What does the rhythm of music say? Bolero Ravel

"Bolero" by Ravel

Alexander Maykapar

Written: 1928

What is: a piece for orchestra; was originally conceived as music for ballet performance; gained popularity as a brilliant orchestral piece.

Duration: about 15 minutes.

The reason for the extraordinary popularity: the hypnotic effect of a rhythmic figure that remains unchanged many times, against which the two themes are also repeated many times, demonstrating an extraordinary increase in emotional tension and introducing more and more new ones into the sound. new tools.

Nikolay Zabolotsky

So, Ravel, let's dance the bolero!

For those who will not change music to a pen,

There is an original holiday in this world -

The chant of bagpipes is meager and sad

And this dance of slow peasants...

Spain! I'm drunk on you again!

Having cherished the flower of a sublime dream,

Again your image burns before me

Far beyond the Pyrenees!

Alas, tormented Madrid fell silent,

And there is no Dolores Ibarruri with him!

But the people are alive and their song is alive.

Dance, Ravel, your gigantic dance.

Dance Ravel! Cheer up Spaniard!

Turn, History, cast millstones,

Be a miller's wife in the terrible hour of the surf!

Oh, bolero, sacred battle dance!

Ravel in 1928

This year, Ravel turned fifty-three years old. Behind a recent tour of America - "crazy tour", as Ravel himself described it, across Canada and the United States ("I see great cities, delightful landscapes, but triumphs are tiring" - from a letter to Helene Jourdan-Morrange dated February 10, 1928). Ahead is the award of an honorary doctorate from Oxford University. Ravel is at the pinnacle of composing skills. His masterpieces have already been created such as piano cycles"Reflections" (1905) and "Night Gaspard" (1908) and the suite "The Tomb of Couperin" (1917), the opera "Spanish Hour" (1907), "Spanish Rhapsody" (1907), the ballet "Daphnis and Chloe" (1912) , Rhapsody "Gypsy" (1924) and other works. After 1928 he would have to write two of his piano concertos(1931) - one for the left hand, which the Austrian pianist Paul Wittgenstein will order for Ravel (who lost his right hand in the war - World War I), and the second - in G major - "not only for one right hand"(as the composer joked) - an amazing masterpiece, which was introduced to the world by the wonderful pianist Margarita Long and whose unsurpassed interpreter is the Italian pianist Arturo Benedetti Michelangeli. She prepared the Concerto under the guidance of the author and performed it with triumph during her concert tour of Europe and America together with Ravel, who was then acting as a conductor.

But this - the 28th - year was the year of "Bolero".

Ravel's Spanish and Russian connections

We owe the birth of this work to the interweaving of two life lines in the fate of Ravel, this Frenchman - the Spanish lines and, oddly enough ... Russian. Ravel's Russian connections gave an external impetus to writing the second part of this ballet performance. Spanish - by the inner force that prompted Ravel to write exactly "Bolero", in other words, again, as he had more than once, turn to Spanish theme, Spanish folklore, to try to convey the Spanish spirit and flavor. But I will tell you in order and I will start with those very external causes, that spark that ignited Ravel's inspiration.

Already long years Ravel associated with figures Russian culture, especially with the composers who conquered Paris in the early 900s. It is, first of all, Russian theatrical figure Sergei Pavlovich Diaghilev with his "Russian Ballet" and "Russian Seasons" in Paris. It was on the order of Diaghilev that Ravel wrote the ballet Daphnis and Chloe back in 1912. But not only the customer was a Russian philanthropist, although his role, both in this project and in many others related to major composers of that time, absolutely exceptional. No wonder the square in front of the Grand Opera in Paris bears his name - Place Diaghilev! The libretto of the ballet was also written by the Russian choreographer Mikhail Fokin. Daphnis was performed by the Russian dancer Vaslav Nijinsky, and the scenery was designed by Leon Bakst. You can talk a lot about the impression that Russian art made on Ravel and, in particular, musical culture. Only one clearest example- Ravel's orchestration of "Pictures at an Exhibition" by Mussorgsky.

But now it's not about that, but only about one representative of the Russian intelligentsia in Paris - the wonderful dancer Ida Rubinstein. Who just did not admire her talent. Valentin Serov captured it on famous portrait kept in the Russian Museum in St. Petersburg. It was she who inspired Ravel to write "Bolero".

Ida Rubinstein decided to perform on the stage of the Grand Opera in Paris a choreographic composition to the music of Ravel's already written "Waltz". But this one orchestral piece in order to introduce it to theatrical performance, was not enough. And then she turned to Ravel with a request that he write another work for this production. It was decided that it would be "Bolero".

