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The era from 1855 till the beginning of the 20th century, was a period of
cultural and social bloom for Vienna, the absolute center for the arts in
Europe, and a center for social and political power as well as a city of
provocative women’s fashion and frivolous music. In France, Paris was
the place to be, and impressionism was the main musical and artistic
aesthetic of the era. However, at the end of the 20th century the so-
called fin de siècle, many political and social institutions were unraveling.
In 1914, World War I crippled the economy of Italy, France, and other
countries.
In the time that Ravel composed La valse the arts contributed to each
other and Ravel was inspired by the poet Stephane Mallarmé, an
influential poet in the symbolist movement. Ravel was a part of a group
called Les Apaches, a group of painters, musicians, critics,
mathematicians, and other scholars. In their meetings, they discussed
paintings, declaimed poetry, and performed new music and it was here
that Ravel cultivated his taste for the arts under the influence of
Mallarmé’s poetry. It was also at this time that Picasso and his cubist
movement really stood out. He even set several of his poems to music
and honored him in this way.
Cubism was one of the most influential art movements of the 20th
century. From the painter's perspective you might even say there are
similarities between a Picasso painting and a masterwork such as La
valse. Mallarmé suggested “to paint not the thing itself, but the effect it
produces”. As Picasso was looking for new ways in art, some of his
artistic techniques originated in Mallarmé’s concept of introducing visual
stimuli into the form of the poem. Mallarmé achieved this - for example -
by coloring the words or by using the rhythm of the poem, as if “it were a
piece of music”. This fusion of the arts that was idealized by Mallarmé
may also be observed in the synthesis of music and visual art seen in La
valse’s compositional characteristics.
Ravel’s use of the waltz was not his first attempt. In fact, he wrote the
Valses nobles et sentimentales in 1911. Schubert wrote a set of waltzes
under the same name called Noble and Sentimental Waltzes in 1823
and 1827. It seems both were fascinated by the waltz. Each of the
waltzes have their own character and they distinguish themselves by a
certain temperament. Although La valse also can be divided in several
little waltzes, there are no expressive titles and the lyrical melodies are
broken into little pieces or even disrupted by accents or rests, giving
them a disjunct nature that might momentarily seem out of context.
In comparison with the Valses nobles et sentimentales, La valse might
be more virtuosic by character as you can hear in the glissandi.
What is special about the piece is that it was a tribute to the waltz; the
composer George Benjamin, in his analysis of La valse, and in
summary, whether or not it was intended as a metaphor for the
predicament of European civilization in the aftermath of the Great War,
its one-movement design plots the birth, decay and destruction of a
musical genre: the waltz. Before there was no such thing as a
choreographic poem for orchestra.
The piece starts with a quiet build-up, the mist, with the double basses
playing a soft rumbling and the cello and harps joint this mist. Gradually
more and more instruments join and play quiet, gracious melodies,
carefully building into a subdued tune on bassoons and violas. Note
when the harps come in a melodious and sweet melody sounds and the
orchestra comes together. Following the lead of the violin the orchestra
then flows into the principal waltz theme.
Then a series of waltzes follows, every time another group of
instruments imitate each other and characterize the waltz in their own
way.
First the oboe, violins and flutes, very elegantly and sweet, but at the
same time soft and timid. The brass and timpani create a rhythmic
uproar announcing the next broad melody. The violins play the melody
while the brass and cymbals play their part. The violins lead a beautiful
melody, and the celli and clarinets accompany. It disappears and once
again returns to the sweet variations and extravagant brass.
After a restless episode follows, violins play expressively lyrical and
woodwinds accompany them. Castanets and pizzicato add to the
character of a rather erratic, perhaps chaotic piece. The bassoons end
this section. Then the waltz is interrupted, and earlier melodies can be
heard again, and again the violins play a sweet melody. Glissando is a
characteristic feature. The celli and harps accompany the soft violins.
The tune is once again repeated by the woodwinds. When that ends, it is
the start of some kind of climax, but this start is suddenly cut off by a
flute.
Together with the glockenspiel and triangle, the flute plays a playful and
repetitive melody, also the violins join in and the harps and horns add a
strange sound. Once again, there seems to be a climax, but in the end
this section ends going back to the mist from the beginning.
The second half of the piece begins with re-introducing every melody
from the beginning, with slight differences. For example Ravel has
altered the waltz themes with different modulations and instrumentation.
The recurring waltz-themes also sound more agitated and are
transformed or distorted.
Finally we reach the final climax made up of repetition and a rather dark
sequence. It is almost like a danse macabre coda. In the penultimate
measure of the waltz, in section B, Ravel completely destroys the
rhythmic characteristics of the waltz by dropping the triple meter for a
free-meter effect. He achieves this by placing individual accents on all
three beats.
Ravel wrote an arrangement for two pianos and also for one piano. The
latter one is infrequently played due to its difficulty. Glenn Gould made
his own arrangement on the solo piano version in 1975.
It is an exceptional piece in which Ravel paints the picture of a valse and
manipulates the many different waltzes that can be heard by dynamic
fluctuations, rearrangement of fragmented themed material, the
introduction of ambiguous meters and variations of tempo. Most of the
fragmented and reconstructed thematic material occurs in the second
half of the waltz. Not only is the waltz from time to time dramatic, Ravel
was creative and he portrayed the waltz by using different waltz motifs,
disruptive accents or events that warped the basic waltz rhythm and
finally it portrays a picture of chaos. A true masterpiece.
Sources:
L'uso del valzer da parte di Ravel non è stato il suo primo tentativo.
Infatti, nel 1911 scrisse i Valses nobles et sentimentales. Schubert
scrisse una serie di valzer con lo stesso nome chiamati Noble e
Sentimental Waltzes nel 1823 e nel 1827. Sembra che entrambi fossero
affascinati dal valzer. Ognuno dei valzer ha il proprio carattere e si
distinguono per un certo temperamento. Anche se La valse può essere
divisa anche in diversi valzer, non ci sono titoli espressivi e le melodie
liriche sono spezzate in piccoli pezzi o addirittura interrotte da accenti o
pause, conferendo loro una natura disgiunta che potrebbe
momentaneamente sembrare fuori contesto.
Rispetto ai Valses nobles et sentimentales, La valse potrebbe essere più
virtuosistica per carattere, come si può sentire nei glissandi.