New Millennium Strings

Maurice Ravel (1875-1937)

Concerto for Piano in G

Ravel's father was Swiss and his mother was Basque. He was brought up in Paris and from 1889-1895 he attended the Paris Conservatoire. Among his mentors and influences on his style were Faure, Gedalge, Satie, and Chabrier. Though attempting five times during the years 1900-1905, Ravel was unsuccessful in winning the coveted prize, the Prix de Rome. During his musical career, he connected with the Ballets Russes, where he was first introduced to Igor Stravinsky. He first experienced jazz through George Gershwin's music. Ravel's implementation of the jazz idiom is demonstrated in the slow blues movement of his only violin sonata.

Ravel's final compositions were the Piano Concerto in G and the Piano Concerto for the Left Hand. The Concerto in G has been labeled both "exuberant and cosmopolitan." The concerto's complexity is illustrated by its many sections. The first movement begins with a shocking slap, play by the percussion instrument, the whip. Next we hear the piano soloist playing triplets, while being accompanied by a light-hearted theme in the piccolo. The cor anglais (English horn) is given a solo, and then the spotlight is switched to the piano soloist, who plays an exotic Basque theme. Then the E-flat clarinet squeals a jazz-like outburst, which is again imitated in the trumpet. Next is a quiet section highlighting the horn in a high register as the harp plays glissandos. The entire orchestra joins in playing a repetitive rhythm, which concludes the first movement.

The second movement begins with a slow expressive piano solo. The intimate mood that has been created is mirrored with the silvery flute timbre. Next the sensual mood is sustained and supported by the cor anglais. The movement ends with a subtle blend from the strings, as the piano plays a trill that paints a picture of soft rain.

The third movement begins with abrupt orchestral chords as the piano solo enters with running sixteenth notes. The E-flat clarinet appears with a sassy theme, and next we hear a trombone riff imitated by the piccolo. Overall, Ravel's use of instrumentation and orchestration is varied, imaginative, and provocative.

Reminiscent of Stravinsky's ballet Petrouchka are orchestral chords played "sec" (played very short); the violas and cellos play virtuostic sixteenth notes, which then are imitated by the violins. In turn, the flutes, clarinets, and then bassoons are given an opportunity to play the same rhythmic passage. The recurring abrupt chords, as heard at the beginning of the final movement, complete the concerto.

-- program notes by Laurien Jones

August, 2004