17

Gaspard de la Nuit
Duration: 6:00 to 6:30 minutes (Slow)

I. Ondine
Maurice Ravel

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Practice with accents on the chords. An alternate fingering is shown above the chords.

® ERROR:

According to Robert Casadesus, Ravel told him that the right-hand pattern here, and later on when it is divided between both hands, should remain the same. When Casadesus spoke to Paul Badura-Skoda about this, BaduraSkoda remarked that when he played Ondine for Ravel, the composer told him to continue the same kind of figure. * The corrected version appears above the original one.

*Dean Elder, "Robert Casadesus," Clavier (Evanston: March 1971), p. 17.

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CD Hook the thumb over the F-sharp to play the E-sharp.
(i)
Accompanying figures do not have to be divided evenly.

® Be sure to change the pedal with the left-hand E-sharp and
not the top F-double sharp.

L1- t -t A A ~.J ~ J !~-'14. : 4~~~-~ 532 [~I::: ~ I::::! :::::::5'"22'"3O..:.u~ r u-------------------------------------------------------------~ ~~~.~ 53~ ~ 5-3---- 4 5 2 d?:...J .~ r-~. 3 A q~ ~ 2 35_ ~JT ~ [ll]ji '1~ 3 u 5 Jq~iJ 3 J le3 ~ q~-= t CD :::. . F-sharp. 1 ·1 1 1 ~e 11:s13_1 . A I::: === ===== == = == == ~ == .(a tempo) au Mouvt [TI] ~.u~.----..33 ~~ < ~'16tb pp t ~~ ~.. L.=:::: J J4 4J ~ 23 J 3 s. not G-sharp is correct.E" p ?~ ERROR: According to Cecile Ousset.:.u t ~ 21 I ~ q-J''1 •• pp : L1 ~ I ~. ___ 2 ...1:33131 : ~ '-LqrJ: -rT I • CD Alternate fingering: ® Alternate fingering <D '~ir..u t ~ 3 2 A 1 ~. ..-J A ppp ---. -II rn:: ~~~ ' iI-- 332J = . bdd:d ~ ~q:_~~'" .H. ~.

.... -r-r- ... s~ ~. ~Jt II I· 11 I....I -1Z • s - ..~.. AAAAAA AAAAAAAAA . 2/32"1 t u ~..z._ .... t..fL .i 2 4 __!-/1 [HI "'.. < ....~ I:.. :.. .'-- : ~~..f'. .. 2 3 jtres ... ~.f'.( qrrr .#-~ {L a3!~~.ll-- . Irq-.rr 2 : ~ .II: #-~ ~hb .fL . R.. 2 1 t:. .. . .'~2 I ...22 @I] t. ib I'r~ \43 2l..H...---...a2 5 -f- f-'~'~ ~ !" 23~1 1 . 'l~~.~ . ~ ~~ r:::..I. s 123 si ~ qIL.~ s "." ~ f.. p ___ ll.... ~ #.~ ~ .dr ....#-#-~'t=Ft=~~~ ~ c c --.. ~l± t.. . t L.. _t S4 2 1 s: s: ~'. 3 2 1 ~.. <..~ ~ ~ ~ ~ ..f'-. 3 l.. .......e: --r'. • ~ .f'- ---- x1 q1l~ ~ pp : tr il ® .. 2 --- (very sweet) doux I 1 2 r : I 4 1 ---4 CD Alternate fingering: o o Flutter the pedal to clear the sound.. not D-double sharp is correct... ERROR: D-sharp..J±-!-~ ~ . .f'... -.fL ..:!!... #- #-. . < I 'I ~ j±. ..... I 'l~~... #.fL .. #- -= ~. iJ_ -it#- . . A . t . <.

lot- (ve7 sweetj'" <..j ---- z. I=I=!=~~.~ •• ~~ I=f:. ®e: pp ~If-' ...~~ I"t &e:~ f=1=. ~~.H.. ". 32 L. ~-~1 !~-~1-~..I.. I=f= .r: '" --2 19=: 1 ® ~'~ I 2 - 3 "'_ '" 5 21 ~ ~. If' - ~ • .H.~ . e: t L~tres doux R..I.".r. R.....1~3 t f\ • • b ~ -= f=F- r.~. .'---•• _A -r....H. ~~21 .- '" 51 f\ ...__-""'!~ -.. .. - _.h ~ ~ I. ~~ f=1=.. 2 34 5 - 54 321 I -I -I tJ pp I ~.. t:. ..• ~.!~!(~)~:~ 124 L. v A.~~ I 5 ~.. ~ ~ A I ~ f= 6' .B.. 5 3 1 3 5 i 3 2 3 5 21 31 --2 J o r 6- r : 3 . the first two octaves should be arpeggiated in this measure and in measure 49..~. 1-2 t ~ 2 t W 321 5 23 ~1 I' - f= ~- ~!!.. 2 .. (') ~ --.I- • · f\ ®e: '" ~"-' .~ ~-=f' @ _A According to Marcel Ciampi. ~ • • e:~ I=I=. ~JJ~'~..B. ~..J~~ 425 1.....>: '<.8 ~f=1= I-- r...__.. ~ !12J ....23 @ill : f~~ ppp : Ar' • f\ -• .---.:_ liQ] tJ ..I: --..~~J~~~. ...~ •• e:~ 1=1= ....~. 1-5 2 t 45 4 2 [±[] .. L..r- I-...~ -. • _=ii 2 __ 1 : 5 1-5 21 ..." ~~~~~~ ~~f=f=~~ 1= 1=1= f== f= ~If- .

..~ ~~::::.I.24 lm "I t.f-jl 2-_j- : j_ I 3 I 2 --- I ~--= A r ~. 12351 1 ::--. rJ 1 = - ~5~ 2 1 = _[ - 1. < ~I ~~mf ~..- = 1 3 1 3 -r L 5 - - r. soutenu et expressif ~ ~~ r 5 - ~t_ 3 J 1 2 - I t:_U - . 1 8-~- ~ ~ -11 111 t.'_ [lli "I 1 ~..~.. 1 1 5~ ~ 1'1 [' P Ie chant ) bien Jfl'~~ ... .-. ... I ~ 12 3 12 5 i f ~. (~r il R..: ~ l=- ~ I-- ~ ~ ~ l- 1 . .-------=-. < (the melody very sustained and expressive) t "I t. ~ : mj' I 5 5 ~ 2 t 2123 ILL 235 p---CD 521 421421 o It is absolutely essential that the pedaling be strictly observed throughout this section..n1 rJ = - t. It must be changed on the bass grace note and not on the following downbeat! .-r- . '" ~-.. ~ I.lit..J I J ~#~ ~ I-- G .B._ [J - ~qL - .. ~~.. In. 3 1 r : .. ~iR.

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-Ji----ii----rl--~J..~ _. 1 212~Fll I . this D-natural should be left out. =:-.t-'F....~ I-#- f".. not E-sharp.'>'" 2h "'" q~ I'_ ~ .. ~:=:=4" .~.F- 5 _Q. r1 2 14 i 42 1 ( 15 5 8 __ J 1 5 2 1 2 1 245 s 5 _' 2 124125 r.. .?i.' t= ~ Jq 1 ~1 ~ " r .==I..:» : I' .. -~ - 11= ~ - • f £'.. ~!!-h.~ ~ q '=~#~ b::~q~#~~ _. --. r. ~.u ~~q~~ t- @ Li t q~~1qf'1 ~.~ '""iiI : 1 ~ 3 L#-_-- tS#)J-~ - . .2. 1 ~~.-/ (Hold back) ~~~=:. Ll 1fl ~ : ~q~-[..t. r n . "3 --..Wr-rr 1 2 5 15 . = --.... I~~- ~-- a 1 !~f 2 L. augmentez peu (increase little by little) p a peu - -- - - - - - - - - _____ - t: '--c.. 15 5 5 1 e. is correct._ -------------q ~ ~~ I~IL h.~ ~ < :>----u :. =~ =4 • ..26 [§1] tL 8---".:::-- ~q~ e:-~. ~t#t ~. ~~b~ ® h.- ______--. . ~ ~ ___.- --. r [§1] ft. C0 ERROR: E-natural. : lJ.H.2 1 r-. 10:> 42 1 ~~!1 a @~ rt- 21 < ..~ '---- =:=4 =4 • . --. 11 rt if ~-~ -.p /1.J1 Retenez __ Un peu plus lent [§1]~ !'IoU ~~~:5 -- (A little more slowly) I.. --. CD According to Marcel Ciampi. Rl~ e:: D /' 1 24 !Jj5-.~ -~.

