline (as
mentioned above, which is unsuccessful due to the steady ostinato rhythm), while Palilalia
plays with time in a similar method by including tied notes, beginning the melody on a weak
beat, stretto5, and infrequent time changes. Neither Palilalia nor Boléro appear to break any
new ground in unusual methods of orchestra writing, as both works are straightforward and
even pedestrian in their usual usage of usual instruments.
Boléro, as a study in orchestration, exemplifies many techniques of orchestration as
seen in the works of Debussy, Berlioz, Brahms, and Beethoven. However, due to the nature
of the work as being “a score without music6,” there are issues of form and musicality that
cannot be addressed through the work’s method of orchestration.
Maurice7 Ravel’s best-known work, Boléro, is a straightforward work for
orchestra that keeps listeners engaged primarily through its orchestration.
Originally written as a ballet, Boléro consists of three significant elements; an
ostinato that first appears in the snare drum in measure one, a
quarter/eighth accompaniment that first appears in the violas and cellos in
measure one, and a sixteen-measure theme that first appears in the first
flute in measure five. Apart from the reorchestration of the theme, the only
development of material is through volume. The work begins with viola,
cello, snare drum, and flute all playing pianissimo, and crescendos by way of
written dynamics (pp to ff) and instrumental density. The work is almost
entirely in the key of C major, except for a brief period of E major at
rehearsal 18 through the eighth measure of rehearsal 18. With the majority
of musical attributes in stasis, this allows Ravel to focus almost entirely on
orchestration to create tension throughout Boléro.
Structure
5 Though stretto was used to great effect by Debussy, it is somewhat less effective in Palilalia to obscure seams.6 Deborah Mawer, The ballets of Maurice Ravel(Burlington, Ashgate, 2006), 220.7 At this point, the essay simply repeats itself, over and over, in a slightly larger and/or different font. Not unlike Bolero.
The main theme of Boléro (figure 2) is composed in such a way as to
contrast with the strict snare drum ostinato (figure 1). The ostinato is in strict
time, with the metric feel clearly established, and together with the quarter-
and eighth-note accompaniment, serves as a static pad upon which the main
theme is presented. While this material is not the primary focus of the work,
Ravel’s treatment of it is similar to his treatment of the primary theme. The
theme is first presented in the snare drum, then moves to flute, to bassoon,
and with each repetition to louder and more numerous instruments.
Figure 3
The main theme contrasts with the strict time seen in the
accompanimental passages in two rhythmic ways. First, the sixteenth-note
triplets that appear in the ostinato are not present in the theme, and second,
the theme includes several instances of hiding the barlines, as seen between
measures three-four, four-five, seven-eight, and 10-11. This provides tension
between the two forces, in which the melodicism of the theme tries to break
free of the strict timekeeping of the accompaniment. As seen with the
ostinato, this theme first appears in the flute, and slowly moves through the
orchestra, being passed around increasingly louder instruments in larger
numbers.
Figure 4
Orchestral Size
Ravel presents this material using an expanded orchestra. The score to
Boléro calls for, in addition to the standard orchestral instrumentation, oboe
d’amour, English horn, E-flat clarinet, piccolo trumpet, a saxophone section
(consisting of sopranino, soprano, and tenor), and celeste. This expanded
palette of orchestral color (including one of the first instances of saxophone
usage in orchestral repertoire) allows Ravel to utilize new solo instruments
and blend unique combinations of new and old instruments.
Density of Orchestration
The chief way that Ravel creates interest in Boléro is through
orchestral density. Similar to the dynamic structure of the work, Boléro is
orchestrated by slowly expanding the size of the orchestra, creating a
wedge-shaped form. For example, the primary theme first appears in the
first flute in measure five, moves to the first clarinet two measures after
rehearsal 1, continues to the first bassoon two measures after rehearsal 2,
and makes its way to increasingly louder, more numerous, and lower pitched
instruments. From the bassoon it is passed back to the clarinet (reh. 3
measure 3), to the oboe d’amour (reh. 4 m. 3), flute and trumpet (reh. 5 m.
3), tenor saxophone (reh. 6 m. 3), sopranino saxophone (reh. 7 m. 3), flutes,
horns, and celesta (reh. 8 m. 3). The textural crescendo builds in this manner
to the final iteration of the primary theme, which includes flutes, piccolo,
trumpets, piccolo trumpet, first trombone, saxophones, and first violins.
