I. Moderato
II. Adagio sostenuto
III. Allegro scherzando
The concerto is of uneven worth. The first movement is labored and has
little marked character. It might have been written by any German,
technically well-trained, who was acquainted with the music of
Tchaikovsky. The _adagio_ and the _finale_ have more racial spirit and
are well designed to win the favor of the crowd; the _adagio_ by its
agreeable sentiment, the _finale_ by the sharply defined themes, the
hustle and rush, the _crescendo_ of excitement, with the apotheosis,
full vigor of the orchestra with a long, sweeping _cantilena_, an
obvious tune—truly an _ad captandum finale_.
* * *
This concerto was performed for the first time at a concert of the
Philharmonic Society of Moscow, October 14, 1901, when the composer was
the pianist. The concerto gained for the composer, in 1904, the Glinka
prize of 500 roubles, founded by the publisher Belaïev. Published in
1901, it is dedicated to N. Dahl.
The orchestral portion of the concerto is scored for two flutes, two
oboes, two clarinets, two bassoons, four horns, two trumpets, three
trombones and bass tuba, kettledrums, bass drum, cymbals, and the usual
strings.
Rachmaninoff has composed four pianoforte concertos: No. 1, F sharp
minor, Op. 1, was written in 1890-91 and revised in 1917; No. 2, in C
minor, 1900; No. 3, in D minor, 1909; No. 4, in G minor, 1927.
There follows a description of the Second concerto:
I. _Moderato_, C minor, 2-2. Introductory chords for the pianoforte lead
to the exposition of the first theme, which is given to the strings
while the pianoforte has an _arpeggio_ figure in accompaniment. There is
a short orchestral interlude, and the second theme, E flat major, is
announced by the pianoforte. The presentation of this subject ends with
a _coda_ in which there is passage-work for the pianoforte while there
is a suggestion of the first theme in the brass choir. The section of
development begins with a working out of the first motive, at first in
the orchestra. In the recapitulation, _maestoso, alla marcia_, the chief
theme is given to the strings, while there are chords for the brass and
a counter theme for the solo instrument. The horns take the second theme
in augmentation, _moderato_, A flat major. The material for the _coda,
meno mosso_, is taken from the chief theme, and the pianoforte has
passage-work.
II. _Adagio sostenuto_, E major, 4-4. There is a short introduction with
sustained harmonies for strings. These harmonies are soon reinforced by
wind instruments. The pianoforte enters with a figure over which the
flute and then the clarinet announce the theme on which the movement is
built. The opening phrase for the clarinet has much significance in this
respect. The pianoforte now has the theme, and the accompaniment of a
broken chord figure is given to violins (_pizzicato_) and clarinets. The
pace is quickened for the working out of the subject and for episodic
material. There is a _cadenza_ for the pianoforte, after which there is
a repetition in part of the opening section. The _coda_ contains a new
musical thought for the pianoforte: a progression of chords in the upper
part is accompanied by a broken chord figure in the left, and wood-wind
instruments play against this in triplets.
III. _Allegro scherzando_, C minor, 4-4. There are introductory
measures, and the first motive is for the pianoforte. This motive is
developed. The second motive is for oboe and violoncellos, and is taken
up later by the pianoforte and leads to figuration in triplets, _meno
mosso_, for the same instrument. Then comes a section _allegro
scherzando_, _moto primo_, in which the chief theme is further
developed. There is a _fugato_: the first violins are answered by
pianoforte and lower strings. In the recapitulation section there is a
suggestion of the chief theme, but the second motive is in the
orchestra, this time for violins and flute, and it is taken up later, as
it was before, by the solo instrument. The triplet figuration returns.
_Allegro scherzando_: the chief theme is treated in imitation by the
orchestra. There is an increase in speed with a _crescendo_, and, when
the climax is reached, there is a _cadenza_ for the pianoforte. The
second theme is announced by the full orchestra _maestoso_, with chords
for the solo instrument. There is a brilliant _coda_.
