LISZTIAN HIGHLITHS OF JEUX D'EAU BY M. RAVEL
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Bulletin of the Transilvania University of Braşov
Series VIII: Art • Sport • Vol. 4 (53) No. 2 – 2011
LISZTIAN HIGHLITHS OF JEUX D’EAU BY
M. RAVEL
1
Cristina BUGA
Abstract: The aim of this article is to be integrated to Franz Liszt special
bicentenary celebration. It consists of Liszt appraisal through Jeux d’eau by
Maurice Ravel. A number of Liszt applicable piano art ways are to be shown
how they could possibly help the performer to get nearer to Ravel required
musical expression. Romantic Liszt piano art achievements are for the piano
music of modern times a source of inspiration both for composers and
performers as well. Great Liszt’s personality veneration can be brought
about through his wide range of influences either not just through his own
original works.
Keywords: Franz Liszt, fine piano mastery, Maurice Ravel.
1. Introduction for the brightness, artistry or great mastery
of other composers living in same period
We are now close to the end of the of time or later, in the XXth Century. There
Liszt’s year bicentenary celebration but is a fact that some of greatest creators in
around the day marking the 200th birthday music have beneficially been influenced or
of Franz Liszt: 22th of October. Musicians, have found a great source of inspiration in
particularly pianists, throughout all over his works.
the world for a whole year worshiped his Liszt has immensely enriched his times
great personality in different ways: either either as a composer, a pianist, a
by performing his works or writing books pedagogue or even through the human
and articles in his honour. being he was. The amplitude of Liszt’s
Liszt’s creation and creativity have been influences crossed over his times spreading
an important source of inspiration further in the first half of the XXh Century.
1
Transilvania University of Braşov, Faculty of Music.24 Bulletin of the Transilvania University of Braşov. Series VIII • Vol. 4 (53) No. 2 – 2011
Worshiping too these particular aspects of Jeux d’eau written in 1901 as a most
him means fully recognizing the large role illustrative work: its programme title birth
he played for the development of not just could be by far imagined as a later
the piano music but for the music as a consequevence of prior Liszt’s work, Jeux
whole. d’eau à la Villa d’Este.
Certainly Liszt’s achievements in piano Another dedicated piano composer of the
music are one of the most notable as ‘Liszt XXth Century and a great admirer of Liszt,
has set the piano art on completely new Ravel is said he was using to confront
and revolutionary bases’ [1]. After him Liszt’s works while composing for piano.
piano potential sonorities have not just Starting with this position there is believed
been much enriched but started to display that a certain improvement of Ravel’s work
all their complexity in a unique wide performance way could be achieved by
range. applying with more awareness some of
There are quite a few, among XXth great Liszt’s piano art means.
Century greatest piano composers, who The ambition of this article would be
have been notably influenced by the big achieved if it would be considered a help
romantic composer if we would mention for the possible performer in reaching out
just two of them: the Hungarian Béla the most of Ravel’s Jeux d’eau musical
Bartók or the French Maurice Ravel. expression. Thus Liszt worship would be
In this article there is the particularly considered accomplished.
attempt to appraise some of the Liszt’s vast
piano personality facets by involving the 3. Material and Methods.
revolutionary Ravel’s piano work, Jeux
d’eau in a performing view. A closer 3.1. Material
approach from the performer point of view
is a challenge when the aim is about A significant support in undertaking this
describing some Liszt piano art principles research was the book Ravel according to
which could particularly determine an Ravel. It contains dialogs between two
improvement of Ravel’s Jeux d’eau great performers of Ravel’s work who
performing further achievements. shares their comprehension: Vlado
Perlemuter, the brilliant polish pianist who
2. Objectives studied Ravel’s piano solo music with the
composer himself shares ideas together
This article is intended to be integrated with Hélène Jourdan-Morhange, a
to the Liszt’s celebration ways by pointing contemporary music violinist, who after
out a number of assumed working or being remarked by Ravel she started to be
constructive chosen suggestions of Liszt’s his preferred performer.
piano art. They are assumed to may work As a material for the research there is
towards a possible improvement of the used a sample of Ravel’s published score
chosen Ravel piano work potential by Dover Publications, Inc. in 1986.
performance. There is reckoned Ravel’sC. BUGA : Lisztian Highlights of Jeux d’eau by M.Ravel. 25
3.2. Methods c. Same importance of hands level
involvement.