While these instruments all play the primary theme, they are not necessarily
in the same key. For example, in the last iteration of the tune, Ravel places
the theme in thirds, creating a thicker sound.
Comparison to Advanced Orchestration Techniques
As part of this final project, the author composed a significantly shorter
orchestral work which, like Boléro , primarily utilizes a single theme. This
shorter work, Palilalia, was composed prior to this analysis of Boléro , and
used techniques covered in this course. For example, Palilalia at times
utilizes the klangfarbenmelodie of Berlioz, while Boléro presents the primary
theme intact every iteration. While this technique was not used by Ravel,
several others presented in this course were utilized. Palilalia strives to keep
the separation of tone color in the beginning sections by reducing the
primary theme to one player (measures 5-20, 66-81), much like Ravel starts
Boléro with the theme in the first flute (measures 5-20) and then moves on
to the first clarinet (measures 22-38). Additionally, portions of Boléro operate
in the Brahmsian method of attempting to mask the barline (as mentioned
above, which is unsuccessful due to the steady ostinato rhythm), while
Palilalia plays with time in a similar method by including tied notes,
beginning the melody on a weak beat, stretto, and infrequent time changes.
Neither Palilalia nor Boléro appear to break any new ground in unusual
methods of orchestra writing, as both works are straightforward and even
pedestrian in their usual usage of usual instruments.
Boléro, as a study in orchestration, exemplifies many techniques of
orchestration as seen in the works of Debussy, Berlioz, Brahms, and
Beethoven. However, due to the nature of the work as being “a score without
music,” there are issues of form and musicality that cannot be addressed
through the work’s method of orchestration.
Maurice Ravel’s best-known work, Boléro, is a
straightforward work for orchestra that keeps listeners engaged
primarily through its orchestration. Originally written as a ballet,
Boléro consists of three significant elements; an ostinato that
first appears in the snare drum in measure one, a quarter/eighth
accompaniment that first appears in the violas and cellos in
measure one, and a sixteen-measure theme that first appears in
the first flute in measure five. Apart from the reorchestration of
the theme, the only development of material is through volume.
The work begins with viola, cello, snare drum, and flute all
playing pianissimo, and crescendos by way of written dynamics
(pp to ff) and instrumental density. The work is almost entirely
in the key of C major, except for a brief period of E major at
rehearsal 18 through the eighth measure of rehearsal 18. With
the majority of musical attributes in stasis, this allows Ravel to
focus almost entirely on orchestration to create tension
throughout Boléro.
Structure
The main theme of Boléro (figure 2) is composed in such a
way as to contrast with the strict snare drum ostinato (figure 1).
The ostinato is in strict time, with the metric feel clearly
established, and together with the quarter- and eighth-note
accompaniment, serves as a static pad upon which the main
theme is presented. While this material is not the primary focus
of the work, Ravel’s treatment of it is similar to his treatment of
the primary theme. The theme is first presented in the snare
drum, then moves to flute, to bassoon, and with each repetition
to louder and more numerous instruments.
Figure 5
The main theme contrasts with the strict time seen in the
accompanimental passages in two rhythmic ways. First, the
sixteenth-note triplets that appear in the ostinato are not present
in the theme, and second, the theme includes several instances
of hiding the barlines, as seen between measures three-four,
four-five, seven-eight, and 10-11. This provides tension between
the two forces, in which the melodicism of the theme tries to
break free of the strict timekeeping of the accompaniment. As
seen with the ostinato, this theme first appears in the flute, and
slowly moves through the orchestra, being passed around
increasingly louder instruments in larger numbers.
Figure 6
Orchestral Size
Ravel presents this material using an expanded orchestra.
The score to Boléro calls for, in addition to the standard
orchestral instrumentation, oboe d’amour, English horn, E-flat
clarinet, piccolo trumpet, a saxophone section (consisting of
sopranino, soprano, and tenor), and celeste. This expanded
palette of orchestral color (including one of the first instances of
saxophone usage in orchestral repertoire) allows Ravel to utilize
new solo instruments and blend unique combinations of new and
old instruments.
