Assignment 6

For the 6th and last Assignment of this course, I decided to write about Maurice Ravel’s Bolero, addressing the following questions:

  • What inspired Ravel to write the Bolero?
  • Which musical colours does Ravel cover throughout the piece?
  • How did I affect the audience at the time?
  • Did it influence any future compositions or composers? How?

In addition to the bolero, I also listened to some other works from Ravel, to understand his style of composition slightly better. The listening Log entry for the Bolero can be found at the end of the page “Listening Log”, within the 5th part of the course.

Bolero

Joseph-Maurice Ravel (1875 – 1937) was a French composer who is known today as one of the main representatives of the Impressionism, besides Claude Debussy. Although, different than Debussy, who was meant to fuse his tonals with one another, whilst Ravel worked more on exact contours and limits of the instruments. 1,2,3

Ravel was influenced by the works of several composers; from Mozart, over Strauss, Schoenberg and above all, Debussy, yet his style is more personal than that of any of his contemporaries, creating a unique style, especially when it comes to orchestration. He was mostly known for writing quite virtuously, yet all his pieces had a firmness and solid foundation, which makes him, alongside Debussy, one of the most well – known composer from the Impressionism. 4,5

Ravel’s first teacher in orchestration was Hector Berlioz (1803 – 1869), although, Ravel always had the opinion, that colour is the servant of the programme, whilst Berlioz was convinced, that colour was part of the whole composition. This didn’t discourage Ravel, as he saw orchestration as a field to explore on its own. He also explored the art of orchestration by arranging others, or his own piano works, for example The Mother Goose Suite or Modest Mussorgsky’s Pictures from an exhibition. 6

The Bolero was written in 1928 and is dedicated to Ida Rubinstein, a dancer, who asked Ravel to write a piece for her which should have the form of a Spanish Ballet. Initially, Ravel planned on taking some thematic material from the piece Iberia, written for piano by Isaac Albéniz. Nonetheless, due to some problems with the inheritance law of the piece, Ravel decided to create a whole new composition. 7,8

1Stegemann, M. (1996). Mauric Ravel. Hamburg: Rowohlt Taschenbuch Verlag, pp. 7-10

2Biography.com Editors, (2014). Maurice Ravel. The Biography.com website. [online]. Available at: https://www.biography.com/musician/maurice-ravel [Accessed: 18.10.2021]

3Kennedy, M; Kennedy, J and Rutherford-Johnson, T. (2013). Rave, Joseph Maurice. In: Oxford-Dictionary of Music, 6th ed. Oxford: Oxford University Press, pp.687-688

4Lumen. Music Appreciation. (2018). Maurice Ravel. [online]. Available at: https://courses.lumenlearning.com/atd-epcc-musicappreciation/chapter/maurice-ravel/. [Accessed: 18.10.2021]

5Thompson, W. (2001). The Great Composers- An illustrated guide to the lives, key works and influences of over 100 renowned composers. London: Joanna Lorenz, pp. 190-191

6Durfourcq, N; Hindley, G; Green, B; Helm, E; Paine,D; Smalley, and Walsh, S. (1983) The Larousse encyclopedia of music. p. 396

7 Stegemann, M. (1996). Mauric Ravel. Hamburg: Rowohlt Taschenbuch Verlag, pp. 118-119

8 Classic fM. (2021). The story of Ravel’s Boléro. [online]. Available at: https://www.classicfm.com/composers/ravel/guides/story-maurice-ravels-bolero/. [Accessed: 19.10.2021]

A dance, consisting of a single movement, very slow and steady, considering the melody, harmony and continuously playing rhythm played by a snare drum. The only element of change is the crescendo from the orchestra. 9

The imperturbability, which doesn’t only include the ostinato accompaniment, but also the reappearing, unvaried melody is a unique scheme within the European music. The theme appears 18 times, over the course of 15 minutes, a contradiction to the assumption, that people would prefer some more variety. Furthermore, the piece also stands against all rules of the classic – romantic era, which is characterized by avoiding repetitions and including surprises by using new themes.10,11,12

Furthermore, the Bolero was seen as rather disappointing considering its name. The Bolero originally comes from Spain, has a moderate ¾ – time signature and traditionally includes guitars and voices, supplemented by castanets or a tambourine. Thus, Ravel’s Bolero is due to its huge orchestration already far away from this original form. The only connection to the original folk dance, can be found within the rhythm and the function of the music itself: To be in the background and put more focus on the dancers. 13,14

