La Valse
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La Valse, une poème choréographique was written by Maurice Ravel in February 1919-1920, after Ravel's return from World War I. This piece, although commonly referred to as being a tribute to the waltz, it is in fact a scathing reflection of post-WWI Europe.
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[edit] Creation and Meaning
Originally, the idea of La Valse began as Wien well before the Great War, where he intended to orchestrate a piece in tribute to the waltz. In 1911, he had premiered his Valses nobles et sentimentales, reflecting the changed meaning of the waltz, and indeed, the changed society of twentieth century Europe. After a short service in the French Army, Ravel once returned to Wien.
Ravel completely revamped his idea of the graceful piece into La Valse, une poème choréographique, but this time, with malice, transformed it to demonstrate the demise of Austrian and German culture that led up to the War because of the neglect of the noblemen and wealthy aristocrats for their countries and its citizens. This piece was intended to be choreographic, although it was first conceived as a symphonic poem. The ballet is rarely performed anymore, but its incredible texture and variety of moods makes it an important part of the orchestral repertoire. The work demonstrates Ravel's effective orchestration to convey a powerful expressive, message that continues to awe, move and puzzle modern-day audiences.
Ravel described the waltz with the following preface to the score:
- "Through whirling clouds, waltzing couples may be faintly distinguished. The clouds gradually scatter: one sees at letter A an immense hall peopled with a whirling crowd. The scene is gradually illuminated. The light of the chandeliers bursts forth at the fortissimo letter B. Set in an imperial court, about 1855."
[edit] Orchestration
The beginning starts quietly (the mist), with the ominous rumblings of the double basses. Silently and gradually, instruments play fragmented melodies, gradually building into a subdued, comprehensible tune, sung by the basoons and violas. Eventually, the harps signal the beginning culmination of instruments into the graceful melody. Led by the violins, the orchestra erupts into a raucous, enthusiastic waltz tune, which will reappear throughout the piece.
Hence begins the 'episodes' of waltzes, each with their own character and enigma, alternating with loud and soft sequences.
- The variations by oboe, violins and flutes, mild, slightly timid but nevertheless sweet and elegant.
- The eruption of the heavy brass and timpani begins the next ebullient and pompous melody. The tune is sung by the violins as cymbals crash and the brass blare unashamedly.
- Afterwards, the violas lead a tender tune, accompanied by luxuriant (almost sultry) humming in the cellos and clarinets. It disappears once again returns to the sweet variations and extravagant brass.
- Enter a rather restless episodes with dramatic violins, accompanied with precocious (yet seemingly wayward) woodwinds. Castanets and pizzicato add to the character of a rather erratic piece. It ends meekly and clumsily in the bassoons.
- The piece relapses into previous melodies, before a poignant and sweet tune begins in the violins. Glissando is a characteristic feature. The gentle violins are accompanied by ornate, chromatic swayings in the cellos and glissando in the harps. The tune is once again repeated by the woodwinds. As it ends, it begins to unleash some kind of climax, when it is suddenly cut off by a sweet flute.
- The flute plays a rather playful (if not, stereotypically saccharine), reptitious melody, accompanied by the glockenspiel and triangles. In between, the violins seem to yearn, whilst the harps play and (bizarrely) the horns trill. Once more, as it nears its conclusion, it tries to build up into a climax, but descends once more into the 'mist' of the beginning.
So begins the piece's infamous second half. It should be noted that every melody that was introduced in the first section is re-introduced although differently in the second half 'mish-mash'. Ravel cleverly alters each piece with bizarre modulations, illogical arrangements, odd orchestration (for example, where flutes would normally play, it is replaced by trumpets). As the Waltz begins to whirl and whirl unstoppably, Ravel intends us to see what is truly happening in this waltz rather symbolically.
Once more, Ravel agonizing brakes the momentum. A macabre sequence begins, gradually building into a disconcerting repetition, the piece starting to collapse on itself as the incessant regurgitation continues to build with rage. Finally we see why Ravel described this as the fatal whirling.
Ravel cannot deny us the ending. The orchestra detonates into what many describe as a danse macabre coda. The violent, terrifying energy released is certainly unsettling, and both exciting and confusing to audiences. It ends as the mess which Ravel lays in front of us into shatters and crashes in what was a horrific catastrophe.
Later, a piano transcription was written which is said to be one of the most challenging pieces for piano ever written. It still retains the merry superficiality and violent turmoil of the orchestral version.
[edit] Bibliography
Orensten, Arbie; Ravel: Man and Musician (New York: Columbia University Press, 1968)