. - ._Er'[ ~ ..=r.. _.t 1 2 1 i --...~. l J -r 5 "l~ lot. ~ " ~. r I~ ----...' 5 ~3 21~ 5 ~3214 v.Lq~~ .... -: a--..i· ~ 3 1 2 1 2 4 2 4 2 1 ).H. < 1 b~ I I ~r" h.. 2 t --1 2 1 1 2 _:___15 ~ rm ft.~-= 1-..• ~ ~ • I ...~..._------- ~ -. :::: ~ ~ .= -r- '![ ~rI r ....~ FfT~r~~ =~ ® • ~t:~-= . --. 1 R. ~~~ ~~I 1 215 2 5 ..__. r- . t-•... . ~- .H.- I ..._ II --r' --------------.. .H L!:...... < r 2 1_ L1 5 2 ( " Ii 1 3 2 1235 15 5 2152 125 13 11 V5 I mf : ~ "-- .•.--.J .....J -. '). . • ____"'I -fL q.. ~ ........ 27 ~ 0 3132 ffi§] ti. R.~ .."....~..~- .H .._~~ ~•. t..._ r : u ~... --.... ::.: R.L 1 _..J r 1lQ]# ~ I t... I r" I 11 4 1 4 2 1 4 2 51 1 3 142"'1r12 1#. f:: f::r- ~ -= ~ ~r-f=_ I: • ~l~t f=-= -------~ • ~ f= p : 11 @ - 8 .- .:::: -. ~ ..':"'::-:. Mt t. ....~ .... 3 2 1 2 1 5 r 2 2 ~. .. ..• ~ ~ ~ : ~8j-T . . -r . "I~ t...H.. . ~R... ! ---------~------.. R.."11 • :::-- _.. t24 t I 111111 ~~ll p~ ~ r-. G Do not double the tempo in this measure! o G Possible execution: Possible hand division: Take the middle left-hand notes with the right hand.. - . = . : u -nA 5 .. ( I~..

. not E-naturaI.... .) i-a =~.I-'I-'~ ~ ~ .. it is preferable to Avoid accenting the A when taking it with the left hand...H. ~ . finger this glissando.~ I.. 0 --. --.1.I.- ~!~-= 1= 1=1- . [H]-- --------------..-.J (8---------------R. 24.~ a 1 -. Mouvt (Un peu plus lent qu'au debut) [TI]! I\~ I ~ ~ @ ~® r"1 ~~--5~1 I L.H..-. According to Robert Casadesus. I " ') t 2 . these last two bass notes should be played an octave lower. :::-... @ ERROR: E-sharp. is correct. ""'~-f'- I' toujours PPP (always 11 ·'tf ~~ ~fL ppp) glissando ppp . r ~t a 21 :r=r A r -r-'r - .'t .. p.. *Grant Johannesen. ..iii ---...f-f ~t 11 ~glissandO -=tll • ~~ .u 1= ~ ~~! .H. ~~~~~ @ II .'" ' ~ I.A.f-' _A- ~t"1l~"'· __ - - J~t'1!~"'·d 0 ghssan ov ." The Piano Quarterly (Wilmington: Fall 1982). ~ 1t.. / L._ I I J. Z ® r-lit./'. • < (the mostp possible) ~<~~ Ie plus P possible I ~ Tl ~. I (( @ o CV ERROR: D-natural. * @ If the action is very hard on an instrument. ~ 1= I1= !~l ...f:-fL ... "The Lesson..28 Retenez (Hold back) [ll] fl~ ~r ~!~~ .Jl:41~:! r • :.J .. • I'j ( . not D-sharp. ~ : t 24 5 I. I -f ....- ~ 1= ~b • fl ~ 1t. (a tempo) 3 (A little more slowly than the beginning) -- au . t __ 2a5a~t (: ~ :!!~I• !.. ~ Id • [TI] ~ ~ EncorePlUSrl~e=n:t::===-__ ~3 _ ~======~ _ (Even more slowly) ar ~ 8 __ ~ ..

.I It.I.. • l' • 1*- .J_ 32 132'" I 1 3 2 1 23 1 : .f'- ~----~ . • l' J. @ .u. .. #. j_~ q~ j~__ ++. v l.~ it. not E-sharp is correct. . (bring out a little) b1*- -- 29 < un peu en dehors I : u --- #~ _.. ~ -f'- . ~ 3 _1 : -- @ ERROR: F-sharp... ~~1 18Q t. _. 5 ® ~. 2 61._ #~ 1'- ±1'- J..[TI]# ~ t. 1*~ l...I I • l' • .3'" '!ro. . @ According to Marcel Ciampi. " J.. ( ! # I ~ ~f"... 1 V : ~x~#~ r. 1 : 11 ~~l~ ."f#- I L _'j_ . q~ q-f'..._ -f'- 1*- ~ 1*- ~ r- l.t2 3 ~~ I : "11 ~J. the G-sharp should be tied to the whole note G-sharp in the next measure. LH .~ ~~ q D'f: . ~ I1ID fr.fr 3~3 151 1 # 5 3" ~ ~ ~ 2 1 5 3 2 5 1 3 2 1 ~~ 3 2 5 4 2 1 3 1 .."1f J P ~ "'T' .l"11 JJ~ ~2 1 4 f"':': ~~' ~::::::: ._ ~ ~ _... u pp 1 expressif ++ 3 (expressive) r 2 1'[ ~ r 2 r: TI 5 - ~r'r rr ..

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... = = .... --- au Mouvt du debut 12QJ# ~ " . =.. .. """""':::::::::1 T #. '--.. a -- -'~ ~ =_. ~~h..- __ --------------------~~~~~:l~~~------~~~OSld~b=ac=k~li~tt~le7b~y~lit~t1.... -lfiri h.1. is correct ...1\ ~---~~------------------------------~:l! "f tq.. qt':ql'- ~ r:-~~ ~ ." P~ .. fl 1=f:-...._ ."""I=Jj.. . not D-flat. --..J~ - ~ -----IJi ~..• ..e)~~~ .tI 'l..~~_ ~ 31 t: ~~ 1= t: t: :f:.jj . ...-.. """I 2 . Il --2 (Tempo ofthebeginning) ~ ~~4 3 t ~ 2 4 F1 ']TJ . <.. ~ ~ #r' :.... .J =ii ~ :.J #-#)_n ll'9 r r JiJ#J #~m =-~~ -~ _ "rR ® ~ .--r . . ~ ~f:.. r = r JiJ#..J ~ I~ ~ = = .]1 ~ I~ ~ 3 t 2 ~ n".jj -. ~ 32 ..~ I~ .!i= ~ I-::. ~~- L Et i = " =:::s::::::: "171 I ~ : I =b.1= 1= ~ -~J!.. =i (Without itard) r ® ERROR: D-natural._ f!:-. fI ~ 1±...:~ . (very evensound) bien egal de sonorite -f ._. ::.---f*- ~·Id eillblkrbirt . 3 2 4t23 5~4 Retenez peu peu t4 5 / : ~.

® .......--~ f-'r'~ .. ~~ --- -e~A~ '" --'J~j ~A~ -. :>.. 32 L5 4 2 . It is a better solution than to arpeggiate it even though at times you might lose the tied B-flat in the right hand because of the pedal change. -• - . ® Catch this second B-flat on the rebound before the key comes up completely..JI'_ (a little marked) "'j .. ® ~t~t @ ~---.J _ .--. ~~ r' "1IJ ~ o The lower B-flats are tied even though they are on the same stem as the upper B-flats... - ~.-... --'__:JI .... • --JA~ . Do not bring this note out.. ---A~ .. ._ _ "11 "'j . :>- . : . ( " I .. ... Small hands may play the F in the bass clef with the right hand whenever this chord occurs. A less confusing notation might have been: o @ "un peu marque" refers to the upper note of the lower staff. Le Gibet Duration: 7:30 to 8:00 minutes (Very slow) ii Jean Mamold Tres lent "J = 60 :>~® '" (Without rushing or ritarding until the end) Sans presser ni ralentir jusqu'a la fin 5 I ... not the right-hand C-flat.--~ --'_)I __ ~A~ (expressive) ---- -6 ____ =4 --.... V "U" p expressif -u =.33 II.. 11 2 5 4 pp® --'_"111 . The melody is in the left-hand Bflat.1 ~~I ~l""""""'" 1 :::----:"'J ~---:- 2.. ERROR: The E-flats should be tied as in measure 3.-- _t~t .._. ". I Piano ( ... 4 1 5 -. -'-.::::::: un peu marque @ f -'f~ !® _. 'r--- Sourdine durant toute la piece (Una corda throu ghout the p ieee) .. --.. o See measure 12 for a clear example. .fJ C ~A~ 34 r~:t:-"1IJ--F"1I a ~.. ~ ..4 =.