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The orchestra for the piece includes the following instruments:  

  • 1 piccolo
  • 2 flutes
  • 2 oboes
  • 1 English – horn
  • 2 clarinets in Bb
  • 1 clarinet in Eb
  • 1 bass – clarinet,
  • 1 sopranino – saxophone in F,
  • 1 soprano – saxophone in Bb,
  • 1 tenor – saxophone,
  • 3 contra- bassoons,
  • 4 horns,
  • 3 trumpets in –C,
  • 1 trumpet in D,
  • 3 bass- trombones,
  • tuba,
  • timpani,
  • 2 small drums,
  • big drum,
  • cymbals
  • tam – tam
  • celesta
  • harp,
  • string

The music is based on an Ostinato- Rhythm with a ¾ – time signature, which is initially lead by one (later two) small drums. This rhythm is played throughout the whole piece. 15

9Ardley, N; Arthur, D; Chapmanth, H; Perry, J; Clarke, M; Crisp, C; Cruden, R; Gelly, D; Grigson, L; Sturrock, S. (1977) The book of music. London: Macdonald Educational Ltd, p. 396

10 Stegemann, M. (1996). Mauric Ravel. Hamburg: Rowohlt Taschenbuch Verlag, pp. 118-119

11 Ivry, B. (2000). Boléro. Classic Cat [online]. Available at: https://www.classiccat.net/ravel_m/_boler0.info.php [Accessed: 23.10.2021]

12 Takt1, (2011). Der Konzertführer: Boléro. [online]. Available at: https://www.takt1.de/konzertfuehrer/maurice–ravel/bol%C3%A9ro_(1928) [Accessed: 23.10.2021]

13 Ivry, B. (2000). Boléro. Classic Cat [online]. Available at: https://www.classiccat.net/ravel_m/_boler0.info.php [Accessed: 23.10.2021]

14 Stegemann, M. (1996). Mauric Ravel. Hamburg: Rowohlt Taschenbuch Verlag, pp. 118-119

15 Puffer, G. (2015). Unterrichtsmaterial zu ECHTZEIT am 13. Mai 2015 in der Philharmonie am Gasteig. [PDF]. Symphonieorchester des Bayerischen Rundfunks – Educatopm 2014-15, pp. 3-12; Available at: https://www.br-so.de/media/E4-Bol%C3%A9ro-Unterrichsmaterial.pdf [Accessed: 23.10.2021]

The added semiquaver at the end of the second bar create a rhythmical crescendo, which leads towards the first stroke of the following bar. Thus, a suspension arc, which carries itself over two bars is created. Within the intro consisting of 4 bars, this rhythm creates an almost meditative start to the Bolero. Also consistent throughout the whole piece, is the harmonic accompaniment, which is consistently on the tonic chord C, expect for the E chord in the coda. 16,17

Ravel layered two 16 – bars themes (theme A and B) on top of this rhythm and played 18 different variations of these themes in the following pattern:

AA – BB – AA – BB – AA – BB – AA – BB – A – B

Similar to the rhythm, the tonality stays consistent on the root C. Theme A only includes notes from the C – major scale, which makes it very catchyand simple. Theme B on the other hand, includes some more notes, such as Db, Eb, and Ab added to the notes from the C- scale. Interestingly Ravel didn’t use any chromatism at all, but mostly focused on diationic movement. 16,17,18

Most of the tension for the piece is created by the consistently changing instrumentation as well as the never – ending crescendo. Whilst the melody can only be heard unsion at the beginning, the instruments start to get doubled in other keys (often the 5th [G- major] or the 3rd [E –major]) within the centre of the piece. Thus, the overtones, are addressed directly which initially sounds rather unusual, yet not too oddfor the Western ear. The accompaniment is mostly diatonic as well.17

16 Ivry, B. (2000). Boléro. Classic Cat [online]. Available at: https://www.classiccat.net/ravel_m/_boler0.info.php [Accessed 23.10.2021]

17 Puffer, G. (2015). Unterrichtsmaterial zu ECHTZEIT am 13. Mai 2015 in der Philharmonie am Gasteig. [PDF]. Symphonieorchester des Bayerischen Rundfunks – Educatopm 2014-15, pp. 3-12; Available at: https://www.br-so.de/media/E4-Bol%C3%A9ro-Unterrichsmaterial.pdf [Accessed: 23.10.2021]