In this demonstration a number of four d. Use of the pedal as an active element
elements regarded as belonging to Liszt of the performance.
piano art legacy will be mentioned and In the direction of the four Liszt
eventually applied to a certain extent predicament listed above one can find at
according to the goal assumed. Even they all times great Liszt’s most favourable
are widely known a more aware use of solutions as optimal choices on the way to
them is reckoned to lead to a certain their accomplishment. A number of
improvement of the performing skills of benefits whereas associating and applying
Ravel piece. them to Ravel’s music are next to be
From the two main musical ideas of the pointed out.
piece written in a sonata form, the first one
sounds more Lisztian. Hence the attention 3.2. a. Sensual virtuosity and silky
will be focussing more on the main theme brilliance of the sound.
contained in the bars 1-6. A great many of
its piano solutions are considered here as Main subject consists of a more
representative for the whole. They work harmonical environment written in broken
together in building further the piece to the arpeggios melodic way. Towards a
end. However the attention will be performance the pianist has both ways to
focussing in the first bar regarded as the mind about: the harmonical alternate
generator element of the whole theme. colour zones drawn through the melodic
shape of them. Even though there is not
about a melodic line a performer has to
look for shaping the arpeggios in an as
silky, smooth way as possible in the upper
register of the keyboard.
Although the composer wanted it to be
played ‘not too fast but without
dragging‘[2] when proceeding to it
Ex.1.Maurice Ravel. Jeux d’eau .bar 1.
performers realize at the very first line how
difficult can be. From the very beginning
Due to its features it seems that while Jeux d’eau reveals a definite very high
composing Ravel has been extensively level of virtuosity if not helped by piano
tilting over the following Liszt’s piano art good means.
caracteristique: Liszt, the biggest piano virtuoso of all
a. Sensual virtuosity and silky times, established the piano art range
brilliance of the sound. problems in several levels of their
b. Melodic line integrated with difficulty. In his acceptation scales and
figurations. Thumb in charge with arpeggios are situated in the top of the
quasi- melodic elements. hardest performing difficulties [3].26 Bulletin of the Transilvania University of Braşov. Series VIII • Vol. 4 (53) No. 2 – 2011 However Ravel’s manner of employing the Ultimately, but not in the last, the arpeggios in building this composition puts performer has to bear in mind at all times it in a higher grade of their difficulty. The the epigraph a quote taken from Henri de main problem is represented by their Regnier: ‘River god laughing as the water particular way: their alternate rising and tickles him’. Through Regnier’s verses descending course in semiquavers in the Ravel makes the performer aware of the right hand. Even though they are required musical sense subsequently of the touch in a not very fast speed their changing and sound colour. In this case the brilliance course way calls for a supplied necessity of and the virtuosity, even Ravel didn’t want controlling them. The continuous it to be played fast, seem to be a difficult movement up and down of arpeggios rows goal to be aiming though Liszt prior piano occurring about twice a beat, as it can be guidelines jointly with Ravel ones are seen in the sample image, provides a invaluable means towards getting the discomfort more in achieving the desired result. composer desire: Très doux (very soft, Nevertheless main theme problems are silky, smooth). In these circumstances the far away of being solved. Next subchapters Ravel indication seems to refer more to are to add more explanations each certain simplicity of approaching them. completing the previous ones. ‘Melodic but not sentimental’ [4] is another Ravel’s recommendation. In this 3. 2. b. Equal importance of the hands respect it seems simplicity of the musical involvement. expression could be extended to either its performance means. Crossways the whole piece both hands One of the main things to be avoided summarize same level of impact: either consists in the fact they are ‘often played about piano technique or expressiveness quite articulated‘[5]. Keeping fingers close and musical sense. to the keys [6] is a modern guideline of the One could find the ‘environment’ of the piano art coming from Liszt the virtuoso. main idea structured in a rather Lisztian This is a suggestion designed to help the way: divided figurations between the two performer in getting easier Ravel’s hands granted with comparable technique concern. A second Liszt constructive way, difficulties. Further to the difficult right related to the previous is about keeping a hand’s arpeggios the pianist has to face light hand wile performing them. This augmented double notes in the left hand. meets the Ravel requirement of being The involvement of double notes of fifths careful to avoid a dragging performance. and sixths on arpeggios paths is another Thus one of the secrets of accomplishing problem to be solved. Although quavers Ravel arpeggios consists in light they are increasing the level of difficulty of movements of the hand which turns fast the right hand. Virtuosity problem is still towards the continuous changing direction about using a light hand able to produce a so as under these circumstances fingers get light sound. Awareness of their musical their necessary liberty of action. role is of a certainly help: placed in the
C. BUGA : Lisztian Highlights of Jeux d’eau by M.Ravel. 27
middle and the high piano register they are figurations of the right hand. Ultimately
completing and greatly supporting they seem to be releasing a quasi-melodic
harmonically the right hand’s E major line formed by the two keys at the
atmosphere. beginning of each changing harmonic and
‘The theme is cheerful and gentle, not rhythmical zone: D sharp and C sharp, as
brisk’ [7]. they can be seen in the musical example.