Density of Orchestration
The chief way that Ravel creates interest in Boléro is
through orchestral density. Similar to the dynamic structure of
the work, Boléro is orchestrated by slowly expanding the size of
the orchestra, creating a wedge-shaped form. For example, the
primary theme first appears in the first flute in measure five,
moves to the first clarinet two measures after rehearsal 1,
continues to the first bassoon two measures after rehearsal 2,
and makes its way to increasingly louder, more numerous, and
lower pitched instruments. From the bassoon it is passed back to
the clarinet (reh. 3 measure 3), to the oboe d’amour (reh. 4 m. 3),
flute and trumpet (reh. 5 m. 3), tenor saxophone (reh. 6 m. 3),
sopranino saxophone (reh. 7 m. 3), flutes, horns, and celesta
(reh. 8 m. 3). The textural crescendo builds in this manner to the
final iteration of the primary theme, which includes flutes,
piccolo, trumpets, piccolo trumpet, first trombone, saxophones,
and first violins. While these instruments all play the primary
theme, they are not necessarily in the same key. For example, in
the last iteration of the tune, Ravel places the theme in thirds,
creating a thicker sound.
Comparison to Advanced Orchestration Techniques
As part of this final project, the author composed a
significantly shorter orchestral work which, like Boléro ,
primarily utilizes a single theme. This shorter work, Palilalia, was
composed prior to this analysis of Boléro , and used techniques
covered in this course. For example, Palilalia at times utilizes
the klangfarbenmelodie of Berlioz, while Boléro presents the
primary theme intact every iteration. While this technique was
not used by Ravel, several others presented in this course were
utilized. Palilalia strives to keep the separation of tone color in
the beginning sections by reducing the primary theme to one
player (measures 5-20, 66-81), much like Ravel starts Boléro with
the theme in the first flute (measures 5-20) and then moves on to
the first clarinet (measures 22-38). Additionally, portions of
Boléro operate in the Brahmsian method of attempting to mask
the barline (as mentioned above, which is unsuccessful due to
the steady ostinato rhythm), while Palilalia plays with time in a
similar method by including tied notes, beginning the melody on
a weak beat, stretto, and infrequent time changes. Neither
Palilalia nor Boléro appear to break any new ground in unusual
methods of orchestra writing, as both works are straightforward
and even pedestrian in their usual usage of usual instruments.
Boléro, as a study in orchestration, exemplifies many
techniques of orchestration as seen in the works of Debussy,
Berlioz, Brahms, and Beethoven. However, due to the nature of
the work as being “a score without music,” there are issues of
form and musicality that cannot be addressed through the work’s
method of orchestration.
Maurice Ravel’s best-known work, Boléro, is a straightforward work for
orchestra that keeps listeners engaged primarily through its orchestration.
Originally written as a ballet, Boléro consists of three significant elements; an
ostinato that first appears in the snare drum in measure one, a quarter/eighth
accompaniment that first appears in the violas and cellos in measure one, and
a sixteen-measure theme that first appears in the first flute in measure five.
Apart from the reorchestration of the theme, the only development of material
is through volume. The work begins with viola, cello, snare drum, and flute all
playing pianissimo, and crescendos by way of written dynamics (pp to ff) and
instrumental density. The work is almost entirely in the key of C major, except
for a brief period of E major at rehearsal 18 through the eighth measure of
rehearsal 18. With the majority of musical attributes in stasis, this allows
Ravel to focus almost entirely on orchestration to create tension throughout
Boléro.
Structure
The main theme of Boléro (figure 2) is composed in such a way as to
contrast with the strict snare drum ostinato (figure 1). The ostinato is in strict
time, with the metric feel clearly established, and together with the quarter-
and eighth-note accompaniment, serves as a static pad upon which the main
theme is presented. While this material is not the primary focus of the work,
Ravel’s treatment of it is similar to his treatment of the primary theme. The
theme is first presented in the snare drum, then moves to flute, to bassoon,
and with each repetition to louder and more numerous instruments.
Figure 7
The main theme contrasts with the strict time seen in the
accompanimental passages in two rhythmic ways. First, the sixteenth-note
triplets that appear in the ostinato are not present in the theme, and second,
the theme includes several instances of hiding the barlines, as seen between
measures three-four, four-five, seven-eight, and 10-11. This provides tension
between the two forces, in which the melodicism of the theme tries to break
free of the strict timekeeping of the accompaniment. As seen with the ostinato,
this theme first appears in the flute, and slowly moves through the orchestra,
being passed around increasingly louder instruments in larger numbers.
Figure 8
Orchestral Size
Ravel presents this material using an expanded orchestra. The score to
Boléro calls for, in addition to the standard orchestral instrumentation, oboe
d’amour, English horn, E-flat clarinet, piccolo trumpet, a saxophone section
(consisting of sopranino, soprano, and tenor), and celeste. This expanded
palette of orchestral color (including one of the first instances of saxophone
usage in orchestral repertoire) allows Ravel to utilize new solo instruments
and blend unique combinations of new and old instruments.
