Bolero by Ravel. History of a masterpiece
The reason for the extraordinary popularity of Ravel's Bolero is
hypnotic effect of an unchanged, many times repeated rhythmic
figure, against which the two themes are also carried out many times, demonstrating
extraordinary growth of emotional tension and introducing more and more new sounds into
tools.
So,
Ravel, let's dance the bolero!
For those who will not change music to a pen,
Is in this
the world's original holiday -
The melody of the bagpipes is meager and sad
And this
dance of slow peasants...
Spain! I'm drunk on you again!
Dream flower
nurturing the sublime,
Again your image burns before me
Beyond the distant
border of the Pyrenees!
Alas, the tormented Madrid fell silent,
All in echoes
passing storm,
And Dolores Ibarruri is not with him!
But the people and their song live
alive.
Dance, Ravel, your gigantic dance.
Dance, Ravel! Cheer up,
Hispanic!
Rotate, History, cast millstones,
Be a miller in a terrible hour
surf!
Oh, bolero, sacred battle dance!
Nikolai
Zabolotsky
By birth
We owe this work to the intertwining of two life lines in the fate of Ravel,
this Frenchman has Spanish and, oddly enough... Russian lines. Russian connections
Ravel was given an external impetus to write the second part of this ballet
representation. Spanish - by the inner force that prompted Ravel
write exactly “Bolero”, in other words, again, as he had done more than once,
turn to the Spanish theme, Spanish folklore, try to convey Spanish
spirit and color.
For many years Ravel has been associated with figures of Russian culture,
especially with the composers who conquered Paris in the early 900s. This is before
In total, the Russian theater figure Sergei Pavlovich Diaghilev with his “Russian
ballet" and "Russian Seasons" in Paris. It was by order of Diaghilev that Ravel was still in
In 1912 he wrote the ballet Daphnis and Chloe.
On the writing of Ravel's "Bolero"
prompted Ida Rubinstein.
Ida Rubinstein planned to perform on stage
Grand Opera in Paris choreographic composition to music already written then
"Valse" by Ravel. But this one orchestral piece in order to present it
in a theatrical performance, it was not enough. And then she turned to Ravel with
request that he write another piece for this production. Solved
was that it would be "Bolero".
According to some sources, the bolero dance was created by the Spanish
by dancer Sebastiano Cerezo around 1780. Although it has always been three-lobed,
these beats were divided differently at different times: three equal beats in the first measure
(three quarters, if expressed in professional musical language), then on
downbeat of the next bar stop (dotted quarter note) and three short notes
(eighths). One of the rhythmic variants of the bolero: the first measure is divided into
short notes; in this case there are six of them (eighth notes), and, instead of the first note
pause. The second measure is the same as in the first version. Subsequently crushing
becomes even smaller. The tempo of the classic bolero is moderate, one might say
even reserved. The movement is full of inner strength and passion. It's danced like this
bolero to the accompaniment of a guitar and drum, and the dancers themselves beat on
castanets additionally complex rhythmic figures, intertwined in unusually
whimsical pattern. There are many varieties of bolero, characteristic of different
regions of Spain.
Paradox,
however, is that none of these options coincide with the rhythmic
structure of Ravel's Bolero. To the remark of one musician (Cuban pianist and
composer Joaquin Nin) about this Ravel replied: “This has no
meaning." "Of course," agrees with Ravel Rene Chalus, publisher of letters
composer. - And yet a work that enjoys such great popularity
and conquered the whole world, is hardly accepted by the Spanish audience -
solely because of the name." The above-mentioned circumstance gives, by the way,
a reason to think about the problem of authenticity or, as they now say,
authenticity, “national flavor” in works on a national plot,
written by foreign composers. What is perceived in the outside world
as a kind of musical emblem of a particular country, not always
is such for the inhabitants of this country itself.
