Noble and Sentimental Waltzing with Ravel and Schubert:
Maurice Ravel’s Valses nobles et sentimentales (1911)
Franz Schubert’s Valses nobles and Valses sentimentales
by Dr. Richard Dowling
MAURICE RAVEL was convinced that
composers should learn their craft like painters—by imitating good models. He
did not merely pay lip service to this notion, but throughout his career
diligently studied the scores of Mozart, Debussy, Richard Strauss, Chopin,
Liszt, Saint-Saëns, and the Russian composers, particularly Mussorgsky. In
explaining his own compositions, Ravel attempted to make them appear as simple
as possible: this passage is pure Saint-Saëns, he would say, or this harmony
was used by Chopin. Indeed, the titles Jeux d’eau, Valses nobles et
sentimentales, or La Valse, indicate the spiritual origin of the music. In
the case of VNS, the extraordinary and unusual Valses nobles, Op. 77 and Valses sentimentales, Op. 50 of Franz Schubert are Ravel’s model. These
waltzes were composed between 1823-1825, and it is their lilting and
distinctive Viennese rhythm, rubato, balanced phrases, straightforward form,
gliding middle voices, melodic suspensions, and unexpected harmonic subtleties
that attracted Ravel. In a short autobiographical sketch, Ravel commented about
his VNS:
“The title VNS sufficiently indicates my
intention of composing a series of waltzes in imitation of Schubert. [Here we
have] a markedly clearer kind of writing, which crystallizes the harmony and
sharpens the profile of the music. The VNS were first performed amid
protestations and boos at a concert of the Société Musicale Indépendante, in
which the names of the composers were not revealed. The audience voted on the
probable authorship of each piece. The authorship of my piece was recognized by
a slight majority. The seventh waltz seems to me the most characteristic.”
At the beginning of the score, Ravel
added a quotation from Henri de Régnier’s novel of 1904, Les Rencontres de
Monsieur de Bréot: “...le plaisir
délicieux et toujours nouveau d’une occupation inutile” (the delightful and
always novel pleasure of a useless occupation). This short description holds
the key to understanding the VNS. This coy recognition of uselessness, or “art
for art’s sake,” typifies the attitude of many artists in the years just before
World War I. Obviously, Ravel wrote these waltzes with an easy-going,
pleasure-loving sophistication in mind. It is a part of the musical and intellectual
dandyism that Ravel was known for. As always with his music, the
highly-polished surface that is so easy to listen to reveals a complex and
highly-organized musical structure underneath. It was always Ravel’s intention
to be “complex, but not complicated” and to value “technical perfection,”
balanced by a Mozartean charm and sincerity. Ravel’s art strove neither for
passion nor for truth, but rather for the “contemplation of the Beautiful” (E.
A. Poe), through the satisfaction of the mind by means of the ear’s pleasure.
The VNS is a work that comprises seven distinct waltzes followed by an eighth
in the form of an epilogue in which a resume of thematic motifs of the previous
waltzes return in short, impressionistic quotations, as though they were being
remembered in a dream. The music fades quietly into silence and is marked “en
se perdant” (losing itself).
Regarding listening to a new work for the
first time, I would like to quote directly from Ravel:
“On the initial performance of a new
musical composition, the first impression of the public is generally one of
reaction to the more superficial elements of its music, that is to say, to its
external manifestations rather than to its inner content. The listener is
impressed by some unimportant peculiarity in the medium of expression, and yet
the idiom of expression, even if considered in its completeness, is only the
means and not the end in itself, and often it is not until years after, when
the means of expression have finally surrendered all their secrets, that the
real inner emotion of the music becomes apparent to the listener.”
On May 9, 1911 the SMI, an organization
devoted to presenting new music, held an anonymous concert, where as Ravel has described,
the audience was supposed to guess who composed each piece. Ravel’s VNS was
fourth on the program. Throughout the recital, Ravel kept a straight face as
many of his admirers jeered at what they assumed was a hoax of dissonances and
wrong notes. When the voting results were made public, it became clear that the
sophisticated, avant-garde audience was unable to distinguish Debussy from Léo
Sachs, or Ravel from Lucien Wurmser. Although a slight majority correctly
identified Ravel as the author of VNS, many credited the work to Erik Satie or
Zoltan Kodaly, surprisingly. The French composer, pianist, and conductor Louis
Aubert (1877-1968) was a fellow student at the Conservatoire in Paris and a
lifelong friend of Ravel. It was he who premiered the VNS at the SMI, and it to
him that the Valses are dedicated. Ravel said that his VNS is “one of my most
difficult works to interpret.”
In the early months of 1912, Ravel
arranged an orchestral transcription of VNS for performance as a ballet. Ravel
wrote his own scenario, or argument, and attended the numerous rehearsals. The
Russian ballerina, Natasha Trouhanova commissioned VNS in its ballet version.
It was called “Adélaïde, ou le langage des fleurs” (Adelaide, or the language
of flowers). It was orchestrated in two weeks in March 1912 and the ballet was
performed in April 22, 1912 at the Théatre du Chatelet with Ravel conducting
the Lamoreux Orchestra. Mme. Trouhanova danced the part of Adelaide. The
premiere was an outstanding event, as four ballets were conducted by their
respective composers, Vincent d’Indy, Florent Schmitt, Paul Dukas, and Ravel.