P ~]li. >- 0· J I »>: ~ ®m..h... j · t h--nIt. iJ I . IJl.d.~!-~ -:_.H.-..q.~ :::.~.. [ru 'I I . -......:---- 2.~ _::. --'. _____________________ -JA~ ® 1I1-~i 4 ~A T J2 ~ ~~~ 34 T-l--""1I T ril"':"-~""1I ~A~ .~. ~t~t : . 4 >- ""11 . -6____ ~ ~ ® m..--~.. 4 5 ~4 - l.-----~ t ~T~t· t:_.~ 3 ~---7 ~ . 5 bl 2 b! ~ 1-... - ® lui. pp : -6-"___~ R..34 II] 1\ I . . __"j --~ t - .1. I' ~~ f_"r~_!~r ~ 1...- G) ® "m. ~.'"'"~ 3. ::> k~ r~.~!... ~_.r.g..... ~. >- -====-:G\~~ h~~r-..1 ...I J_ .f: rJ -3 ~::::::====::::::= - 1-~I/ "--'" q.... b.... : . 3~ --. ::.. t: q.g.1' >- .---~ -e- ~ .... .." which means "left hand." is the French abbreviation for "main gauche. not E-natural../ 0=-/ _::....~t mj' ..-. expressif (expressive) =.f~1\ ~ ~ ~ ." is the French abbreviation for "main droite.. CD ERROR: E-flat. "__ ""11 ~A ~ ITll 1\ t I P -J---::." "m. -6::----'" .r ~ : ~." which means "right hand. . r..H. !Ir" >-- 2.. ~~.. L. : t. ~. 3 ~ ~ · · : J - ~~ . b~. ~=.. is correct. ~~ . ~...fT ~t· t.q~ 'h~ 3~ t . --d- q#~ ~r_:_ f-t .. f~ ~ ~ - ~~ 3'--"_ qf ~~~~ +-t .-." ERROR: The lower B-flats should be tied.. ~ -. _b....h .d.

It is much more important to project the atmosphere of these passages than to include every note by arpeggiating..H.)= @ (R._.H.d.35 [2] ~I -'""-" PPP tres E.g. CD The chords must not be arpeggiated in this passage or in similar passages. which destroys the emotional content. ~ --= W ~ ) ~ d i ~I~~~ ___ 1----- ~. Although some redistribution of notes between the hands is possible._~h&~ ~ .) m.H....H. r-.d. not played...~ ~A~ --- lie (very connected) - -e~~ 5 5 5 5 33 43324 t _3-:... The example is written in A major as I find it easier to read and retain these measures in this key.. J i i1 J i - toujours PIP (always ppp) 1 (R. CD @ ERROR: There should not be a dot over the B-flat.-. .t_. ~---:-m..- m... w ___ ~~ "JI_"JI • ..» I I L..·~ ~~ I ~~~ ~ J c .. not played..... ~1 5 4 ~-~j . I : 1I -T" ..:2:"_.) m.. r m-~~r:~~f --. I am in total agreement.. this poses a problem for those with small hands. __=i ---A~ ~ ~. However. -e. lie It.. b~ tres ...- ® (very connected) Lt- It ~ t.J (bring out a little) (LH..H. 4-5:::----:- .. ERROR: There-should not be a dot over the second Asharp. The notes I leave out are in brackets and shown in the example below along with a suggested redistribution of notes. It is tied..U' 5 5 v''-" un peu en dehors (R.d..-'t:. ® These chords should be connected by evenness and quality of sound.- 3-5 e: 4-5 t- 4--2. It is obviously not possible to connect them by legato fingering.•• ~I!!!!!!!!! (L... 'I I r ~) =:--. it may still be necessary to leave out one or two well-chosen notes.2.. I : q~!r''''~ m._L_ ~ t 4-5 4 5 . = ""l..-_t. 4-5 Il J L I 2 i J .g. It is tied... according to Vlado Perlemuter...::.· ..

. _A.. f - .'I~ x=4i < " L." I take the C-sharp with the third finger of my left hand as I find this division gives me more control of the sound.H. ~l l~~~ !>~ . ..~ A.. This helps to convey the mood of desolation and despair that is found in the ensuing passage marked "without expression.~ """IJ ..... 11' .. q'Y [. ~ ~ -:. m. #-0A. A.H. 4 . un peu marque (a little marked) (R.~ """i___ """1 5-4 .H."iI ~'"iI Ll~ : ~ I (L. ~ ~ ~ :.. G ===--' In- :J_~ • : Gu- J-=--1..5 ....H. ~ ~-t! """I -11 J IL. o (3) ERROR: The lower B-flats should be tied.::x .~._ I1'1- md.7 ~~#~ #~ ~.... Be sure to change the pedal here so as to avoid a sound break in the right-hand melodic line. mais sans expression 4"----3 _ 4 2 4 (bring out a little but without expression) 3 --"""_2 2 !II] 1'1 ----h 5 . #i} _A _A ##-0A. ~i A. - . . .) ::::::::.-----0 pr "iI ------- r ~+. . #- pp un peu en dehors.~ ® 17... ~~ -+ ---=I- =4i A. ll.._::jE'I- The accents on the B-flats (A-sharps) have been omitted until measure 36. J~ ~~ ~=4 . #-A.~ --: -7 ..~ "iI__. Do not change it on the C-sharp octave in the next measure.36 5 1'1_ . "lIJ_ ... Do not change it on the E-flat and B-flat fifth in the next measure.. p~ ~ I : @fl -::..0.) P"JI ..g..I ~g . @ Be sure to change the pedal here so as to avoid a sound break in the right-hand melodic line.....-.

~"i ~.-.4 L i.. q-e- _~ q~=6:. A.-~'-------- ~. l-'~ - ...! · · m.~ _A. P-eA. 0\ --- .H. 0 .: r mp tl 4 :>- ..H.. ~:i =i:~ ....'. ..~ ~--~' I1Q] 1'\ . - fR.l:j: ~3= (o)~ >- ~J ( .. 1.... -J.- -------------------------------------------------- -~ ~~"ty ----------- ..:~ ["I ~ (very connected)~~ ppp treslie ~I . >-_ .'3:-" I~ '.tI~ ~ "~ I ~"iI "1- . :: .:::::=::: i Al q..H.. ~_2 1~_2_ .. h .~ .. -4Ij ~ rJ "I .."111 I L.' I __ ~ __ T~$ ~~~~~-·-I-T -- ~----------- - --~ q:..H. 1 : ~"J!. 5 3 t ~t:>- -tm· L.~lIItt~'-..37 In1 1'\ . L. n ~~.~ 1II-J1 III tI \ -= =:--~ > ~ - -~~ III... I~ L.H..N.~tlr 1rI~ 3.:. l. ~ - 1 ~u· I __ L.q.__. ~~~~~ I~:II~q:: =4i ~.. I L. II' LJ... ----------. 1.:i J L 8-~~-----------------~~~5-4~5~--~ 1~~ == I- IF ~ j ~HI ~ 4-5 . -._ ----- -----------------------~~~-----=---======----.---~~ ~ .~ 42 3 5 t -.: ~t ~~i . ilL J: h~.H..._ .. . >-' -I • 4-5 4 -1.11 ql.d. · -~"i 8 a bassa ..

- • : r-:::::::_: ~ r' 9C~r' p 2~f PP@ T~T_____ -6-.. . ~~ .... I " 'L '... .. ~. 'r-- [=-r 2----. J ppp .___.. ... =i__ ~ _____ :.H. -C..._ ..-~ _::..::>- ...H.f . ~~=d=__ - .(.: I" 1'1 ~TrJ· ~t L. ---- G) There should be a very expressive touch and color change here in order to mark the pp and the final two statements of the theme. .. < LL _. J 8------------------------------------ ...... -ra- ..> -1r=LJ~~ L"I· -V1~r I mp ~iL' ~ ~~ 'l " ~A 'l "t_ 5 2 4 ~~ _ r I .....-----:__-. ~~ : . . .38 @J] 1'1 I 5 ::> 4 ... L. ~J~.... _=_______"11 "11_"""" ___ -'L _ "l I ~ 5 2 'l- 4 " 'L " 'l I 'L 'L .. .f /71 "i__ 11 IIJ_ ~II I : ~Jit. .. -8---------------------------------~ .__.. ... . I 'L " '. .. ~' a ~-6 =i ~= v~.__. 8----------------------------------------------------------- J. .. I 1 -:: I.___--6 ______ ..__. - : .~ . ~ : - ppp "11' . "i__ "11_ I . . 1 'L 'I 'L ....... Do not ritard these measures! ... - fv-. . .