What
As for the Spanish bolero itself, this dance inspired more than one
only Ravel. Bolero was written by Beethoven (arrangement of the bolero is included in his cycle "Songs
of different nations" - notebook 1, no. 19 and 20). This dance is included in operas and ballets
- "The Blind of Toledo" by Megul, "Preciosa" by Weber, "Black Domino" and "The Mute of
Portici" by Auber, "Benvenuto Cellini" by Berlioz, "Swan Lake" by Tchaikovsky and
"Coppelia" by Delibes. Glinka, with his passion for Spain, used the bolero in
his songs and romances (“Winner”, “Oh, My Wonderful Virgin”). Surprisingly
(although this may be understandable in view of some similarity between the rhythm of the bolero and the rhythm
Polonaise), Chopin wrote a piano piece called "Bolero"
(Op.19). But, despite such a crop of bolero in European music, the first
the association that arises with this dance is, of course, “Bolero”
Ravel.
At first
it was a kind of composer's experiment: what effect can be achieved with
using only one composer's means - orchestration. After all, the play that sounds
fifteen minutes (a lot, in order to keep the listener's attention in
constant voltage), is built on just two persistently repeated without any
development topics. In addition, there are no modulations, that is, transitions to different
tonality, in other words, changes in harmonic colors. And finally, tough
Ravel sets a limitation on the tempo - according to the composer's intention, it should remain
unchanged throughout the entire work.
So,
"Bolero" is Ravel's true compositional trick. The composer himself
described his work: “This is a dance at a very restrained pace,
completely unchanged both melodically, harmonically and rhythmically, and
the rhythm is continuously beaten by the drum. The only element of variety introduced
orchestral crescendo. In the persistent repetition of two themes, Ravel saw Arabic
element characteristic of this dance.
Premiere
"Bolero" as a ballet performance took place in Paris on November 20, 1928.
Danced by Ida Rubinstein, set design by Alexandre Benois. The triumph was complete.
Here is the testimony of one of the eyewitnesses: "A dimly lit room in the Spanish
tavern; along the walls, in the dark, revelers chat at tables; in the middle of the room
a large table, on which the dancer begins to dance... The revelers do not pay attention to her
attention, but gradually begin to listen and perk up. There are more and more of them
captures the obsession of rhythm; they rise from their seats and approach
table; unusually excited, they surround the dancer, who triumphantly
ends the performance. That evening in 1928 we felt like these ourselves.
revelers. At first we didn’t understand what was happening, and only then did we realize...
".
Necessary
to say that although this scenario was naturally agreed with Ravel, he himself
the composer imagined differently what he depicted with sounds. The most important
the difference was that, according to Ravel's plan, the action should take place on
open air. Moreover, Ravel knew exactly where (and it had to be
reflected in the scenery) - against the background of the wall of the factory building! The unexpected and
a seemingly strange artistic decision. But if you know the circumstances
biography of Ravel, you won’t be surprised. The composer has always had a passion for
industrial landscape. He admired the factories in Belgium and the Rhineland,
which he saw when at one time - in the summer of 1905 - he traveled on board
yachts "Eme".
One
Ravel’s statement on this matter: “What I saw yesterday is etched in my memory
and will remain forever, like the port of Antwerp. After a boring day on the wide
river, between the hopelessly flat, featureless banks, a whole
a city of chimneys, huge buildings spewing flames and clouds of reddish and blue smoke. This
Haum, a giant foundry employing 24,000 people around the clock
workers. Since Rurort is too far away, we moor here. All the better,
otherwise we would not have seen this amazing spectacle. We reached the factories
when it was already getting dark. How to convey to you the impression of this kingdom of metal,
these cathedrals bursting with fire, from this wonderful symphony of whistles, the noise of the driveways
belts, the roar of hammers that fall on you! Above them is red, dark
and a flaming sky, and a thunderstorm had also broken out. We're back scary
wet, in different moods: Ida was depressed and almost cried, me too
I was ready to cry, but from delight. How musical all this is!.. Definitely
I use."
The factory depicted by Ravel in Bolero existed in
reality and was located not far from the place where the composer acquired
a small house near Paris, which he called Belvedere. Hanging out here with friends
Ravel often said, pointing to this factory: “The factory from Bolero.”
Leon
Leyritz, artist, sculptor and decorator, close friend of Ravel, made the model
scenery for "Bolero". This model was demonstrated at the Salon
decorative artists during the composer's lifetime and received his full approval.