Everything has to result in a nice They alternate in basic E major harmonies
evenness of the sound quality and in semiquavers and demisemiquavers. In
dynamics which finally is as much of a this circumstance there could be noticed
help as a difficult aim too. Thinking the each harmonic and rhythmical zone starts
figurations of the left hand through these with a note played by the thumb. They
recommendation positive effects will occur release an apparently spontaneous quasy-
for the right hand too. As hands are sharing melodic line engaged by the thumb which
same difficulties they are working together is leading the changing harmonies. But
for the ultimately touch sense. here we come! This is another specific
As a last recommendation it seems Liszt piano art feature and it’s solving
avoiding to produce a dry crescendo indubitably comes again from Liszt
towards the pick of the climbing himself: a standing position of the thumb is
figurations is part of an accurate of a great aid.
performing way. As long as there is less At this point of the completion it has to
about a comprehensible melodic line in the be emphasized this working solution for a
classical acceptation, there is more about major of problems approached so far: the
colour and fluid appearance. Therefore it thumb playing in a rather vertical position
could be replaced by a fine shaping is preparing a functional hand shape in
suggestion which could beneficially favour towards its actions. In this way here
influence the required gentle brilliance of the pianist is enabled for getting all targets
the sound, a better control of its expression in one important hand feature. The
evenness, to a smooth and legato favourable shape helps the hand for
beginning [8]. playing easily the rest of the figurations
until the next changing harmony. Playing
3. 2. c. Figurations integrated with a D sharp and C sharp in an accurate
quasy- main melodic line. Thumb in position of the thumb is a working out key
charge with the quasi-melodic line. for most problems: of technique, sound
colour, rhythmical evenness or regarding
As there is concluded in the previous the touch expression.
subchapters a light hand able to move At a deeper look one can see D sharp
easily the wrist and the arm towards the corresponding to the tensioned role of a 7th
arpeggios directions is an exceptionally major interval formed together with the E
necessary requirement. key in the left hand. As this interval is
Another remarkable Liszt feature to deal placed right in the opening the thumb
with refers over again to the arpeggios pressing it would get it can get a slightly28 Bulletin of the Transilvania University of Braşov. Series VIII • Vol. 4 (53) No. 2 – 2011
different touch with the figurations. pedalling gesture so as there is brilliantly
Getting a slightly more glassy sonority suggested the movement of the water
than the other notes is a certain option going up and coming down. Noticeably it
helped by the harmonic relation sonority of comes out this action without changing
a 7th major. In this respect I would suggest pedal as in the upper register the sounds
it has not to be a silky touch but instead of mixture won’t disturb the hearing but they
it would be recommended a more direct will bring out the watery sonority. This
one. This way there is a justification more requirement would be accomplished in a
towards avoiding to produce a too different degree according to the
‘obvious’ crescendo: among the notes of adaptation to different pianos sound.
the climbing figurations the one played by
the thumb is situated on the most tensioned 4. Results and Discussions
position of this E major environment.
Ultimately the two alternate harmonies Evoking several Lisztian features of
spread in arpeggios must not be made Ravel’s Jeux d’eau is high illustrative for
sounding like too different touches. This the point of view of this article: using
mistake could easily be done by not very Liszt’s technique achievements performers
experimented pianists due to the technique can get nearer to Ravel particular
difficulty intensified by the changing expression.
rhythmic values. The similarity of the two titles is a prior
indication of Ravel’s programme filiation.
3. 2. d. The use of pedal as an active Further to the programme title there is a
ingredient on the performance. certain sensuality which shows another
common point of the two works.