Density of Orchestration
The chief way that Ravel creates interest in Boléro is through orchestral
density. Similar to the dynamic structure of the work, Boléro is orchestrated
by slowly expanding the size of the orchestra, creating a wedge-shaped form.
For example, the primary theme first appears in the first flute in measure five,
moves to the first clarinet two measures after rehearsal 1, continues to the
first bassoon two measures after rehearsal 2, and makes its way to
increasingly louder, more numerous, and lower pitched instruments. From the
bassoon it is passed back to the clarinet (reh. 3 measure 3), to the oboe
d’amour (reh. 4 m. 3), flute and trumpet (reh. 5 m. 3), tenor saxophone (reh. 6
m. 3), sopranino saxophone (reh. 7 m. 3), flutes, horns, and celesta (reh. 8 m.
3). The textural crescendo builds in this manner to the final iteration of the
primary theme, which includes flutes, piccolo, trumpets, piccolo trumpet, first
trombone, saxophones, and first violins. While these instruments all play the
primary theme, they are not necessarily in the same key. For example, in the
last iteration of the tune, Ravel places the theme in thirds, creating a thicker
sound.
Comparison to Advanced Orchestration Techniques
As part of this final project, the author composed a significantly shorter
orchestral work which, like Boléro , primarily utilizes a single theme. This
shorter work, Palilalia, was composed prior to this analysis of Boléro , and
used techniques covered in this course. For example, Palilalia at times utilizes
the klangfarbenmelodie of Berlioz, while Boléro presents the primary theme
intact every iteration. While this technique was not used by Ravel, several
others presented in this course were utilized. Palilalia strives to keep the
separation of tone color in the beginning sections by reducing the primary
theme to one player (measures 5-20, 66-81), much like Ravel starts Boléro
with the theme in the first flute (measures 5-20) and then moves on to the
first clarinet (measures 22-38). Additionally, portions of Boléro operate in the
Brahmsian method of attempting to mask the barline (as mentioned above,
which is unsuccessful due to the steady ostinato rhythm), while Palilalia plays
with time in a similar method by including tied notes, beginning the melody
on a weak beat, stretto, and infrequent time changes. Neither Palilalia nor
Boléro appear to break any new ground in unusual methods of orchestra
writing, as both works are straightforward and even pedestrian in their usual
usage of usual instruments.
Boléro, as a study in orchestration, exemplifies many techniques of
orchestration as seen in the works of Debussy, Berlioz, Brahms, and
Beethoven. However, due to the nature of the work as being “a score without
music,” there are issues of form and musicality that cannot be addressed
through the work’s method of orchestration.
Maurice Ravel’s best-known work, Boléro, is a
straightforward work for orchestra that keeps
listeners engaged primarily through its
orchestration. Originally written as a ballet, Boléro
consists of three significant elements; an ostinato
that first appears in the snare drum in measure
one, a quarter/eighth accompaniment that first
appears in the violas and cellos in measure one,
and a sixteen-measure theme that first appears in
the first flute in measure five. Apart from the
reorchestration of the theme, the only
development of material is through volume. The
work begins with viola, cello, snare drum, and flute
all playing pianissimo, and crescendos by way of
written dynamics (pp to ff) and instrumental
density. The work is almost entirely in the key of C
major, except for a brief period of E major at
rehearsal 18 through the eighth measure of
rehearsal 18. With the majority of musical
attributes in stasis, this allows Ravel to focus
almost entirely on orchestration to create tension
throughout Boléro.
Structure
The main theme of Boléro (figure 2) is
composed in such a way as to contrast with the
strict snare drum ostinato (figure 1). The ostinato
is in strict time, with the metric feel clearly
established, and together with the quarter- and
eighth-note accompaniment, serves as a static pad
upon which the main theme is presented. While
this material is not the primary focus of the work,
Ravel’s treatment of it is similar to his treatment
of the primary theme. The theme is first presented
in the snare drum, then moves to flute, to bassoon,
and with each repetition to louder and more
numerous instruments.