JOSEPH MAURICE
RAVEL
(Born at Ciboure, Basses Pyrénées, March 7, 1875)
“MA MÈRE L’OYE” (MOTHER GOOSE), FIVE CHILDREN’S PIECES
I. Pavane de la Belle au Bois Dormant (Pavane of Sleeping Beauty)
II. Petit Poucet (Hop o’ my Thumb)
III. Laideronnette, Impératrice des Pagodes (Laideronnette, Empress
of the Pagodas)
IV. Les Entretiens de la Belle et de la Bête (Conversations of
Beauty and the Beast)
V. Le Jardin Féerique (The Fairy Garden)
Ravel’s music is of the most delicate texture, lacework with exquisite
thoughts orchestrated as for the little orchestra of ivory instruments
imagined by Jules Laforgue. Although to the eye the structure of the
score is simple, the performance demands the utmost skill on the part of
the players and the finest taste of an imaginative conductor. It would
be hard to say which of the five movements is the most beautiful in
fancy. The “Pavane” has a subtle, melancholy charm. “Hop o’ my Thumb” is
curiously rhythmed and strangely effective by means of orchestration.
“Laideronnette” in the movement of a march is delightful, and with the
movement that follows, in the time of a slow waltz and with a solo for
the double bassoon representing the Beast, wins immediate popularity. In
the ballet the Apotheosis was the “Fairy Garden,” and this movement,
too, is most poetic.
* * *
These pieces were originally composed in 1908 for pianoforte (four
hands), and for the pleasure of the children, Mimie and Jean Godebski,
to whom they were dedicated when the pieces were published in 1910. They
were first performed at a concert of the Société Musicale Indépendante,
Salle Gaveau, Paris, on April 20, 1910. The pianists were Christine
Verger, six years old, and Germaine Duramy, ten years old.
I. “Pavane of the Sleeping Beauty.” _Lent_, A minor, 4-4. This movement
is only twenty measures long. It is based on the opening phrase for
flute, horns, and violas.
II. “Hop o’ my Thumb.” Ravel has quoted in the score this passage from
Perrault’s tale: “He believed that he would easily find his path by
means of his bread crumbs which he had scattered wherever he had passed;
but he was very much surprised when he could not find a single crumb:
the birds had come and eaten everything up.”
III. “Laideronnette, Empress of the Pagodas.” The French give the name
_pagode_ to a little grotesque figure with a movable head, and thus
extend the meaning, which was also found in English for pagoda, “an idol
or image.” This latter use of the word is now obsolete in the English
language. A _laideron_ is any ugly young girl or young woman. There is
this quotation from “Serpentin Vert” by the Countess Marie Catherine
d’Aulnoy (about 1655-1705) who wrote romances and also fairy tales in
imitation of Perrault. “She undressed herself and went into the bath.
The pagodes and pagodines began to sing and play on instruments; some
had theorbos made of walnut shells; some had viols made of almond
shells; for they were obliged to proportion the instruments to their
figure.” Laideronnette, in the story, the daughter of a king and queen,
was cursed in her cradle by Magotine, a wicked fairy, with the curse of
the most horrible ugliness. When the princess grew up, she asked that
she might dwell far away in a castle where no one could see her. In the
forest near by she met a huge green serpent, who told her that he was
once handsomer than she was. Laideronnette had many adventures. In a
little boat, guarded by the serpent, she went out to sea and was wrecked
on the coast of a land inhabited by pagodes, a little folk whose bodies
were formed from porcelain, crystal, diamonds, emeralds, etc. The ruler
was an unseen monarch—the green snake who also had been enchanted by
Magotine. Finally, he was changed into human shape, and he married
Laideronnette, whose beauty was restored.
IV. “The Conversations of Beauty and the Beast.” Quotations from Mme
Leprince de Beaumont are given:
“‘When I think how good-hearted you are, you do not seem to me so ugly.’
“‘Yes, I have, indeed, a kind heart; but I am a monster.’
“‘There are many men more monstrous than you.’
“‘If I had wit, I would invent a fine compliment to thank you, but I am
only a beast.’
. . . . . . .
“‘Beauty, will you be my wife?’
“‘No, Beast!’
“‘I die content since I have the pleasure of seeing you again.’
“‘No, my dear Beast, you shall not die; you shall live to be my
husband!’”
The Beast had disappeared, and she saw at her feet only a prince more
beautiful than Love, who thanked her for having broken his enchantment.
“_Mouvement de valse très modéré_,” F major, 3-4. This movement is based
chiefly on a melody for the clarinet, which begins in the second
measure. There is a middle section with a subject suggesting the Beast
and given to the double bassoon. The two subjects are combined. At the
end, a solo violin plays the theme of the middle section.
V. “The Fairy Garden.” _Lent et grave_, C major, 3-4. The movement is
based on the opening theme for strings.