18 Weidringer, W. (2021). Tonkünstler orchester. Maurice Ravel. Bolero. [online]. Available at: https://www.tonkuenstler.at/de/contents/opus/bolero [Accessed: 23.10.2021]

The instruments are used in the following order:

MelodyInstruments first halfInstruments second half
AAFluteClarinet
BBBassoon,Clarinet in Eb
AAOboe d’amoreFlute, trumet
BBTenor – saxophoneSpraninosaxophone, sopranosaxophone
AA2 piccolo – flutes, horn, celestaOboe, oboe d’amore, English – horn. 2 Clarinets
BBtrombone2 flutes, piccolo – flute, 2 oboes, 2 clarinets,
AA1st Violins, 2 flutes, piccolo flute, 2 oboes, 2 clarinets1st and 2nd violins, 2 flutes, piccolo flute, 2 oboes, English – horn, 2 clarinets, tenor – saxophone
BB1st and 2nd violins, 2 flutes, piccolo flute, 2 oboes, English – horn, trumpet1st and 2nd violins, violas, cellos, 2 flutes, piccolo flute, 2 oboes, English – horn, 2 clarinets, soprano – saxophone, trombone
A1st violins, 2 flutes, piccolo flute, tenor – saxophone, soprano – saxophone, 3 trumpets, piccolo – trumpet 
B1st violins, 2 flutes, piccolo – flute, tenor – saxophone, soprano – saxophone, 3 trumpets, piccolo – trumpet, trombone 

The big orchestra allowed the composer to create different forms of instrumentation, often compared with the technique of a painter, who finds new colours by mixing pre-existing one. Within this well – calculated sequence and mix of these musical colours one can probably find the charm of the Bolero. 19

In a subtle way, one can find this colouring already within the accompaniment. The rhythm is carried by changing instrumental groups, supporting the drums, already creating a continuous change of colour within every new melodic – theme. For example, within the second theme A, the rhythm is supported by the flute (as seen below), later the bassoon, horns and trumpets solely as well as in different combinations. Within the 11th repetition the strings join to this rhythm as well. 19,20,21

The steady harmonic part of the accompaniment stays within the same tonality, using only seconds and third intervals, again, making the piece interesting through tonal variation. Even with these colourful variations, the accompaniment never becomes too independent.20

19 Stegemann, M. (1996). Mauric Ravel. Hamburg: Rowohlt Taschenbuch Verlag, pp. 119-120

20 Puffer, G. (2015). Unterrichtsmaterial zu ECHTZEIT am 13. Mai 2015 in der Philharmonie am Gasteig. [PDF]. Symphonieorchester des Bayerischen Rundfunks – Educatopm 2014-15, pp. 3-12; Available at: https://www.br-so.de/media/E4-Bol%C3%A9ro-Unterrichsmaterial.pdf [Accessed: 23.10.2021]

21Weidringer, W. (2021). Tonkünstler orchester. Maurice Ravel. Bolero. [online]. Available at: https://www.tonkuenstler.at/de/contents/opus/bolero [Accessed: 23.10.2021]

The first eight repetitions involve a soloistic presentation of different instruments, for the first two Ravel chose instruments with weak overtones (flute, oboe d’amore), followed by instruments with strong overtones (clarinet in Eb, soprano – saxophone). The sixth repetition appears to be quite special: the flute and muffled trumpet play the A – theme, an octave apart. The acoustic features of both instruments create an interesting hybrid effect, making it sound like a single, unique instrument with a newly invented tone colour. 22,23

The 9th repetition involves a new effect as well; The horn, celesta and two piccolo flutes take over the melody, although whilst the horn and celesta play in the tonic C, the piccolos move in parallel thirds and fifths. Again, Ravel seems to play with overtones. Interestingly, due to the choice of these intervals, the piece doesn’t sound as if it would become bi – or polytonal. 22,23,24

Within the 18th repetition, the orchestra has come to a fortissimo, to enhance the tension even further, the composer slightly alters the harmonic for the first time, by adding a G# which clashes with the dominant G, leading the tonic from C to E. Through this sudden twist, the coda sounds especially powerful. 22,24