.. second and third fmgers held together throughout this passage. 1iiiiIiiiiIiiii 1iiiiIiiiiIiiii!iiiiliiiiliiii~ : u .. X1~ == ~==== ~==== I @ Do not "finger" (3 21 32 1) the repeated D-sharps in these measures. .. x::t:::: >.. L <Ii) 8a bassa - [q~ L __ .110-.... r. ~. I ~ x~ / ='=ij . ® It is my belief that if Ravel had had an instrument with an o extended keyboard (Bosendorfer) he would have written Fdouble sharp and G-sharp as he did in the following measures instead of A-natural and A-sharp. '- 11..... Instead use a combination of the thumb... Scarbo Duration: 10:00 minutes (Moderato) ii Rudolph Ganz Modere » 88 : Piano 11 -~._'/"" ....:::J : : _."lI [U] : (getting faster) L~: = =:.. ~ I-""'" : .-@ @ tres [ondu.... 395..40 III.. ":::. x~ '111 • -.'C - 1_ -".. I : 11 .-. The same supposition applies in measures 334. -En :t x:l::::: ::1: r.... == • ------=-----. (una corda) sourdine --..Ll- · · · ~ _...F - - .. ac - . .• I TT .... en tremolo ~. Rebound off the D-sharp....----. Before the key is fully up. ~1iiiiiiiiiIiiOi~ tres long r. ce .J n ____ _~1iiiiiiiiiIiiOi jiiiiiijiiiiiji~- b~ .-.. (very long) :::1 :_ _ 11 ..-.-. The sound might be too articulated and not deep enough in the key. .' ... like a tremolo) ----.Ie ~ - ~ rant L:~ 8--- ~:II.. 402 and 409 but with different notes. then immediately depress the una corda and come under the remaining sound with the pp subito chords. n pp x~ >-~ =± _. 2 3 5 ~~~ I x~-» >r..- e-z: · · · ----- .. With a loose arm drop with these fingers on the first accented D-sharp and let the key and arm rebound. begin to play the note with a rapid motion from a high wrist... (very deep. It is also possible to play the chord with the left hand and the D-sharp with the right hand using a combination of the second and third fingers.

~ ~ L._ t ~ _Ud . : 11 2~.~ . great care must be taken not to emphasize the bar line.. ~ : J.f-. mf : TI ~~----------------------------~~~----------------------------=4j =4j =4j =4j =4j '=4j . .=4j I I 3 1 II I I .: .\ -r . ~~ 5 ._ "\ !:::I::::I dJ - .: 41 -- . .: : x ..zn *. q1~= pp r ... .. .:sa. 4 rLt ~ 52 3 ~ r : # ~_. - .s..I.. ~ ~ ~ L.if .. W 5 2 : . xf: .~Jt PP subtto I lfIi· · · ..~ ~ -:J.if rL XII.~..~ '=4j . ~. I ...~ .H.H.. I 2 11 3 11 : -"~ -r q . .---. 3 .::~: .I'- ~ f-{L5 + I.. -- - - - -- -x.. I t "t._ : un peu marque (a little marked) 3 2t3 . t /~J . . ~ (g] J.-. ..-. - ---x. mf~ " r - r : ~ ~ u....I.H. TI - r-- . ~~ pp ------I I 5r2rr P ~ rl ~ L.-: .. ~ 5 3 ...jL ~q~~ I I . o Vlado Perlemuter's fingering.H..:i r. ? ? I 1 2 (a tempo) (Lively) [ll] au Mouvt(Vif) 4~5 . x .J ~..... Sans ra1entir r-- (Without ritard) - ..H.-:J. ®~.-:JL. i ~f#- "'~ ~ : rL 5 :>~ . 3 .. '~ '~ (under) I~ L.-1 x f: .. '" ---- -x. · · · . An alternate fingering could be: 3212~ . However. 'I ~ H.):"ttfft I 11 r .:a- r .... 'I ~ It (Lively) 8' Vi~. ~ ~' @ I use the left hand to help keep an absolutely even tempo. ......

The measure should read: (i) These staccato chords should be very dry and sharp. . . !~ . .. 2 3 5 ~ ~~ qi: ~~ '~ qi: ~ . ~ [§1] : u 4 1'--:..b. I~~ L_f= ~ : 1 2 3 ~ pp =ii ~~ ~ 111 =ii · 1.H. "f1" : 2 '. . .. ~f+!-.. ..3b: 1.. J 3/2121..1 ~~~ ~~ ~ +--t-. ~ .3 b! 3 2 12 321 J. ....----5 2 1 3 2 1 "'.'. .rro. ~ : u 5 I : -r-- r.H..--" ~ J r.' t r .. . '! .L 2 tr 11 3 11 ~ ~.._ 'q~ ~. ~ 21231 .. ._i'\. ] .. 1!'-i .J_ .it- 3 1 2 3 1 2 23 13 q-rI II II ( I 1. I ---q~ r--L.® 1 2 I~~~ CD ERROR: There is a C-sharp 16th note missing from the score. _:r : u I 0) pp .. 1 5~32 - r [1]J : J.u..42 ~ · · : 1. 34 1 ~ ~ ~I ~'~ •• .....1 -----. "I ) .r r~ .fL~ 132 1 f I ~r' I 1244 2 --• Iq~ R. • .fL~. I. b...q~~ t >1!' .1 -it....• _ ~~ . ~ -..--.j. .

.u # .i: i: #.. == ~ r- • •• #~·T~ • • -- 102 ". ....:: ~ #~ L..~- -r_j _b = ::. C :~: . ilL ~ . 2 4 •• P 4 2 . n~ : ~ «« 5 I 215 42 1 42 l.. • 2 • 8-. : .u r ...r 3 3 2 13 1321 132123 321212 1 5 121 512151 r. ~iIL ~ 1 if .....:~ ~. ~ .u #.. J . ~_b . ----------------54 5 32 2 .• ji: r ••• #~ . j 2 5 r- .--5 3 --l F-- ~ == ~ == ~ ~ :: I~ ( "if • I r..r[l_ 13 5:r . 1..:r .. 124 [llJ " : 54214321 ~ fL ~ 4 2 1~ ~ I : - '1 r ~ rN :--=: -~ £~..._..U.. L. . • i 5 .. ......u~ ~ ~ == [j= ~ Ii=" ~ t ~- :: :: t...I ~-~ .:: ~~ ~ ff : I r ~ II : -r rim.. .. == ~ A I --::::.I-~ rJJ ==--- ....J.: '"' :1{: 8-'-.~ ..~ -Fr~ I-t. pp iJ 5 x*'_ - ft&_ 1 2 ~ 1 2 sourdine 5 (una corda) I ® ERROR: F-double sharp. _-..... ... F"" "11 ~ . 11101 ~ flJi" ~ :: I ~~ :: ==.. l. ...J ~ i21 _10...1 :: ~~ 1£ .. is correct. 5 -.5 4 3 2 ..J L-' ... " .----51..43 32 1 ~# 321321 -. ~ .- ~ 3 2 1 4 2~ 1 5 .~ .. not F-sharp...~ #~~ . ~ • -l- : I=.[..