Knowing this, the management of the City Opera, staging “Bolero” after Ravel’s death,
Leitritz entrusted the design of the performance. Serge Lifar, choreographer of "The Russians"
seasons" by Diaghilev, and at the time of this production (1938) the former main
choreographer of the Opera, strongly protested against this plant. But brother
composer Eduard Ravel, who knew well the artistic intentions of the author,
showed firmness and threatened that he would not give permission for the production if not
his brother's will will be done. Ravel's will was carried out, and the success was complete.
Spain, factory, bolero bullfighter... (Frenchman Ravel). Involuntarily in consciousness
another series appears: Spain, tobacco factory, habanera, bullfighter... Of course,
"Carmen" (French Bizet).
Life
"Bolero" as a brilliant orchestral piece, and not just a ballet-stage piece
plays by Aturo Toscanini. 1930 Toscanini prepares a performance of "Bolero" in
Paris. At the same time, Ravel himself conducted Bolero. Composer like me
mentioned, attached great importance to maintaining the tempo of the play
unchanged from start to finish. This is exactly what - with the continuously increasing
the sound of the orchestra and the ostinato (that is, also continuous) beating of the same
same rhythmic figure with a drum - has a hypnotic effect on
listeners. And so, Ravel came to Toscanini’s rehearsal. Famous conductor
throughout the play he made a noticeable acceleration. Then Ravel walked up to the stage and
drew the conductor's attention to this. Toscanini's very calm and strong Italian
answered in an accent: “You don’t understand anything about your music. This is the only
a way to make her listen." "After the concert at which Toscanini repeated this
acceleration, - I quote Rene Chalus, - Ravel decided not to go to his artistic studio
congratulations, but the Portuguese conductor Freitas Branco, who was in the hall
persuaded Ravel not to attract everyone's attention with such unkindness. Ravel
allowed himself to be convinced, but, shaking the maestro’s hand, told him: “This is allowed
only for you! And no one else!" He did not want - and he was absolutely right - for
A false tradition of performance has established itself among musicians. However, contrary to opinion
Toscanini, the audience listened to "Bolero" without any acceleration of the tempo, and how
listened!"
Bolero / Maurice Ravel - Bolero (Maurice Bejart; Maya Plisetskaya)
http://youtu.be/NRxQ_cbtVTI
Artists
Fabian
Perez
Jeremy Suton
Raynold Reech
Andrew Atroshenko
Mark
Fielding
Yanira Collado
Karen Bierteldt
Text
Alexander
Maykapar
http://www.liveinternet.ru/users/arin_levindor/post73974687/
Lesson 1 2nd quarter.
The integrity of the image of poetry and life.
M. Ravel. Bolero. Folk dance image.
“ Oh bolero
sacred dance of battle!”
"Bolero - spanish folk dance , which originated in Spain at the end of the 18th century.
This bolero is danced to the accompaniment of a guitar and drum, and the dancers themselves beat out additional complex rhythmic figures on castanets, intertwined into an unusually whimsical pattern.
From the Encyclopedia of Art
Joseph Maurice Ravel (Ravel)
(1875-1937)
The amazing dynamic power and impetuous impulse of his music shows that Ravel was a perfect master of his art.
Emil Vetermoz
Ravel Maurice Joseph is born March 7, 1875 in the small French town of Sibourne, near the Spanish border. There is nothing surprising in the Spanish affections of the French composer. After all, his mother Maria Delurgue was Spanish.
This is, first of all, the famous Russian theater figure Sergei Pavlovich Diaghilev with his Russian Ballet and Russian Seasons in Paris.
"Bolero" by Maurice Ravel is a symphonic hit of the twentieth century. "Bolero" appeared in 1928 . Ravel was inspired to write Bolero Ida Rubinstein - famous Russian ballerina, student of Mikhail Fokin, the famous Russian innovative choreographer.
But the people live, and their song lives,
Dance, Ravel, your gigantic dance.
Dance, Ravel! Cheer up, Spaniard!
Rotate, History, cast millstones,
Be a miller in the menacing hour of the surf!
Oh, bolero, sacred battle dance!