According to Ravel’s written conception,
the scene takes place in Paris, about 1820, at the home of the courtesan
Adelaide, a salon furnished in the style of the period. At the rear of the
stage, a window looks out onto a garden. On each side, vases full of flowers
are placed on small round tables. The story concerns the fickle Adelaide and
her rival suitors, Lorédan and the Duke. The various emotions of love, hope,
and rejection are symbolized by the flowers which the dancers exchange
throughout the ballet.
DESCRIBE EACH WALTZ’S SCENE AND LISTEN TO
ORCHESTRAL RECORDING, ONE WALTZ AT A TIME.
I. A soirée at Adelaide’s home. Couples
are dancing. Others, seated or walking, are conversing tenderly. Adelaide comes
and goes among her guests, inhaling the fragrance of a tuberose (symbolizing
voluptuousness).
II. Lorédan enters, sullen and
melancholy. He offers Adelaide a buttercup. An exchange of flowers expresses
Adelaide’s fickleness and Lorédan’s love.
III. She picks the buttercup to pieces,
one petal at a time and sees that Lorédan’s love is sincere. Lorédan plucks the
petals of a daisy to reveal that he is not loved. Adelaide wishes to renew the
test. Once again he tries; this time the reply is favorable.
IV. The two lovers dance while revealing
their affection. But Adelaide sees the Duke enter and stops, confused.
V. The Duke gives her a bouquet of
sunflowers (symbolizing vain wealth), then a jewel case containing a diamond
necklace, which she puts on.
VI. Describes Lorédan’s despair and his
ardent pursuit of Adelaide. She repulses him coquettishly.
VII. The Duke begs Adelaide to grant him
this last waltz. She refuses, and proceeds to fetch Lorédan, who has remained
aside in a tragic pose. He hesitates at first, and is then won over by her
tender persistence.
VIII. The guests retire. The Duke hopes
that he will be asked to stay. Adelaide offers him an acacia branch
(representing platonic love). The Duke leaves, indicating his displeasure.
Lorédan advances, sad almost to the point of death. Adelaide offers him a poppy
(symbolizing an invitation to forget her), but he refuses and runs out making
gestures of eternal farewell. Adelaide goes to the rear window and opens it widely.
She deeply inhales the scent of the tuberose. Scaling the balcony, Lorédan
appears, wild-eyed, his hair disheveled. He rushes toward Adelaide, falls at
her feet, and takes out a pistol which he places next to his temple,
threatening suicide. Smiling, she draws a red rose from her bosom (symbolizing
her true love) and falls into Loredan’s arms.
There are no direct quotations from
Schubert’s sets of VN and VS evident in Ravel’s work. However, there are
numerous similarities in binary structure, tonic-dominant harmonic polarity,
sudden exotic modulations, 4 and 8-bar phrase lengths, and reliance on the
traditional compositional approach of treble melody supported by bass, triple
time accompaniment. Ravel set out to create a new, revolutionary “modern” sound
within the framework of 18th and 19th-century parameters. These achievements
can be found in his radically expanded harmonic vocabulary, which includes
unresolved 7th, 9th, 11th, and 13th chords, better known as “jazz” harmony
(Waltz I), parallel seventh chords and augmented triads (Waltz II & VII),
bi-tonality (Waltz VII Trio), adoption of modal scale influences from old
church modes (Waltz II, III & VI), substitution of tri-tone harmonic
progressions for traditional circle of fifths presentation (Waltz I & VI),
and sonorities based on the intervals of the second and fourth. It is an
artful, sophisticated device of Ravel’s to remain aware always of the
gravitational pull of the tonal center, and yet place it in question in every
measure, every chord, and almost in every note. But with Ravel these
innovations are always related to basic tonality, the legitimacy of which is
never for a moment questioned or disturbed, so that the listener is cunningly
and artfully persuaded to accept as simple that which is in point of fact, very
complex.
DEMONSTRATE EACH WALTZ AND DISCUSS
PARTICULAR ATTRIBUTES. COMPARE SECTIONS OF RAVEL VNS WITH SCHUBERT VN AND VS.
Although Ravel occasionally analyzed his
music on a chord by chord basis, he was also well aware of larger structural
prolongations, as is evident from his analysis of the following passage from
the middle section of Waltz VII. Here this fragment is based upon a single
chord: D Minor seventh in first inversion, which was already used by Beethoven,
without preparation, at the beginning of the Op. 31 No. 3 sonata, over which
Ravel superimposes a different key, a half-step lower, as an extended
appoggiatura, thus creating a bi-tonal effect that is at once familiar and
avant-garde. The effect is of a quiet, extended tension that shimmers in
impressionist light.
Introductory Background Information
on Maurice Ravel and the Valses nobles et
sentimentales
Born March 1875 in St. Jean-de-Luz, near
Biarritz in southwest France. Raised in Paris. Attended the Paris Conservatoire
and studied with Gabriel Fauré and André Gédalge. He won the Prix de Rome for
composition. Famous compositions: Boléro, Daphnis et Chloe, La Valse, and
Pavane for a dead princess. Died
in Paris in 1937 after an unsuccessful brain operation.
Debussy and Ravel known as French
“impressionist” composers.
Valses nobles et sentimentales was composed in 1911 for solo piano, and exists
in an orchestral transcription and ballet version by Ravel. They are comprised
of eight different waltzes, including an epilogue.
Stylistically, VNS represent a more concentrated and economical
harmony with less emphasis on virtuosic display. No “extra” notes are present.
(c)
1994 Richard Dowling, D.M.A.