....-:= 'V. t- t- : u . ~ ... p. · · 3. - ~ t- ~ J. I ~ f- f- I 3 2 1~~ 1_3 2 3 1C'" ""- ~~ .. is correct. : :.. J.. : II . : ""-".. : §1\ 4 i ILI~ 5 2 1~ <D 4 2 1~ t\ u~ J...~-.. ~ ~ f- - J... not Bnatural..-- : -I~ -: . * ERROR: The D-sharp should be tied to the D-sharp in the next measure as it is in measures 154 and 155. 'I~ · : ~~-::::::: tre» [ondu et bkn ega! de sonorite ~ ~ · ~~:::::: : · 'V :-.I '--~ t.. :. : ~ I- - J. ·. (very deep and with a very even sound) J .-:::::: 1 'V . ( J.. . - ~ l- I : u :iP:P [ill]~. ERROR: According to Vlado Perlemuter.- .=J CD " ._ \J I .. : u · • - ~ l- ~ J. x-t ~~~ 1+... 1 '"' : -. .. r::~~ t.. 1-- _.U . .. - ~ '- ~ J.. Ravel corrected it in his copy.:::::: .~::::: ... pp : I · ~.. · ::::: ~: ... ®q.:· Ph ~ .» == ~ :.~-t H. 'I'i u~ . :.~ : 1 ..~::::: : 'V -..... --I~ -~ r-~ I- :-: 5 f- . . ~ - ~ - J... r ~ ~ ~ <D~ -I • I · · fir ::: :. ~ ~ - · 1-"""'." Clavier (Evanston: March 1982).::: : I 11351 .... --... · · I- ~ l- ~ J.--: ~ f- ~ - ~ '- ~ C- I.. . ~ f- ~ '- J.... 2 5 4 .. : _ r. B-flat. - ~ t- ~ - I L. ~- Iu ~.!::...~:-:: 'V . : 11411 H._.• I 'V : I ~~~ <. <J) CD ERROR: The natural sign should be on C instead of B. .. -- · ~ · r ~ f- ~ J.. · · t- ~ t- ~ J. =-- 1 ppp ..44 11221H.. : .. ~ - l- ~ · . #.-: .~ 1+..._: : u ? ... I e: - ~ r- I pp #i- x'" ~= : ..' ppp 4 · -r . -: ..:-: .. . #i- X"~ 0.. .:-::... ..-.Dean Elder.._ J...=. .-:::: a~ · t.. . 20...... "Perlemuter on Ravel.---: . : ... ..... I'Ut .t- <. --.. 'I ~ 1+. ....:::::: ...

~~ e. i 3 ! 1 _. 3-----::::~3-5. ( ~ ~---::::~: I=1'::-.:.. . ----I:: . ..... I : ~ ~5 . qp L. :.. ....~~ )~ 1~d: PP tqq ~:::::::=:::::::~:~ ~:.... I -<II .. __ ......... n=: : . 1 3 13 1 ~ :..".. q.. CD :.. f ~I I ... .V i 5 4 b~~f :'!i /L p to.._.. '- i:qq~ I: . - p : - .._ __J5 I '" - . I I I~ ~-4f I : I~ -.:_ _ I - " -- _l -.. [TIl : ( -~: -.--~~ : ~~ f... @ If you use the bottom fingering (2 3). : u "'") ./ ._:..11 ~ t-- -~ . . .... ~ ~' ~ ~ .. straighten the hand before playing the E-flat in the next measure.. g. q{I..45 5 2 11531 H. .. ~q~. ~ 1 ... ..~-l:~ - "TV -._ b ~ . --- ~@ ~"1! 23 Q) Other fingerings such as 4 5 4..- --~-----------------3/ =i :. i4 ~1 b:>~1~ ~ . '-"" ~ r- ~ r- ('~ 1~' : ~ ~ ._ ..~ _. ~ l ~qt~ mf .. .. -=-. 4 5 5..I ~:-:~ ~----- :!_.... I~ I _ P .. can be used here and in similar passages. I ~-<II:.... I -<II .." . etc..... I 5 L.. :::: .r. --j ~~~ 'I - (without stoP)pp II sans arret II ~ J: :::: ~ I .~ (')~~~ 11771 : -=~~ . f . It is important to choose one that enables you to keep a loose wrist in all these left-hand figurations.J 11591 '11 Ie. ..

. I I I~ I .. • : 1 I . ~ I I~ ~ ft "lI :>.J 4!' ~ «: ~ 9I I I~ ft· - 4!' ft'· mf. "'! .. ~~ . ~ -J-I 'Ii "..1 l~ qb: f.. ~ 1I I I-*-I 1 til ~Il ~ ~ .... ..-? 1 b-J I frO"'__" -fr f II I I : ....#~l: : -<II mp ~~ . . .. • .. ~ I~ 8icH~#\i ' if ~ < q. -<I!'" ----~ .. - • -J~ ==- ~~ = =- = = =-=------------~------------------~------------:J_ ~ -:. ® mf ::> r'I r'I _ 1 ~Il ~ ~ _J_ I 1 1"._ Iir:.:> 12001 t 1\ Jot'ii. ....:> q~~ ~i±q. I~ mf I laJ I b~ I q~1 . u 1 ____________ =. . I L ..______ .. ~... ~ 5' ~ ~ II I~ ~ «< ~ ~ 4! .. ~ -_ . .. - 1 J I - I1~Jl «- . : ~ . :: ~: I b-J I ~~ b:~ ~. ~ ":' f\ ~ I~ P I~ I : I~ .i - I q~ I _/ I ~I . ... -:J_ -:J_ ~ -:J_ -:J_ -:J_ -:J_ -:J_ ~~ -:J_-:J_ ~ o Be sure to note that this is a 16th rest rather than an eighth rest as in measure 190. 1 I~ II "lI 1I 1b-J I q:.... 11941 ~ Jot t < tt.__ ....-r-~. ..J_~ -= .....J 1 1 --~..1- - =4 ________.46 'I I I ~ I 3----. u "lI 11 1 ..1 I-J II I ......-.. ..

j -111 -.-.12 : ~ . 3 1 . =--------- J. 3 . : TI . . rr : ~ ------2 4 . q= q~ II 1 4 32 14 ~ q. = ~:i ~:i ~:i:i ::. I . I . : u I=::.. : u t I .' pp " r --.. I ...J.II..- .. ~ 2 3 1 2 2 1 ...i . -111' [TI1] 11 : ~ 1 1 ...'=1j q~ 3 1 2 3 1 2 2 1 3 3 q-.. ..----~ .• 31 ? 11 ~ 2 4 • 1 ? ~ - ppP~ J ~ ~ = =. ... >-- 3 3 12221 .i f TT I \ = = -111 . 2 .i.. .-:l : Itt· • '!" >-- pp IL J IJ I -I L ----J IJ I ~ ~ o ERROR: The A-sharp should be a dotted quarter as in measure 222. 2 .- @ : 11 -----.J -j JJJ .47 (a little marked) un peu marque 3213 .. 2 r 2 1 t f:: . 2 11 pp ~:i ----~ 11 2 11 3 1 -- ~~ ~ ~ .. -1 '-. T _.::. 1 ~. . rr ~ ~ ~q ~_\ I ~ p : ~ 12271'1 ~:_ ~~_IL 1 ---eal " ~·H" '.A- ppp pp ~J ~ 5 • _. >-_ _ r ~ #~. J ~ i II U i JJ 11-J 81 --- ~ : -1IIq:...-----f. .

. ~ I~ ":' ~ . ILoJ 1 .. _ -- fI'. .. pp~~t... j r . : ~ 1 323 ~ ~ ft! .). .. ...-.. .... : ~ 8__ . ~ ..48 [ill! 1\ _u' 121 ..:... #~ 1 ILo J 1 : 1tF. . lor' ..J 1 ~ r ~ u r r ~ ~ ~ " _u'# i ( ..iiiiio 1J ~ I - j tJ . .! 1" • ... ~ .J!. '!' ~ 1'-~_( r I \ I1 ~ I"'" J1PP ~ r . ® Alternate fingering: 1 L.-.H......~ 321212 5 2 1 ~1 I:lI 1 3 2 3 '-' 259 ..L _l J 1 - --. - • • -4 8.--. : # ... ~h c-. 2 .J ::i.i. -4 • (£) r-- Keep the left hand above except for measure 261.-' LH .. PPq~~ l~ ~.. ~ ~.-: .. L.._u# .h! ! r:.. : ft~ 12 1 5 1 . ~~~ ~ . OIJ f:'- J I I IJ I Dr !~ ~ L. r1 : . u .H..' I!t... : u ~ n... 'lI -4 II IJ. '':....--- J- ..-1 I ~ ~ ~ 8----iL2 I-~ 5 1 31 'T I 1 II 8-4 __ -----J u f.. • "! J1PP pp I ~J IJ I I ~J IJ I lJ..:lI.h! ! ~ ! =.-.J _!8~-~-~-~-~-~-~-~-~-~----~5 -4 1 4 3~ 1 4 3-" 2 2 " ~ 1 3 2 1 3 2 1 32 1 ~1 3 2 1 5 " _u' # .:__ __ ~ .7 .~::.1 "-' : --= F= -I- _\ Lo "! I Jl ~ -."Jl~ g =t: I 5 ~1 : pp : ~ ® ft! ..*. ~ P : T1 Lo ' .

