Ravel’s Perspective on death through his composition Le Tombeau de Couperin

A project submitted by
Tin Vi La
As a partial fulfillment for the doctoral of musical arts degree in piano performance/pedagogy
and literature

Advisor ______________________________________________
 This composition was written both before and during one of Ravel’s most devastating
times in his life. His mother died of illness and six of his friends, to whom each movement of
this work was dedicated, sacrificed their lives in World War I. By examining each movement of
this work, I hope to shed some light on how Ravel embeds his contemplations on death through
his musical language.
I. Background information (5 minutes)

In this part, I will briefly introduce the people who Ravel dedicated each
movement to. The work was also dedicated to Couperin as suggested by the title
for Couperin’s contribution toward French pianism. The sacrifices of Ravel’s
friends in war and Couperin’s contributions toward French pianism have one
thing in common, for the greater good. The former is to end sorrow, while latter is
to advance musical development. This common goal sets the tone of Le Tombeau
de Couperin as Ravel intended, “The dead are sad enough, in their eternal
silence.” The music in this work is not meant to mourn for the death but to reflect
on the loss. However, that does not mean there is no hurt or sorrow experienced
by the composer. In the next part, we are going to examine how Ravel expressed
his pain knowing that everything is for the greater good.

II. Ravel’s contemplations on death through his musical language in Le Tombeau de

Couperin (25 minutes)

a. In “Prelude,” the main tool Ravel used is pentatonic scale. This exotic scale
rarely found in Western music at the time. The impression of this pentatonic
sound is something out of both Ravel’s and listeners’ world. It is very possible
that Ravel could not describe his feeling at that moment, but he knew his
friends were to be in a better place, somewhere out of this world.

b. “Fugue” presents a choir of lamentation. We can see the sighing motive

featured on the theme of the fugue, a two-note slur skipping downward. This
lamentation is multiplied by the structure of the fugue in different voices.
However, listeners were not overwhelmed thanks to the masterful placement
of the fugue staying away from the low and dark register of piano. At the end
of the fugue, we see the ascending all the way till the end and concludes on an
open 5th interval which does not tell if the piece is ending on minor or major.

c. The harmonic complexity in “Forlane” demonstrates Ravel’s tumultuous

feelings. Ravel used the dissonant color of the interval of minor second. This
minor second dominates the harmonic language of the whole movement.
However, those tumultuous feelings were disguised by the lively character of
a dance.
 d. In “Rigaudon,” we hear a song of remembrance between the memories of two
lively and youthful friends. This is the liveliest movement of the whole work.
We can almost hear the youthfulness of two young soldiers who were excited
to join the army to protect their country. The middle section tells Ravel’s
reaction on hearing the deadly news of the two. However, the piece ends
brilliantly just as how Ravel would remember his friends.

e. “Menuet” is a melody so beautiful so intimate for Ravel’s best friend.

f. Toccata tells a wild journey with a triumphant ending.

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