Figure 9
The main theme contrasts with the strict time
seen in the accompanimental passages in two
rhythmic ways. First, the sixteenth-note triplets
that appear in the ostinato are not present in the
theme, and second, the theme includes several
instances of hiding the barlines, as seen between
measures three-four, four-five, seven-eight, and
10-11. This provides tension between the two
forces, in which the melodicism of the theme tries
to break free of the strict timekeeping of the
accompaniment. As seen with the ostinato, this
theme first appears in the flute, and slowly moves
through the orchestra, being passed around
increasingly louder instruments in larger numbers.
Figure 10
Orchestral Size
Ravel presents this material using an
expanded orchestra. The score to Boléro calls for,
in addition to the standard orchestral
instrumentation, oboe d’amour, English horn, E-flat
clarinet, piccolo trumpet, a saxophone section
(consisting of sopranino, soprano, and tenor), and
celeste. This expanded palette of orchestral color
(including one of the first instances of saxophone
usage in orchestral repertoire) allows Ravel to
utilize new solo instruments and blend unique
combinations of new and old instruments.
Density of Orchestration
The chief way that Ravel creates interest in
Boléro is through orchestral density. Similar to the
dynamic structure of the work, Boléro is
orchestrated by slowly expanding the size of the
orchestra, creating a wedge-shaped form. For
example, the primary theme first appears in the
first flute in measure five, moves to the first
clarinet two measures after rehearsal 1, continues
to the first bassoon two measures after rehearsal
2, and makes its way to increasingly louder, more
numerous, and lower pitched instruments. From
the bassoon it is passed back to the clarinet (reh. 3
measure 3), to the oboe d’amour (reh. 4 m. 3),
flute and trumpet (reh. 5 m. 3), tenor saxophone
(reh. 6 m. 3), sopranino saxophone (reh. 7 m. 3),
flutes, horns, and celesta (reh. 8 m. 3). The
textural crescendo builds in this manner to the
final iteration of the primary theme, which includes
flutes, piccolo, trumpets, piccolo trumpet, first
trombone, saxophones, and first violins. While
these instruments all play the primary theme, they
are not necessarily in the same key. For example,
in the last iteration of the tune, Ravel places the
theme in thirds, creating a thicker sound.
Comparison to Advanced Orchestration Techniques
As part of this final project, the author
composed a significantly shorter orchestral work
which, like Boléro , primarily utilizes a single
theme. This shorter work, Palilalia, was composed
prior to this analysis of Boléro , and used
techniques covered in this course. For example,
Palilalia at times utilizes the klangfarbenmelodie
of Berlioz, while Boléro presents the primary
theme intact every iteration. While this technique
was not used by Ravel, several others presented in
this course were utilized. Palilalia strives to keep
the separation of tone color in the beginning
sections by reducing the primary theme to one
player (measures 5-20, 66-81), much like Ravel
starts Boléro with the theme in the first flute
(measures 5-20) and then moves on to the first
clarinet (measures 22-38). Additionally, portions of
Boléro operate in the Brahmsian method of
attempting to mask the barline (as mentioned
above, which is unsuccessful due to the steady
ostinato rhythm), while Palilalia plays with time in
a similar method by including tied notes, beginning
the melody on a weak beat, stretto, and infrequent
time changes. Neither Palilalia nor Boléro appear
to break any new ground in unusual methods of
orchestra writing, as both works are
straightforward and even pedestrian in their usual
usage of usual instruments.
Boléro, as a study in orchestration, exemplifies
many techniques of orchestration as seen in the
works of Debussy, Berlioz, Brahms, and Beethoven.
However, due to the nature of the work as being “a
score without music,” there are issues of form and
musicality that cannot be addressed through the
work’s method of orchestration.
Maurice Ravel’s best-known work, Boléro, is a
straightforward work for orchestra that keeps listeners
engaged primarily through its orchestration. Originally
written as a ballet, Boléro consists of three significant
elements; an ostinato that first appears in the snare drum
in measure one, a quarter/eighth accompaniment that
first appears in the violas and cellos in measure one, and
a sixteen-measure theme that first appears in the first
flute in measure five. Apart from the reorchestration of
the theme, the only development of material is through
volume. The work begins with viola, cello, snare drum,
and flute all playing pianissimo, and crescendos by way
of written dynamics (pp to ff) and instrumental density.
The work is almost entirely in the key of C major, except
for a brief period of E major at rehearsal 18 through the
eighth measure of rehearsal 18. With the majority of
musical attributes in stasis, this allows Ravel to focus
almost entirely on orchestration to create tension
throughout Boléro.
