Classics Explained: RAVEL - Boléro and Ma Mère l’oye (Smillie)

Album Tracks

• Bolero-Introduction; cue to unadorned Bolero rhythm, Part 1
• Pavane de la Belle au bois dormant-Opening figure on flute; rising, falling, and then reeated
• Same Again, With Emphasis on Delicacy of Scoring
• Bolero rhythm, Part 2: an extended variation of Part 1
• Answering Variant, Accompanied by Plucked Double Basses
• ' Motto ' rhythm complete
• Reminder of Opening Figure
• But Here We Have Snare Drums and Plucked Violas and Cellos
• ... and Now Its Rhythmical Mirror Image, or Almost...
• Section 1: Introduction of ' the theme ' by solo flute
• Flute continues with Part 2 of theme
• Answering Phrase 2: a near-inversion, over ' James Bond ' accompaniment
• Section 2: Complete statement of theme by clarinet as flute joins ' motto ' group
• Pivotal Phrase 3, Reversing Direction but Keeping Rhythm of Phrase 2
• Introduction of ' discordant ' harp into the unfolding picture
• Reprise of Phrases 1 and 2, but With New Accompaniment
• Further Reprise of Phrase 2, Now on Violin, Accompanied by Harp
• Section 3: Bassoon Introduces Closely Related Variant of Theme
• ...but then veers upwards, slowing rhythm and introducing new syncopation
• Pavane (complete)
• Section 4: ' Petite ' E flat clainet takes over theme, including variants
• Petit Poucet (Tom Thumb)-Introduction; Opening, with multi-metre rising scales from muted violins
• Section 5: Oboe D'Amore Takes Over Theme but Returns to Its Original Form
• Change of metre continue as solo oboe introduces Theme One
• Oboe Yields to Cor Anglais for Theme Two, Against Lower (Still Muted) Strings
• Section 6: Theme now shared by two instruments: uted trumpet and flute
• Section 7: Tenor saxophone takes Theme as trumpet replaces horn in ' motto '
• Theme One returns, shared by clarinet and flute, muted horn added to accompaniment
• 'Motto' rhythm dominates as intensity increases from lower strings to full orchestra
• Section 8: Theme taken by soprano saxphone, ' espressivo '
• Section 9: Theme: Celeste, Piccolos and Horn; Motto: Flute and French Horn
• Fear Subsides as Theme Two Returns, Again in Cor Anglais but Now in a Different Key
• Section 10: Theme: Oboes, Horns, Clarinets; Motto: Plucked Violas and Violins
• Sensational Sound Effects Evoke a Wood at Night, With Screeches, Cuckooing etc.
• Texture Thins; Theme One Returns, Delicately Scored for Strings and Piccolo
• Section 11: Theme Taken by First Trombone, Complete With Jazzy Slides
• Section 12: Theme: Flutes, Oboes, Clarinets, Sax; Motto: Bassoons, Horns, Trumpets
• The main part of movement ends, with waltz-like march(!), featuring flute
• Section 13: Violins at Last Take the Main Tune, Joining Massed Winds
• Petit Poucet (complete)
• Laideronnette, Imperatrice des Pagodes-Introduction; opening bars, followed by Theme One
• Section 14: Violins divide into four groups, each ' double-stopping '
• Oriental-orchestral equivalent of an imprial telephone bell
• Section 15: Trumpet, Trombone 2 and Tuba Join the Foreground
• ... oboe ' answers ' with a very slightly varied version of Theme One
• Section 16: First trombone and soprano saxophone ' rejoin ' theme
• Expanded derivative of the ' telephone bell ' interrupts the theme again
• Section 17: Fortissimo; all strings ' double-stopping '; trumpets added
• Section 18: Entire orchestra now employed, ' as loudly as possible '
• Fragments of theme in flutes and cor anglais, with ' James Bond ' tag in violins
• 'Gamelan ' music from flute and piccolo, accompanied by harp, xylophone and strings
• Section 19: Sudden, Amazing Change of Key, Lurching From C to E Major
• Arrival of Empress; Upper Strings Yield to Winds, Celeste, Harp And (Very Discreet) Gong
• Section 20: Key Now Lurches Back to C, as Jazzy Trombones Whiningly Protest
• Laideronnette, Imperatrice des Pagodes (complete)
• Cue to Complete Performance
• Bolero (complete)
• Les entretiens de la Belle et de la Bete- opening
• Characteristic Pattern of Two Short Phrases Answered by a Long One
• Clarinet, flutes and violas, with ' sighing' figure derived from downward string motif
• Varied reprise of opening, entry of the ' Beast '; ' Watch it ! Watch it ! '
• Again the ' Beast ' growls; again the cautious warning ' Watch it ! ' from the winds
• Derivative of Beauty's Theme from flute, combined with ' caution motif ' in strings
• ' Beast's theme ' rises in pitch with each successive ' gowl ' (representing hope?)
• ' Beauty ', ' Beast ' and ' Caution ' motifs all combine simultaneously
• ' Beast ' (contra-bassoon) climbs ever higher, handing over to bassoon proper
• Harp's Upward Glide Heralds the Moment of Transformation; Love Song, Fear, Release
• Les entretiens de la Belle et de la Bete (complete)
• Le jardin feerique-Introduction; Opening bars are unfuuuuuuuuurled by the strings alone
• The rhythmic basis, and its guises. First, a question: ' Where went my childhood?'
• The question intensified:' Oh where went ... my childhood?'
• The answer, with a falling inflection: ' Gone is your childhood.'
• The plea: ' Bring back my childhood!'
• The response: ' Seek in ... your mem'ry. There it ... will be.'
• Ravel's Use of Tone Colour to Change the Feeling of the Music
• Further Illustration of the Same Point
• Continued
• The Nobility of the Strings
• Bells Evoked by French Horns; The Final, Opulent, Moving Climax of the Whole Suite
• Le jardin feerique (complete)