The orchestration is as follows: two flutes (and piccolo), two oboes
(and English horn), two clarinets, two bassoons, double bassoon, two
horns, kettledrums, triangle, cymbals, bass drum, tam-tam, xylophone,
glockenspiel, celesta, harp and strings.
“DAPHNIS ET CHLOÉ,” BALLET IN ONE ACT, ORCHESTRAL FRAGMENTS, SECOND
SERIES “DAYBREAK,” “PANTOMIME,” “GENERAL DANCE”
Ravel’s cunningly and gorgeously orchestrated ballet bears separation
from the stage and stage effects, the dancers and the mimes. Nor is it
necessary for one’s enjoyment to be concerned with the adventures of
Daphnis and Chloe. Here is something more than purple patches of
instrumental color and dexterous juggling with surprising combinations
of timbres. There is form, there is melody, there are ravishing harmonic
devices; there is, above all, poetic imagination.
* * *
Ravel composed his ballet, _Daphnis and Chloe_, expecting that it would
be performed by the Russian Ballet at Paris in 1911. Jacques Durand, the
publisher, says that Ravel was asked by Diaghilev in 1911 to write this
ballet. Others give the year 1910. Durand also says Diaghilev was not at
first satisfied with the ballet and hesitated to produce it, but Durand
finally persuaded him; that Diaghilev’s first unfavorable impression was
due to his knowing the music only by the arrangement for piano. At the
rehearsals there were violent scenes between Fokine and Diaghilev, which
led to the rupture which became “official” after that season of the
Ballet Russe. It was not performed until June 5, 1912. The performances
were at the Châtelet. Nijinsky mimed Daphnis; Mme Karsavina, Chloe.
Messrs. Bolm and Cechetti also took leading parts. The conductor was Mr.
Monteux. The score, however, was published in 1911. Two concert suites
were drawn from it. The first—“Nocturne,” “Interlude,” “Danse
Guerrière”—was performed at a Châtelet concert conducted by Gabriel
Pierné on April 2, 1911.
The second suite is scored for two flutes (and piccolo), a flute in G,
two oboes, English horn, a clarinet in E flat, two clarinets in B flat,
bass clarinet in B flat, three bassoons, double bassoon, four horns,
four trumpets, three trombones, bass tuba, kettledrums, bass drum,
cymbals, triangle, tambourine, two side drums, castanets, celesta,
glockenspiel, two harps, strings (double basses with the low C), chorus
of mixed voices. This chorus, which sings without words, can be replaced
by variants inserted for this purpose in the orchestral parts.
The following argument is printed in the score of the suite to
illustrate the significance of the sections in succession:
“No sound but the murmur of rivulets fed by the dew that trickles from
the rocks. Daphnis lies stretched before the grotto of the nymphs.
Little by little the day dawns. The songs of birds are heard. Afar off a
shepherd leads his flock. Another shepherd crosses the back of the
stage. Herdsmen enter, seeking Daphnis and Chloe. They find Daphnis and
awaken him. In anguish he looks about for Chloe. She at last appears,
encircled by shepherdesses. The two rush into each other’s arms. Daphnis
observes Chloe’s crown. His dream was a prophetic vision: the
intervention of Pan is manifest. The old shepherd Lammon explains that
Pan saved Chloe, in remembrance of the nymph Syrinx, whom the god loved.
“Daphnis and Chloe mime the story of Pan and Syrinx. Chloe impersonates
the young nymph wandering over the meadow. Daphnis as Pan appears and
declares his love for her. The nymph repulses him; the god becomes more
insistent. She disappears among the reeds. In desperation he plucks some
stalks, fashions a flute, and on it plays a melancholy tune. Chloe comes
out and imitates by her dance the accents of the flute.
“The dance grows more and more animated. In mad whirlings, Chloe falls
into the arms of Daphnis. Before the altar of the nymphs he swears on
two sheep his fidelity. Young girls enter; they are dressed as
Bacchantes and shake their tambourines. Daphnis and Chloe embrace
tenderly. A group of young men come on the stage.
“Joyous tumult. A general dance. Daphnis and Chloe.”
The scenario of the ballet was derived by Michel Fokine from the
charming romance of Longus. There are stage pictures of Chloe carried
away by robbers, rescued by Pan at the prayer of Daphnis, and of the
lovers miming together the story of Pan and Syrinx. There are scenes in
the grove of Pan and in the pirate camp, besides those mentioned above.
The scenery and costumes were designed by Leon Bakst.