N. Zabolotsky
- What is the main thing in the music of this work?
- What character? Is he changing or not?
- How many themes are there in the work?
- Which means of musical expression remain unchanged and which ones change? (intonation, tempo, timbre, dynamics, mode, register, rhythm, construction).
Thank you behind attention!
Job source: Decision 2952. Unified State Exam 2017. Russian language. I.P. Tsybulko. 36 options.
Task 17. Place all punctuation marks: indicate the number(s) in whose place(s) there should be a comma(s).
Dance (1) Ravel (2) your gigantic (3) dance,
Dance (4) Ravel! Cheer up (5) Spaniard!
Rotate (6) History (7) cast millstones,
Be a miller in the menacing hour of the surf!
O bolero (8) sacred dance of battle!
(N.A. Zabolotsky)
Solution.
In this task you need to use commas to highlight introductory words or references.
1. Find words in the text that answer the question “who, what?” If such a word is in the nominative case, but is not the subject of the sentence, this is an appeal. Separate with commas.
Dance (1) Ravel(2) his gigantic (3) dance (accusative case),
Dance (4) Ravel! Cheer up (5) Hispanic!
Rotate (6) Story(7) cast millstones (accusative case),
Be a miller in the menacing hour of the surf!
ABOUT bolero(8) sacred dance fight!
2. Find introductory words in the text.
There are no introductory words in this passage
3. We write down the numbers where commas should appear in the sentence.
Slide 1
Presentation on the topic: Maurice Ravel “Bolero” Obysova T.G. Music teacher at Municipal Budgetary Educational Institution “Secondary School No. 15”, Novomovskovsk, Tula Region.
Slide 2
MAURICE RAVEL
Slide 3
1928
BOLERO
Slide 4
Born on March 7, 1875 in the city of Cibourg in the south of France. The city of Sibur was located on the very border with Spain, where at that time his father was serving as a travel engineer, a passionate lover of music, who instilled this love in his son. In 1889, Ravel entered the Paris Conservatory, where he graduated in piano. Ravel developed an interest in improvisation after becoming acquainted with the work of the extravagant composer Erik Satie, as well as a personal meeting with composer and pianist Ricardo Vignes. It was after this that Maurice developed a passion for writing. In his final year of study, he was in Gabriel Faure's class. On his initiative, Ravel composed a cycle of works to Spanish melodies - “Habanera”, “Pavane for the Death of the Infanta”, “Ancient Minuet”.
About Maurice Ravel:
Slide 5
When you listen to the music of this composer, you get the impression that you are watching the work of an artist creating his canvas. However, like most composers, Maurice Ravel's work was not recognized for some time. Only after speeches in his defense by the largest cultural figures of France, R. Roland and G. Fauré, was Ravel awarded the Grand Prix of Rome. This allowed him to go on a three-year internship in Italy.
Slide 6
During the First World War, Maurice worked as a truck driver at an airfield. After serving for more than a year, Ravel was demobilized after two serious wounds. After the war, the emotional element began to predominate in Ravel's music. Therefore, from composing operas, he moves on to creating instrumental plays and writes the suite “Tomb of Couperin”. Around the same time, Maurice Ravel met the famous Russian producer and director S. Diaghilev, who was staging “Russian Seasons” in Paris.
Slide 7
Ravel tours a lot: he performs on tours in Italy, Holland and England. And everywhere he was met with an enthusiastic reception from grateful admirers. Commissioned by the Russian conductor S. Koussevitzky, Ravel performs a brilliant orchestration of “Pictures at an Exhibition” by M. P. Mussorgsky. All this happens while Maurice is working on his most famous work, Bolero. In it, the composer tried to combine classical traditions with the rhythms of Spanish music. The idea of this work belongs to the famous ballerina Ida Rubinstein.
Slide 8
In 1932, Ravel again tours Europe with the outstanding pianist Margarita Long. At the same time, he began work on a new work - the ballet “Joan of Arc”. However, he got into a car accident and the work stopped. Since 1933, Ravel suffered from a serious neurological disease, which was possibly a consequence of a traumatic brain injury, which he received in a car accident. The last work of the seriously ill composer was “Three Songs” for the first sound film “Don Quixote.” They were written for the Russian singer F. I. Chaliapin.