The premier took place on the 2nd of November 1928 in the Opera of Paris, it was a huge success, one year later the piece was played again under the conduction of the composer himself. Ravel had the commission to create music to a very specific scene; Rubinstein, who was 40 at the time of the premier, danced as the only female dancer in the centre of a circle of 20 young male dancers. Not only the music, but also Rubinsteins erotic and lasciviousstage performance had a shocking, yet also stunning effect on the audience. Although, this impact was meant to be calculated by Rubinstein beforehand. According to a rumour, a member of the audience cried out “Help, a maniac”, on which Ravel answered, rather dry, “She understood everything”. 25

Whilst the audience at the time reacted more or less shocked, the piece was also meant to be a challenge for the orchestra and conductor. The stupendous instrumental virtuosity collides with keeping a calm mind whilst keeping the strict rhythm. Relating to the tempo itself Ravel mentioned the following: “If the Boléro is played too fast, it seems long, when played slow it seems too slow.”. Despite the strict guideline the initial few performances had rather different approaches considering the tempo of the piece. 25,26

22 Haus, G. and Rodriguez, A. Formal Music Representation; a Case Study: the Model of Ravel’s Bolero by Petri Nets.[PDF]. Laboratorio di Informatica Musicale Dipartimento di Scienze dell’Informazione Università degli Studi di Milano. Available at: https://www.lim.di.unimi.it/teaching/materials_pdf/Bolero1.pdf [Accessed: 23.10.2021]

23 Weidringer, W. (2021). Tonkünstler orchester. Maurice Ravel. Bolero. [online]. Available at: https://www.tonkuenstler.at/de/contents/opus/bolero [Accessed: 23.10.2021]

24Puffer, G. (2015). Unterrichtsmaterial zu ECHTZEIT am 13. Mai 2015 in der Philharmonie am Gasteig. [PDF]. Symphonieorchester des Bayerischen Rundfunks – Educatopm 2014-15, pp. 3-12; Available at: https://www.br-so.de/media/E4-Bol%C3%A9ro-Unterrichsmaterial.pdf [Accessed: 23.10.2021]

25 Thompson, W. (2001). The Great Composers- An illustrated guide to the lives, key works and influences of over 100 renowned composers. London: Joanna Lorenz, pp. 190-191

26 Ardley, N; Arthur, D; Chapmanth, H; Perry, J; Clarke, M; Crisp, C; Cruden, R; Gelly, D; Grigson, L; Sturrock, S. (1977) The book of music. London: Macdonald Educational Ltd, p. 396

Several composers after Ravel were certainly inspired by his advanced instrumental technique. Not only the creation of new colours, but also the melodic phrases themselves were difficult for this period. The solo trombone in the Bolero seemed to be unplayable. (Monnard, J. 2001). 27

It is obvious, that there was a constant mutual influence between Ravel and Debussy. Vaughan Williams was also a composer directly influenced by Ravel, as they both studied orchestration in Paris, from 1907 to 1908. These two years are meant to have an impact on Williams’ A Sea Symphony and Fantasia on a Theme of Thomas Tallis. 28

Ravel didn’t only influence his students, after his death, his music even had an impact on several modern composers and later on even on film music. Apart from mainly being used in ballets, the Bolero was also interpreted in different ways by several musicians, an example here would be the swing version by Benny Goddman or the Minusboloero by Johnannes Kreidler. Apart from these arrangements the piece only came back to a wider public attention after being used in a comedy film from 1979.  (Both of them can be found in my listening log of the 5th Unit).28, 29

In conclusion, it can be said, that Ravel was a very important and influential composer of the twentieth century. Due to the creation of a seemingly timeless piece, made of a simple rhythm and melodic pattern, the Bolero is today still seen as a wonderful piece of art which kept its popularity throughout the last century.

27Thompson, W. (2001). The Great Composers- An illustrated guide to the lives, key works and influences of over 100 renowned composers. London: Joanna Lorenz, pp. 190-191

28 Stegemann, M. (1996). Mauric Ravel. Hamburg: Rowohlt Taschenbuch Verlag, pp. 51- 53

29 Ardley, N; Arthur, D; Chapmanth, H; Perry, J; Clarke, M; Crisp, C; Cruden, R; Gelly, D; Grigson, L; Sturrock, S. (1977) The book of music. London: Macdonald Educational Ltd, p. 396