l~~ ~ 1 12 A'~ • I . 3 2 1 ~ ~~ ...~ :. ...! ! __......~ I- ..49 5 3 5 1213 12651 1'IJ..1 : ~ fL. .L """" LJ -~ = "'iJ -u PIP i I I I ~ /¥ I .II' IH .~. : f~1 I • 5 4 3 '1f 121 ~): ~ "11 . ____. ~.. ..t ~ nif\ I : ••• 3 1 2 3 1 2 b~ 2 1 r...t 1 2 512 J J ..!!!!II 1. ~ 1 r' ~ -= ~ -"11 ~ 11'1'1 PIP . • : -. 4 2 11 It .. : : 3 1 212 323 321321 132132 3213 1323 13 2 123 12 1. ~ ~ 4 3.===-~ ~ Id.. .... o to .. 1 4 2 1~ 4 2 1 : c-> 12701 '1J. =i ::...t =i ~. '" : a a _.F.. I -+-+.: ~~~ ~ I.--.__ : u Jot.-~~. ~ =i - .-.. #~ ~ ~ «-..ut 1 Jot ~ ~!11:/ ~ )H~ Ii......1 .~:.. ::.. =i 5 5 '"' 'I!' ! 287JH~L~.. .... . 5 ~2 28 : ~~ 1 2 1 ~ 3 5 ~ 12 1 • 4 5 1 2 1 ! 5 3 I 0 1 5 Jot 0 2 3 0 2 I 0 1 1 3 . .L. ~ I~ 0 II 0 1J. J~ 1 I'l ... 5 ~~~ 1 : pp ~~ ~- #~ f 321 H.. 0 5 o 0 0 H.-:: pp . ppp ~ ~~ ~~ ---= 1 ..-j 1. ~~ _1t:i..~ " -----.:no ~ I'l ~#! PIP . =i : .

~~" I " @ 5 4 ppp-=== I IJ -J II CD CD CD ERROR: According to John Perry._ --I ~ ~.J 1 2 1 3 1 . is correct. ERROR: F-double sharp.50 132123 321321 5 4 121 5 2 121 5 3 121 . One must project with great color and drama the romantic sweep of the first theme against the biting nervous sound of the second theme. 5 -J ~~~ 3 2 j 1-I'l I mf _T 11 ~~ : lJ 11 2 1 p '" ~ ® II. This assumption is made because of the B-natural found on the third beat of measure 284. : "'-j -j I r 5 j .I. The double flat sign is not clear in the Durand Edition. This is a B-double flat in this chord. is correct in measures 317 (LH) and 318 (RH). l'I~ft . not F-sharp. ::.. 298 ~j± tr 4 5 t. not E-sharp.~i=- q~# ~-8 -J f*- . See measure 284.~S J :.~~~ I.. ~ 5 3 1 2 1 • 3 5 2 ~H" Qe: 3 1 5 2 q~ -J 4 1 3 1 2 53 1 ~ft~~ .~ 4 2 ~ 13031 8-----1 ~~ - 1'1 l I- :. not G-natural. 121 ." ~ --~ 5 w- I • ..'~ ~ : 'r-fll-. is correct. @1 S 3 .. 2 1 3 2_ ~31 121 . b'_ 2 1 5 L~' [1ttJ1t ••• - I AI> 8------X~.. ~q~~ . Take care not to rush. ERROR: E-natural. G-sharp. =i =i-~ . C0 From this measure until the climax of the section (measure 366) there is a jumping back and forth between two contrasting and opposing ideas..t . G) .._ -5 1 ~.

_ 21 .... ~~3 - . . n = ~. I- ~. I . 5 ..1..H... 124 ~ 12 4 • _ ~ 11if ..1. ..-~.== ~~ 1 2 1 ~~ : 2 #~~ '" ~ : ~~ _§~5e§e~~q~ r 5" L.: ~ ~ ~h I 5 I u~r J 3 1 I 1 'V~: .~ I-- I- l . §~...~ 1 ~:~r...- 13231 1.... 3 5 2 4 : I I ~5 ___J ·~2 5 1 =• ._ _ . ~.~ . ~ --ilL ~~.51 5 4 13181 Il T ®~:~ 1 ...1. " ~ " -iI ~ . ~ ~~ q~l"- 5 4 4 1 1 • -~_jj 2 1 k~ qq~ 5 3 1 ~ ~ 2 ----. ~ =:...~ ~ - ----... ~ 1\ r-• I : j • . : --~ . q:: j_ ~ ~ 1 1 25 ::: . ~ ~ .~ 8 .:.~ ~.. 5 l ~--~21 I=~4 1=t=~f=2 ~ 142 1 = ~ 4 ~ • --. #q~ I. tiL I ~n - '" ... v- --==---~ -iI ~ : 'r #t:~ : 1.ur. b~~~ 1~1q~ ~.. 1 ----------------------~ :... 1 -A A ~-~ - 1~1 13281 : dim.__/ ~3 "5 3 1 ~f 'fro.._ -~ . -1"-:>-I =:::::::- : 1. I..../ ~ r 4 I 3 2 1 4 3 2 1 * I I $~ "- 13~6! It 8..

~ • ~!~ ~ lit- ~ • ~ == =~ _. : ~ =4i ~l -. ~ ~~~~ ~~ ~~ ~ 3 t ~ 4 3 t 3 t....-n t 24 • ~ IJ .r'~ .. rFf".. -----.---- ~ i ---""'___I: f ~ ~ e ( . 13611 ~~~ ~ fl I 1£. vp J qr~~ I 3 t p... '" I -: . : ~q~ q~fi~ mf~ ¥ 5 3 5 ~3 ~qi- q~ ~ ~ I /~... (marked) -4 marque nif~ ~ i~ 13511 ~ .-. -- :....-.ql- ...... !>---! ~~ £~ pr ..- . ~ - ~ j =: ..[-3 ~ .::.... ~ 32 .. : 1 s .-~-~~~ ~~ ~Ii: ~ ~ I""""""' -= : v II -- ~ .. ~.:l -11 I""""""' .1..... .~ : : . ~~ 1..J::::: r- = ""! t 5 u~ ...~ : qJl . I~ !~ t I- ~ ~ 4 ~~~-= 3 t 5 2 4 lor r- 5 2 t 5 4 • ~ ~ ... l__ J q~ !~ ~ q~ -~ ~ ___J : ..... -~ .J f_. 1-- ... t 5 2 t ~ ==-1 ~ . -: if' ~ ~ F- I : ~ I""'" I"""" rn 32t _.~ ~~q:1 Ii'11~ ~~ A )_ P.... - ~ I"""' 5 2 ~ - ••• 5 4 t ::::=-mfr--- ~ T~-P 13561 : (q~ = I r I r-A vp :> q..52 13411 ~ 1 #.

....) ~.. 3 <.-~-.~ ~j~ -!J. : I -r----..... ~ ..' Val) ---? L...H.. --~J • du mouvt precedent (of the preceding tempo) 11 1..----~~ 8-~-----------------------------::. (~..... ~. / A ~ ~~ ----------------------------------_A ~ ~ _ ~ : pp ~ 8-_J PPP tr : ~ ~ ~ ~ ~ ~ ~ ~ ~ --~ -.. .53 J -A . ~. .. : ...H. I) ~ : r='~:-L1 1 2~ 4 t'~2 I 2 1 L._ ~ R....__ :..._ .-~ .. --- --. 8-------------------------------------------------------------------~ : ~.- P :> - -------------------------------------------------------~ 8~--~--!J sourdine (una corda) ~ q~ LL= "'11 'fro. .-i ~~~ --- 8~'....--====::::--: 12' 8.~~ . 10)...H. 2 ~ j I) : ~~ L j In· ( I j -".... ~J. ~..... 3 21 ~ 1~:~ll . · · · · - 1\ -111 • • 2J :>~ ::..~ -:jJ....-.. . ..~t- >----Jt' 2 f r 1 2 Q. express: if (expressive) 4- I) a- 2 -111 • ~...r------j V .....