Slide 9
“Ancient Minuet” (1895) “Pavane for the Death of the Infanta” (1899) “The Play of Water” for piano (1901) “Reflections” for piano (1905) “Spanish Rhapsody” for symphony orchestra (1907) “The Spanish Hour”, opera ( 1907) “Gaspard of the Night”, or “Ghosts of the Night” for piano (1908) “Daphnis and Chloe”, ballet (1912) “The Grave of Couperin” (1917) “Child and Magic”, opera (1925) “Bolero” for symphony orchestra (1928) Concerto No. 1 in G major for piano and symphony orchestra Concerto No. 2 in D major for piano (left hand) and symphony orchestra, dedicated to Paul Wittgenstein
LIST OF WORKS BY MAURICE RAVEL.
Slide 10
The dance, which arose at the end of the 18th century (according to some sources, was created around 1780 by the dancer Sebastian Cerezo), was accompanied by singing and playing the guitar and drum. The characteristic musical and rhythmic figures were emphasized by the sound of castanets. In the first years of its existence, the bolero was called “the apotheosis of tenderness,” but soon the dance became dramatized, imbued with the spirit of knightly heroism.
BOLERO is a Spanish folk dance. The tempo of movement is moderate, the musical size is 3-beat. The rhythmic pattern is often close to the rhythm of the polonaise.
Slide 11
As a rule, a bolero consists of 5 parts. Part 1 - choreographic depiction of a walk. In the middle part, which is improvisational in nature, the dancers take turns demonstrating their skills. The “flying” movements of men are particularly complex, thanks to which, researchers believe, the dance received the name “bolero” (Spanish volar - to spin - in common speech it turned into bolar).
Slide 12
The arrangement of the parts and their strict sequence in the development of the main theme made it possible to convey the dance element of Spanish music. The famous Russian ballerina Anna Pavlova included “Bolero” in her repertoire.
Slide 13
In the 1st half of the 19th century, the bolero, usually performed in Spain on public holidays in the streets and squares, moved to the stage. Interest in the genre is beginning to appear abroad: dance is included in ballets and operas, inspiring composers to create numerous songs and romances, as well as instrumental works.
Slide 14
The sight of a large symphony orchestra performing Bolero is perhaps one of the most striking musical spectacles. Few people remember that this music was originally intended for ballet. But, having overcome the boundaries of genres as well as criticism and self-criticism, Bolero remains the most “massive” phenomenon of symphonic culture.
Slide 15
Composition of tools. First the woodwinds sound - flute, clarinet, oboe, bassoon.
Slide 16
Gradually they are joined by groups of copper wind trumpets with a mute,
saxophones are new instruments primarily used in jazz,
Slide 17
then horn and celesta
Slide 18
Solo trombone, trumpets.
Slide 20
This is how the composer himself (Ravel) characterizes “Bolero”: The peculiarity of “Bolero” is its immutability. ‘This is dance music that should be performed at a steady, moderate tempo; it is built on the persistent repetition of the same melody and harmony, the monotonous rhythm of which is constantly beaten by the drum. The only element of variety in it is the ever-increasing orchestral crescendo.
Slide 21
Ravel himself saw this music as a large dance stage taking place in the open air, with the participation of a huge crowd of people. “Bolero” has been staged on stage more than once as a ballet. According to Ravel himself, it was necessary to include the factory building in the decoration so that the men and women leaving the workshops would gradually be involved in the general dance. Why did Ravel himself have such an idea? Rather, because during his travels in the Rhineland he visited several large factories, which he constantly admired, or rather, these factories became his passion. Ravel pointed out one of these factories in front of which he loved to walk: “The factory from Bolero.” And, of course, in the apparent mechanicalness of the movement (due to the repeated repetition of two themes), the image of a grandiose mass dance-procession is gradually revealed. The music produces a hypnotizing, bewitching impression.
Slide 22
N. Zabolotsky calls “Bolero” a “sacred battle dance”: But the people are alive, and their song is alive, Dance, Ravel, your gigantic dance. Dance, Ravel, don't be discouraged, Spaniard! Turn, history, cast millstones! Be a miller in the menacing hour of the surf! Oh, Bolero, the sacred dance of battle!