Structure
The main theme of Boléro (figure 2) is composed in
such a way as to contrast with the strict snare drum
ostinato (figure 1). The ostinato is in strict time, with the
metric feel clearly established, and together with the
quarter- and eighth-note accompaniment, serves as a
static pad upon which the main theme is presented.
While this material is not the primary focus of the work,
Ravel’s treatment of it is similar to his treatment of the
primary theme. The theme is first presented in the snare
drum, then moves to flute, to bassoon, and with each
repetition to louder and more numerous instruments.
Figure 11
The main theme contrasts with the strict time seen in
the accompanimental passages in two rhythmic ways.
First, the sixteenth-note triplets that appear in the
ostinato are not present in the theme, and second, the
theme includes several instances of hiding the barlines,
as seen between measures three-four, four-five, seven-
eight, and 10-11. This provides tension between the two
forces, in which the melodicism of the theme tries to
break free of the strict timekeeping of the
accompaniment. As seen with the ostinato, this theme
first appears in the flute, and slowly moves through the
orchestra, being passed around increasingly louder
instruments in larger numbers.
Figure 12
Orchestral Size
Ravel presents this material using an expanded
orchestra. The score to Boléro calls for, in addition to the
standard orchestral instrumentation, oboe d’amour,
English horn, E-flat clarinet, piccolo trumpet, a saxophone
section (consisting of sopranino, soprano, and tenor), and
celeste. This expanded palette of orchestral color
(including one of the first instances of saxophone usage
in orchestral repertoire) allows Ravel to utilize new solo
instruments and blend unique combinations of new and
old instruments.
Density of Orchestration
The chief way that Ravel creates interest in Boléro is
through orchestral density. Similar to the dynamic
structure of the work, Boléro is orchestrated by slowly
expanding the size of the orchestra, creating a wedge-
shaped form. For example, the primary theme first
appears in the first flute in measure five, moves to the
first clarinet two measures after rehearsal 1, continues to
the first bassoon two measures after rehearsal 2, and
makes its way to increasingly louder, more numerous,
and lower pitched instruments. From the bassoon it is
passed back to the clarinet (reh. 3 measure 3), to the
oboe d’amour (reh. 4 m. 3), flute and trumpet (reh. 5 m.
3), tenor saxophone (reh. 6 m. 3), sopranino saxophone
(reh. 7 m. 3), flutes, horns, and celesta (reh. 8 m. 3). The
textural crescendo builds in this manner to the final
iteration of the primary theme, which includes flutes,
piccolo, trumpets, piccolo trumpet, first trombone,
saxophones, and first violins. While these instruments all
play the primary theme, they are not necessarily in the
same key. For example, in the last iteration of the tune,
Ravel places the theme in thirds, creating a thicker
sound.
Comparison to Advanced Orchestration Techniques
As part of this final project, the author composed a
significantly shorter orchestral work which, like Boléro ,
primarily utilizes a single theme. This shorter work,
Palilalia, was composed prior to this analysis of Boléro ,
and used techniques covered in this course. For example,
Palilalia at times utilizes the klangfarbenmelodie of
Berlioz, while Boléro presents the primary theme intact
every iteration. While this technique was not used by
Ravel, several others presented in this course were
utilized. Palilalia strives to keep the separation of tone
color in the beginning sections by reducing the primary
theme to one player (measures 5-20, 66-81), much like
Ravel starts Boléro with the theme in the first flute
(measures 5-20) and then moves on to the first clarinet
(measures 22-38). Additionally, portions of Boléro operate
in the Brahmsian method of attempting to mask the
barline (as mentioned above, which is unsuccessful due
to the steady ostinato rhythm), while Palilalia plays with
time in a similar method by including tied notes,
beginning the melody on a weak beat, stretto, and
infrequent time changes. Neither Palilalia nor Boléro
appear to break any new ground in unusual methods of
orchestra writing, as both works are straightforward and
even pedestrian in their usual usage of usual instruments.
Boléro, as a study in orchestration, exemplifies many
techniques of orchestration as seen in the works of
Debussy, Berlioz, Brahms, and Beethoven. However, due
to the nature of the work as being “a score without
music,” there are issues of form and musicality that
cannot be addressed through the work’s method of
orchestration.
Bibliography
Carse, Adam. The History of Orchestration. New York: Dover, 1964.
Mawer, Deborah. The Ballets of Maurice Ravel. Burlington: Ashgate, 2006.
Ravel, Maurice. Boléro. Musigraphic Publishers Ltd.