So we approached the issue of Ravel's Spanish connections. First of all, they made themselves known in the literal sense of the word at the genetic level: Ravel's mother was Spanish (by the way, the father of this French composer was from Switzerland). Future composer was born in a small spanish

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Presentation on the topic: Maurice Ravel "Bolero" Obysova T.G. Music teacher MBOU "Secondary School No. 15", Novomovskovsk, Tula Region.

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MAURICE RAVEL

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1928
BOLERO

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Born March 7, 1875 in the city of Ciboure in southern France. The city of Cibur was located on the very border with Spain, where at that time his father was a railway engineer, a passionate lover of music, who instilled this love in his son. In 1889, Ravel entered the Paris Conservatoire, where he graduated in piano. Interest in improvisation appeared in Ravel after getting acquainted with the work of the extravagant composer Erik Satie, as well as a personal meeting with the composer and pianist Ricardo Viñes. It was after this that Maurice developed a passion for writing. On the last year training, he ended up in the class of Gabriel Foret. On his initiative, Ravel composed a cycle of works on Spanish melodies - "Habanera", "Pavane for the Death of the Infanta", "Antique Minuet".
About Maurice Ravel:

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When you listen to the music of this composer, you get the impression that you are watching the work of the artist creating his canvas. However, like most composers, the work of Maurice Ravel was not recognized for some time. Only after the speeches in his defense by the largest cultural figures of France, R. Roland and G. Faure, Ravel was awarded a large Rome Prize. This allowed him to go on a three-year internship in Italy.

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During World War I, Maurice worked as a truck driver at an airfield. After serving for more than a year, Ravel was demobilized after two serious wounds. After the war, Ravel's music began to be dominated by an emotional element. Therefore, from composing operas, he moves on to creating instrumental plays and writes the suite “The Tomb of Couperin”. Around the same time, Maurice Ravel met the famous Russian producer and director S. Diaghilev, who was staging Russian Seasons in Paris.

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Ravel tours a lot: he performs with tours in Italy, Holland and England. And everywhere he was met with an enthusiastic reception of grateful admirers. By order of the Russian conductor S. Koussevitzky, Ravel performs a brilliant orchestration of "Pictures at an Exhibition" by M. P. Mussorgsky. All this happens while Maurice is working on his most famous work, Bolero. In it, the composer tried to combine classical traditions with rhythms Spanish music. The idea for this piece belongs to famous ballerina Ide Rubinstein.

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In 1932, Ravel again toured Europe with the outstanding pianist Marguerite Long. At the same time, he begins work on a new work - the ballet "Joan of Arc". However, he gets into a car accident, and work stops. he received in a car accident. The latest work seriously ill composer was "Three Songs" to the first sound film "Don Quixote". They were written for the Russian singer F.I. Chaliapin.

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"Old Minuet" (1895) "Pavane for the Death of the Infanta" (1899) "The Play of Water" for piano (1901) "Reflections" for piano (1905) "Spanish Rhapsody" for symphony orchestra(1907) "Spanish Hour", opera (1907) "Night Gaspard", or "Ghosts of the Night" for piano (1908) "Daphnis and Chloe", ballet (1912) "The Grave of Couperin" (1917) "Child and Magic", opera (1925) Bolero for symphony orchestra (1928) Concerto No. 1 in G major for piano and symphony orchestra Concerto No. 2 in D major for piano (left hand) and symphony orchestra, dedicated to Paul Wittgenstein
LIST OF WORKS OF MAURICE RAVEL.

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The dance originated in late XVIII century (according to some sources, created around 1780 by the dancer Sebastian Cerezo), accompanied by singing and playing the guitar and drum. Characteristic musical and rhythmic figures were emphasized by the sound of castanets. In the early years of its existence, the bolero was called "the apotheosis of tenderness", but soon the dance becomes dramatized, saturated with the spirit of knightly heroics.
BOLERO - Spanish folk pair dance. The pace of movement is moderate, the musical time signature is 3 beats. The rhythmic pattern is often close to the rhythm of the polonaise.

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As a rule, a bolero consists of 5 parts. Part 1 - a choreographic image of a walk. In the middle part, improvisational in nature, the dancers alternately demonstrate their art. Of particular complexity are the “flying” movements of men, thanks to which, researchers believe, the dance was called “bolero” (Spanish volar - spinning - in common speech turned into bolar).

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The arrangement of parts, their strict sequence in development main topic allowed to convey the dance element of Spanish music. The famous Russian ballerina Anna Pavlova included "Bolero" in her repertoire.

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In the first half of the 19th century, the bolero, usually performed in Spain during folk holidays on the streets and squares, goes to the stage. Interest in the genre is also beginning to emerge abroad: dance is included in ballets and operas, inspires composers to create numerous songs and romances, and instrumental works.