A last Lisztian piano art value proposed Demonstration drawn here started from
here is the use of pedal as an active factor pointing out Ravel’s programme filiation
of the performance with references to its but attempted to emphasize a straight
significant role. In this respect a good use possible link between Liszt piano means
of a needed refined pedalling is a key for a and Ravel required ones towards a
proper final result. Pedalling gets proficient performance.
empowered with a wide diversity: half Catching a view of Liszt’s modern piano
pedals use, whole pedal, disharmonic or principles could be demonstrative in
vibrating pedals, helping harmonies as a Liszt‘s determination of further novelty in
whole or comprising superposed modern times of music.
harmonies theoretically incompatible. All Certainly the Ravel piece is providing a
of them comprise their expression aim as a lot more particular piano situations to
real water feeling. refer to further. There are still left out
One of the most illustrative examples discussions on the border of the wide
still leaves in the main musical idea. The range of touches or colour elements
first two related harmonies, the E major which could be another attractive goal to
and its subdominant would leave in same reach. In this piece Ravel gives a highC. BUGA : Lisztian Highlights of Jeux d’eau by M.Ravel. 29
prove of his fine mastery by exploiting all the modern times in piano music and was
the piano registers in an unaccomplished built on many of previous Liszt
till then diversity of sound. All comprised achievements without which maybe one
in just one single piano work. There couldn’t imagine Ravel‘s composition.
could be developed too special debates on Its novelty embodies a boundary stone of
how approaching the fluidity of the the XXth Century but quite a few of Liszt’s
movement so they would be illustrative piano art features seem to maintain its
for how more accurately emphasising the ultimate impressionist artistry.
musical content of this piece. A right As an ending nothing could be better
accomplishment of the great diversity of than Alfred Cortot’s statement. In his
musical expressions would concern acceptation with this piece Ravel
finding most favourable speed or fluidity ‘inaugurates the series of those descriptive
of the movements. and virtuoso ones through which
The intended appraisal of the great Liszt rediscovers towards pianist’s delight the
through Ravel’s innovative Jeux d’eau is secret of that sparkling piano art, of that
not finished yet with this article. This is impressionism of reflexes and reflections
just first step in a further possible series on in, that Liszt has imbued with the music of
same generous issue. There is just a little his times’.
amount approached till this point.
References
5. Conclusions.
1. Alexandrescu, R.: Ravel. Bucureşti:
There are never enough words in Editura muzicală a Uniunii
showing the great Liszt personality. He Compozitorilor din R.P.R. 1964.
was in the possession of so different and 2. Banowetz.J.: The Pianist’s Guide to
multiple facets as interminable source of Pedalling. Bloomington & Indiana
inspiration which have widely influenced a USA, Indiana University Press, 1985.
large range of composers. 3. Bălan,T.: Liszt. Bucureşti. Editura
One of the main conclusions is about the Muzicală a Uniunii Compozitorilor din
demonstration here: the Ravel’s Jeux R.P.R. 1963. See: [1], [3], [7].
d’eau central impressionistic appearance is 4. Boyden, D. D.: An Introduction to
based on a pertinent Liszt supportive Music. London: Faber and Faber
technique towards getting it. Here Liszt Limited, 1971.
sparkling featured virtuosity is a main 5. Brăiloiu, C.: Patru muzicanŃi francezi.
ingredient towards a good impressionistic Bucureşti: FundaŃia pentru literatură şi
accomplishment if we refer just to its artă Regele Carol, 1935.
touché. 6. Cortot, A.: Muzica franceză pentru
The opening of the XXth Century is pian (French Piano Music). Bucureşti:
marked by one of its most famous piano Editura Muzicală a Uniunii
works by Maurice Ravel composed in Compozitorilor din R.P.R., 1966.
1901. This work marked the beginning of p.179. See [1].30 Bulletin of the Transilvania University of Braşov. Series VIII • Vol. 4 (53) No. 2 – 2011 7. Perlemuter V. and Jourdan-Morhange University Printing House, 1975. H.: Ravel according to Ravel. London: 9. IliuŃ, V.: De la Wagner la Kahn&Averill. 1988. See: [2] [4-8]. contemporani. Vol.IV. Editura 8. Orrey, L.: Programme music. A brief muzicală a Uniunii Compozitorilor survey from the sixteenth centrury to din România, 1998. the present day. Cambridge,
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