.-IiiiiIiiiiiiii pp- .. 1Iffi· _J ~. . ::::t>---=---~:~.<!.54 ~ .7*" ~~: __J l~ X:t :>- •:I::::::::: ~ L. ~ t:\ ~ u. I t:\ r ==-:-:---.. .---. -- Iff 1 1 " ... ...- _.....::::::: ~:J: - ===== ~ ~ J t:\ 14091 . Tl -. 7- _______ ..~- - - -_--. - IX~ I 1::1: -rJ -. : 2'~: .....~~ T I ..- ~ - t..~: .. _ ~ -- --- )1 I [Z rrl gg~" ..-. g" - -.. .J t:\ I ~ r:J X• .. ~ ...... '" 1111 r ""ft" 8 -.: ._~ ~...

·H. ~~ ~ (. I'lJ. . r~i .f: . . I'l ~ +T..l. toujours PPP (always ppp) • r • • -:' -:' 11 • 11 • -:' 11 I'lJ.. t ·~-.H.. ~.) - r . (q 'It ~q ~! rr ~ r ~ • ++1'" ---II1 • 432 1 1 2 t 3 fr¥ l.________ RH ____ 'r-. - r/ r --:: r r 1235 1 2 3_5 [ @ RH . pp un peu marque ~ (a little marked) 14321 t tt .14301 J H. not D-sharp. H.. ~I. ._ .1.. 1: tr (~) - . ... ..H. Keep the same hand division for the trill. Tl~ !. ~)~ ~~ 1: 5 i ~ L..~ H.H .. RH ¥ .... J..I...- tr' jf(J:) - ~~ 1 ~.q~~ g4~ .l..I&.~~ ":: qA~ (q~) 3= ': ':~ ) ~ ".I t I'lJ._' r'- w2 R.~"_3 1I!. is correct..-. The dynamic level must always beppp.~:'-' --_ .'H. #.e.. ___ r 123123 4--. H• . • H. r-- 14341 tJ < I'l J._ 'r-- ® '1+- gJl~J. =» 55 du mouvt precedent (of the preceding tempo) 2~~3~5~3~2~1~2-----------------------------------------------------------~ .!.. . ~ ~i!!l §~~~eee~ §~!i ~ fr .. /~q~lb. L..-- 5 ""'-----1 ---------------------------------3 __ 2 5 _ ~J. • rr • • --I r r I r T' ..4 2 123. q$ . 14381 +T I\J.. ERROR: D-natural..I...5 ~ "I -<.11 - L..__ L.. .l.il. 1'l~+T =' --------. t ~~ '-- .. Follow their sound and phrase to the descending sixty-fourth notes. e Bring out the top notes a little. ++3' 2 Vf! o 21 5 4 3 2 _____.f'- .

.. toujours 1- ~ ~ ~:!:. and 459.9@1 4 23 .H. I'l ~ ppp fr. The correct notes are G-sharp and Enatural. ~L r r . rI II ILJ rr -. ~ t . _"9II .I - r. (4 b 54f 2 r~ @ - lJ k ~~ I'- .~-.. -. ~ 532j~' L.1-9-..I I ~ ~ II .--. The modifications I have made may facilitate control for some performers and ease the strain on the thumb ._L..2... not D-sharp. 3 1 Li --.--- n -I 1 23 4 1 3 23 4 if 1 . is correct..1-- .. not F-sharp. r _[j r If U -..... 11 3 3 3 CV Alternate fingering: Continue the cross-hand octaves in measures 443 and 444.. '1'1 ~ t.. II i r II I L.. II.. is correct._ LJi. . --H L..I - II 4 fro 11.. rlt+t ~ @ ~I'" 11 1 I fro I IJ I .. 14481 1'1 ~ --.1.' ~. 14441 " 1 2 3 1: 1 32 12 - - r II _.'.H. My fingering is found above the composer's in this section.. -4 - rr .. 1111 CD @ @ @ Ravel's mark ( #).. ~ r: 11J [ .56 14421 Mtfr.~+t 'I'l ~ +to rr --... r II ~ A. r i r II +t.!!.. tJ n: =: 111111 tJ I~"-S .I - If II'_' • rr ® (#)~. ERROR: D-natural.. ERROR: F-natural. 1'1 ~ __.R. --.. ~~b. _. 454.. Ravel's fingerings are found in measures 448.

hb.. JJ=tJ) 1 3 2 4 1 ~1 ~ 3 1 C5~ ~ ... 4 i'1i.~~ ~ b.... " ~ En (getting faster) 'l~~.12 3 ~ t ( : u ___ ... It should be on the A instead of the G. f: g. #~tq~~"q~q+ ac r' ~ ~. 466 through 469 and 472).-~ -:J ~ .. .ft....L 5 3 2 1 __"""I _ n-__.II.ft t - ~ j!i... g~~" #~~ IT 23 if .~H - b"'_~""'~~~ 3 - :" n .\W" ~ + p~ 3 1 : .II... ft fiji ~. ... I~I~ ... 1---t @ T r..... s-L 2 j--. ----...u.II. ~ . The correct notes are G-sharp and A-sharp. ~ ~ q~ ~ 5 14""'--23 14 1 -. .~fI1"~"=q~tt· ~ II --- 3 3 3 3 ~V 3 ...57 4 ~~..~b..h t~_'. ~.. I'"'" J __ .J_-~ ~ ~:f3 = ~j.._t @il) .23 4 1 Ie 4 1 3 4 2""-.I ( .. ~ i1i~ ~ ~ 11 1 Toujours en accelerant (always getting faster) ~. I to... I~ . Play with fairly flat fingers using a loose.{1-~ 2 1 n -.u# . . q~ ~"T' -lI . ~.rant 457 ft.~tl1W~" q~~.~ I'J . Iii V" 1 gli~#'if:q ...1 f~ i 3 2 t - : u ~5~ ~ . The sharp sign is misplaced in the Durand score.. . 454.~ p . !!:_ -~-1-~ ~ n-. -lI .. 3 '~V"l n 3 3 3 ----.J ~ .. to. ft..q~q.. slapping motion. J : @ Be sure to use Ravel's fingering (treble clef measures 460 through 463. 1· 3 2 q • ~: .# ~ ---~ 4b~ 3 I.it_.. . 1 3 4 t 2 3 t n' 1 .. lI. rJ#~ -~ ~-J --.' ft @d.

....~ #i = = • = .." ~'------------------------------------------------------.58 (1st a tempo) (Lively) r= Mouvt ~ (V~i~f)L __ ------------------.. V . ........ ...=±. ._=..jj 1'--- . = ... if' #i if' :::.=± ~ • =~ #~. = =...==4 • = • =4 ...= • = =4 '::...- 2 __ 3 14681 ft I'. --------------~--23~ :J: ~..=t. = .'i" . ~~~ _l'"'"'""1 ~ =---b.: 23 '''_: V 11 ~ I r l I R.==4 .j ._ • ~~ ~ TT L1 ~ ...1 I =±..= • = ..~ ""\ r I .____ • 45 : 11 ... ibi: 2 4 f.=± • ~y ~ " ~r ®• r ~I .tilt ~ ~ t- f#t- If~ 5J 1 3 f. : TI !~ f~ 3 2 1 2: 1 ~ #: 3 23 1 ~~ ! 8-- ---.= . 1 2 .. = #..=t. 14731 ~ H.. 11. = • = .- • .:!! qqr 3 - 45 23 1~ 1 I( l. • _ .I ':...J : ~R±x. _ ~ =.jj • = .._ = '=4 => ._ = = . =4111 /:.. . = .= . 1 3 5 ppp I 2 4 r 1 2 #1 q~ ~ ~ ~ q~ • j. = :::. ~~ '11 #i ~ = ">: ':.= .. --1#:y~#~~b~H-= ~ L..__ = ..l:T ~ I I I fl ..= .j =.. =4i #i ~ . ~ 1--1 ioo-( --I ~ I f#- e: . *~ =t..II- H.j =.==4 • if' .. : L1 . '::. ... . =~ ffi *. =4 f =4 ... = . = ~ ~ • = . #~ .. F~ _4~ -I--+f ""1'-' 11 #~:h ~1i"~# . pp 11---.1.. : TT = •..H.... ® The fourth 16th note remains an E-natural.I .j •= =..j ..