Slide 23
And here are several paradoxical situations and statements related to the history of this work. Maurice Ravel: “Is Bolero my masterpiece? Unfortunately, this is empty music! After one of the performances of “Bolero,” a lady unknown to the composer exclaimed: “Crazy!” Ravel, grinning, said: “She understood!” Maurice Ravel to George Gershwin: “Be careful, you will end up writing Bolero!”
What does the rhythm of music tell?
- Diversity of implementation of three-part movement in dance genres.
- The originality of the rhythm of the mazurka (using the example of the Mazurka in B-flat major, Op. 7 No. 1 by F. Chopin).
- Ceremonial gait, expressed in the music of the polonaise (using the example of Polonaise in A major, Op. 40 No. 1 by F. Chopin).
- Translation of Spanish folk rhythms into Bolero by M. Ravel.
Musical material:
- F. Chopin. Mazurka in B flat major, Op. 7 No. 1. Fragment (listening);
- F. Chopin. Polonaise in A major, Op. 40 No. 1. Fragment (listening);
- M. Ravel. "Bolero" (listening);
- G. Struve, poems by A. Barto. “The tom-toms are beating” from the cantata for choir and soloist “Dove of Peace” (singing, musical and rhythmic movements).
Description of activities:
- Be aware of the intonation-image and genre features of music (taking into account the criteria presented in the textbook).
- Compare and identify musical works of different genres and styles (taking into account the criteria presented in the textbook).
- Creatively interpret the content of musical works in singing, in musical and rhythmic movement.
Just as musical rhythms are diverse, so are musical meters. For example, the 3/4 time signature, just named as the main feature of the waltz, is equally obligatory for the mazurka, the polonaise, and the bolero! Moreover, despite the general size, these genres are very difficult to confuse with each other.
Let us turn to the genres of mazurka and polonaise.
Mazurka
Mazurka is an ancient Polish dance performed at a fast tempo. It arose in the 12th century among the peasants among the Masurians, brave Polish riders, and therefore in the mazurka we see movements reminiscent of spurring. The dance was accompanied by bagpipe playing. Usually four, eight or twelve couples took part in it.
As often happened, folk dance came to dance halls, salons, and elegant living rooms and changed its appearance there. Since the 13th century, the mazurka has been known as a ballroom dance not only in Poland, but also in many European countries.
But it was not so easy to “cope” with the mazurka. Her music is very characteristic. Does not allow you to dance smoothly and orderly. Fire dance!
...When the mazurka thunder roared,
Everything in the huge hall was shaking,
The parquet cracked under his heel...
This is how Alexander Sergeevich Pushkin describes the mazurka.
But the mazurka is not only a musical accompaniment to the dance. Like the waltz, it became instrumental music. The Polish composer F. Chopin was very fond of mazurkas. He composed many piano pieces in the form of this folk dance.
This is what F. Chopin's Mazurka in B-flat major sounds like.
The rhythmic pattern of the mazurka is far from the measured smoothness of the waltz. It is full of sharp and angular intonations, sharp accents.
Polonaise
Another three-beat dance is the polonaise. It is also of Polish origin, as can be seen even from its name. In French the word polonaise means “Polish”; in Italian it is written like this – polacca; in Russia the name “Polish” was common.
The Polonaise is a solemn ballroom dance-procession, so in its three-beat rhythm one can hear not the light whirling of a waltz, but the ceremonial tread of the court ladies and their gentlemen - a half-forgotten picture of bygone times.
It is interesting that the polonaise, like the mazurka, was not initially a ballroom dance. In the 16th century, it was performed at weddings and ceremonies, accompanied by singing. Only later did the polonaise become a court and purely instrumental dance - a symbol of the Polish national spirit.
In the polonaises that F. Chopin composed for piano, we hear “the tread of people speaking with valiant courage against everything most unjust” - this is what Franz Liszt said about F. Chopin’s polonaises.
Bolero
Let's look at another dance - the bolero.