=~ • . T = . • = .= .. is correct ® Ravel's fingering in this measure and in measure 512...... @ ERROR: C-sharp and G-sharp... -::: r-_ ~ I : 11 \qJ::::===:::::J:. b[ .__ .. ( ~ ~ it..=========.".Fi .::.= • = ..= • #i #"i =ii =4i . 3 . .. tr RJr (t 12 pC[[) .. 15191 ~_l .= . I 12 3 1 24 ~ ~ :. • r @~ I..J~ qU = ~ __J ~~ .= =ii . ~ ~bl~~ bl -- ':. =ii : . not C-natural and Gnatural. 514 I =~ ~ a ar 1 5.. ~~ ~I q~ ~ ~~... are correct.. not C-natural..=~ . ~~':. - -ti- '1~ h:...~J: stop) . P :> ~ i~'~ . ~ ~.-#.q~'~ 5 432 prp~ I ~ ERROR: C-sharp.£!L ~ = .. ~q~ bl:: ~ = . 5 f R._-- 5 =_ .= • =4i ~ = = ..= . ~ I .t .=~ • = • = ~ #:.. ..tj.. #i = r u = ~ ._ sans (without arret pp I = •• ~ •• 1 mp .__ 11 ~4 .-~ : 42 .= • #i~ #i ~ =4i = lfi (.H.. -11::. -- v(j ~~ ..1.r1 42 I.-:.= .. ~ 2 = . ~~ : .!~~ ~.59 .:::=======:::::J: . ... : _:1 I. ~ 15081 1\ ~'H:...=~ • = .J ~::::::::---::: .. f"'~-P ..= =ii =ii • ~: -----~. qi ~:~~. :"4' • = .. = += #=.= =ii • =ii = #i . . . ~ - : I ~..~. _ II=: ifW = + = #= ::.= . : " T' • ~-t ~r 1::1 ~.=~ • . : -=:I.

5_43 ~OI~~~ = I - . 1 .:: :~: . 31 = ~ I . =- ~b f f 'j..-11 H_ • ::4j : . : ~:. ~ '" pp : -: "'! ~. pp . ._ 15311 : < h~~ ~ .~ t < #·i mf P_"....~ / I mf P J = - -4 ____ P I / P-=== ..60 5 2 1 11 5 3 15251 : < ~hq) t j hJ ~ . ~~ ~:. I"I~ ~ ~~ '-11 . Match and connect their sounds in this measure and in measures 548...:-~·~J3 . . ~ ::± .) (.______/ = -11 15491 #... L / ~ 2/_~ : 12 312~ ~~h~ ~~ I lL mf pp I 1- = r... (.r--. llf:~ <1D ~ I : =~1 ~ II -11 ~ mf ~~ I ~ ~ :i =~ ~ 3 3 ~ = #:. --.r PPP. :.bl ~1 : ~I t < ~_____-/ (]) = ::jj .. 4 12~ :t~~~~ - ~1 II I .. . .. 1 3 1 5 ~ .... 1 .--- -11____. J . l~l 1 b-J I I .... should form a line. specifically the top left-hand notes and the bottom right-hand notes.-------.-: 3 1 5 3 5 2 5 2 ff'. . ~~~ q~~ ~= ~ The inner notes.----===::-------..r ~ ~. ::::.------=::::---- ·-----..--.... :__:. = __ = :.... • • ~-. I = ~ .. P ~J :i: • . 554 and 555. .. I u • 15431 # .

. 0lJ ~ #~ ~ : if ~ TI r' JfI '. (A little less fast) 15631 ~-~ l!h~i ~ qi -: : . They project the rhythmic energy that drives the right hand. .I x=: ++_:. J I ~J 1T :... -.... > > tJ~>-~ ~~ i= fff ~i .- ~h~ q~----J: ttq __ : ~ It : u p I ~ h:! . #~ #~ peu ® q~. . q~ ff Un peu moins vif 8 ...~'*.+ 1'-... ~I.- --:: "~1 1 . ~ x.Iff .... IIJr lUI ~. -u~ x=: '"11 ~. - --'=-' F1.... >-~ L .- ~ 'l) ....mf. ~i 5 2 2 1:.- ~ 8 .1 3 5 l 5 2 bbb II -= qq~: ~ IL .- ~ 0lJ i 5 5 2 1 ~ : 11 11 : '"' = ~ ---. >q~ the: .. i#~! ===. .... ff~ TT""jI if I:J =i.~ . 15681 .. .~'f:~ 5 L.. q~ : bi~-=: P subito 1 >-~.z. 0 l' >8-. >8-----. ® ERROR: The octave E should be a dotted quarter.. ® The left-hand bass notes on the first beats of the next eight measures should be very strong and well placed. ...: . 3 5 1 .. ~ 0lJ I"- .1 i~~l ~ I ~ ~ : [W • e: x....._ ib#~iG : i<tbti I- :. 8----1 8 _._ ~ -= : ~q>------"'" l. 5 _ 15591 I'I~' En ii (Holding back a little) retenant I L h::'...---- ~ ff" 4 5 ~~ 4 3 2 3 1 2 2 1 bi ~ 4~ 5 4 3 2 1 q~ ~-4 '4 ~ '"' ._..b:1=: #~ ®~.. ~ # fL- F1._ ..I q~!~ ~1 1 4 = 5 5 -- -.J 15741 Ii.IJ. >-~1 5 2 1 4 q~~ qi: jh~ ~i 5 4 1 b:~' ~.-q..-.61 15541 : P 11 rtGq~ I ~f 0lJ 3 " h.b~'''~~ l #~: t fff : :J >- t#~1Ir \=~ If "'-'I if t#~~ :J ~~ f: 8>_J ~. x~ .J -4 ft- tt - . ~._ un --""'! ~~ q=.' 1Ir.> • '.' # ~ ~ ~11 x~ ~ : .t_ tt=~ t < ~ : n ~~ l ..

. - I - - r~r'-----:::> r:___-r_._____r:-.::: ~~ -: ~ ----=== ~ - \ - = --.._ -"'!!!:: :1 ..::: --. ~ m e '---r' sourdine mais f -: = . ___ ~ I : ... --. • .r ~....... 1~ a ~ ~ ~ ~ _'_1' ~ ~ 1 I : nif/ --Ii"""" ~ ~\ I ['f ~ ~ '1' -- ~. ~ 2 1 a 2 - -----I '--. ~ _JJ. this bass F-sharp and the bass F-sharp in measure 596 should have been D-sharps.62 !-- 3 u 11 _u 3 r---._-r· - 9 According to Marcel Ciampi.. I-#.. marque et expressif and expressive) I _II • -4' . It is a debatable question as to whether or not a ledger line was omitted by mistake. 15901 u I < ./ = .1 marque : u I' A' _ .... - I ~ ~ ~ I ..... 5 ~ #-... 4 5 2 1 a 15841 : f . J ~ I ~ J~~ -#-.- < I ..."' - (una corda but j) (marked r~r' ~ -""'I!!t ~ - 15961 : ~ ~ r=r ~. #i ~. .. ..~ :---.. - ....-----.. ~---1 = =~ 5 212ifl~ _.... - - ~... ~ . . . I play D-sharp in both places and change to F-sharp in measure 602. ' < I .JI = --. =! .. f \~ --.... :0..

1-. '1 '- .I.L T' ppp . ~ ~ I n '- 1 .----.~ = q~i::..@ -----..t-4 - I~_' pp • =i-_ ..1-.--.. .... not D-sharp.l- I... _. q~:~ (Hold back very little) : JJ.I- =~ ~ XE' I-E I.h 5 ~ ·qr\ (_ =.----. Was it because he was playing them too slow to start with? I prefer them faster... In any case...i ~ ))=. Ravel didn't want the end to lose speed and marked the last four measures "Sans ralentir" (without ritard)..f.~-: . ~r1 ... According to Vlado Perlemuter... @ The B should be a dotted quarter. ~.63 .Xt- l... -+ ~ -2 ~ - \ -~ -ill L = ~ -01 ~.:J_ 8--------------------------------------------------------~ '!roo =i-.-c T' Tres peu retenu ( /q[..: ~:q:. 5 3 q~ ~_\ 0.= -iII~-. 1-. =q~'1432 - :== -----~ = ~ . f-x 'E I-E·I-E -E .g~-~-~ . l- l- PEP 1 : I I : J..---=. Ravel wanted him to play these measures faster. ( ~J:I +t mf : q~ q:.... q -J~ ~..l»>: _ I- X E -E f.3 5~-- I : - ~ I ~' =-... ~~ __ ~ = q=:=tq:.- du mouv! precedent (of the preceding tempo) [§ljJ I II r~ Yi~~· I~ ~ x~ ~~: -E !E... -~ (END) 1:\ FIN pp €y ~ ERROR: ERROR: Dsnatural..-::J _-::J.l-. ~ ~ ..- .-----i'J_ ~ ... l.---. - -... ~ ~lI-_' Bbassa .1-.

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