The three-part structure of the bolero, a dance born in Spain, incorporates into its rhythm the characteristic sound of castanets, expressed in rhythmic onomatopoeia.
M. Ravel embodied the traditions of bolero music with great brightness in his “Bolero” for orchestra. His subtle, deep comprehension of the national spirit of this Spanish dance was so accurate that the name of Ravel, a French composer of the first half of the twentieth century, is still associated with Spain.
“Spain is my second homeland,” Ravel often said. The Spanish theme runs like a red drink throughout his entire creative career: “Spanish Rhapsody”, “Spanish Hour”, “Bolero”, etc. Spanish motifs are constantly found in his piano and vocal pieces. In his Spanish opuses, Spain lives and breathes with its unique colors, the aroma of its gardens, the movements of its folk dances.
The element of dance permeates all of Ravel's work. But in no other work of the composer has this bewitching power of dance rhythms manifested itself as brightly and unrestrainedly as in the symphonic play “Bolero”.
The music "Bolero" in a very short time won wide recognition throughout the world, truly popular popularity. Less than two or three years later, this composition, having gone beyond the concert halls, became the property of all kinds of arrangers, who rearranged it for the most unexpected ensembles.
The famous “Bolero” theme was whistled on the street by people who did not even suspect its origin. “Bolero,” quite unexpectedly for Ravel, brought him such fame during his lifetime that only great classical composers are awarded.
What is the “secret” of the enormous charm of this work?
First of all, in the rare beauty of the theme.
Originating in the lightest sound of a flute against the backdrop of an absolutely unchanged rhythmic formula (two pp snare drums), this theme is repeated many times all the time against the same rhythmic background, but each time in a new instrumental “clothing”. From repetition to repetition, with inexorable persistence, the strength of the sound increases, the timbre palette blossoms, and the dynamic tension intensifies. New theme appearance - new paint. After the flute - the clarinet, then the bassoon in the high register, followed by the small clarinet, then the oboe d'amour. When the overall strength of the orchestra's sound has already reached a certain intensity, the composer entrusts the theme to two voices - the flute and the muted trumpet. Then the melody is played alternately by several saxophones, flutes, supported by horn and celesta, oboes, cor anglais and clarinets, the hitherto silent trombone finally comes in, after which the melody is transmitted to the entire composition of wooden instruments and the saxophone.So this unstoppable avalanche grows and spreads.
N. Zabolotsky, who dedicated his poem “Bolero” to the wonderful creation of the French master, deliberately calls Ravel “Spaniard”. And that sounds like the ultimate reward!
So, Ravel, let's dance the bolero!
For those who will not replace music with a pen,
There is an original holiday in this world -
The melody of the bagpipes is meager and sad
And this dance of slow peasants...
Spain! I'm drunk on you again!
But the people live, and their song lives.
Dance, Ravel, your gigantic dance,
Dance, Ravel! Cheer up, Spaniard!
Rotate, History, cast millstones,
Be a miller in the menacing hour of the surf!
Oh, bolero, sacred battle dance!
“The Spaniard” Ravel in this poem by Zabolotsky appears as a musician who, like a true Spaniard, managed to enter the original element of Spanish folk rhythms, be captivated by their mesmerizing beauty and raise a modest peasant dance to the pedestal of universal admiration.
Questions and tasks:
- What unites and what distinguishes mazurka and polonaise? Tell us using the example of F. Chopin's Mazurka in B-flat major and Polonaise in A major.
- What is the reason for such a strong influence of the music of “Bolero” by M. Ravel? Is only rhythm involved in creating the musical image of this work?
- "Bolero" is written in the form of variations. Can the composer’s choice of this form be considered logical? Why?
- As you listen, pay attention to the rhythmic imitation of the sound of the castanets. What does it bring to the perception of music?
- Why do you think that of all musical genres, dancing is characterized by the greatest rhythmic character?
Presentation
Included:
1. Presentation, ppsx;
2. Sounds of music:
Ravel. Bolero, mp3;
Chopin. Mazurka in B major, Op. 7 No. 1, mp3;
Chopin. Polonaise in A major, Op. 40 No. 1, mp3;
3. Accompanying article, docx.