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The view of a large symphony orchestra performing "Bolero" is perhaps one of the most striking musical spectacles. Few people remember that this music was originally intended for ballet. But, having overcome the boundaries of genres as well as criticism and self-criticism, "Bolero" remains the most "mass" phenomenon of symphonic culture.

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The composition of the instruments. First, woodwinds sound - flute, clarinet, oboe, bassoon.

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Gradually they are joined by groups of brass pipes with mute,
saxophones are new instruments mainly used in jazz,

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then horn and celesta

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Solo trombone, trumpets.

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Here is how the composer himself (Ravel) characterizes the “Bolero”: The peculiarity of the “Bolero” is invariability. 'It dance music, which should be performed at an even moderate pace; it is built on the stubborn repetition of the same melody and harmony, the monotonous rhythm of which is constantly beaten by the drum. The only element of diversity in it is the ever-increasing orchestral crescendo’.

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Ravel himself saw in this music a great dance scene unfolding in the open air, with the participation of a huge crowd of people. "Bolero" has been staged more than once in the form of a ballet. According to Ravel himself, the factory building should have been included in the decoration so that the workers and workers leaving the workshops would gradually be involved in a common dance. Why did Ravel himself have such an idea? Rather, because during his journey through the Rhineland he visited several large factories, which he constantly admired, or rather, these factories became his passion. On one of these factories, in front of which he liked to walk, Ravel pointed out: "The plant from the" Bolero "". And, of course, that in the seeming mechanicalness of the movement (due to the repeated repetition of two themes), the image of a grandiose mass dance-procession is gradually revealed. Music produces a hypnotizing, bewitching impression.

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N. Zabolotsky calls "Bolero" "the sacred dance of battle": But the people are alive, and their song is alive, Dance, Ravel, your gigantic dance. Dance, Ravel, don't be discouraged, Spaniard! Turn, history, cast millstones! Be a miller's wife in the terrible hour of the surf! Oh, Bolero, sacred battle dance!

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And here are some paradoxical situations, statements related to the history of this work. Maurice Ravel: “Is Bolero my masterpiece? Unfortunately, this is empty music! After one of the performances of "Bolero", a lady unknown to the composer exclaimed: "Crazy!". Ravel chuckled and said, "She got it!" Maurice Ravel - George Gershwin: "Be careful, you will end up writing "Bolero"!".

1 lesson. 2 quarter.

The integrity of the image of poetry and life.

M. Ravel. Bolero. Image folk dance.

“ Oh bolero

sacred battle dance!”

"Bolero - spanish folk dance originated in Spain at the end of the 18th century.

Such a bolero is danced to the accompaniment of a guitar and a drum, and the dancers themselves beat additionally complex rhythmic figures on castanets, woven into an unusually whimsical pattern.

From the Encyclopedia of Art

Joseph Maurice Ravel (Ravel)

(1875-1937)

The amazing dynamic power, the impetuous impulse of his music shows that Ravel was a perfect master of his art.

Emil Vetermoz

Ravel Maurice Joseph was born March 7, 1875 in the small French town of Cibourne, not far from the Spanish border. There is nothing surprising in the Spanish affections of the French composer. After all, his mother Maria Delurgue was a Spaniard.

This is, first of all, the famous Russian theater figure Sergei Pavlovich Diaghilev with his "Russian Ballet" and "Russian Seasons" in Paris.

Bolero by Maurice Ravel is a symphonic hit of the 20th century. "Bolero" appeared in 1928 . Ravel was inspired to write "Bolero" Ida Rubinstein - a famous Russian ballerina, a student of Mikhail Fokin, the famous Russian ballet master and innovator.

But the people are alive, and their song is alive,

Dance, Ravel, your gigantic dance.

Dance Ravel! Cheer up Spaniard!

Turn, History, cast millstones,

Be a miller's wife in the terrible hour of the surf!

Oh, bolero, sacred battle dance!

N. Zabolotsky

• What is the main thing in the music of this work?
• What character? Does he change or not?
• How many themes are in the work?
• Which of the means musical expressiveness remain unchanged, but which ones change? (intonation, tempo, timbre, dynamics, mode, register, rhythm, construction).

Thanks per Attention!

What is the rhythm of music

1. A variety of implementation of the triplet in dance genres.
2. The peculiarity of the rhythm of the mazurka (on the example of the mazurka in B-flat major, Op. 7 No. 1 by F. Chopin).
3. A ceremonial tread, expressed in the music of the polonaise (on the example of the polonaise in A major, Op. 40 No. 1 by F. Chopin).
4. The transformation of Spanish folk rhythms into M. Ravel's Bolero.

Music material:

1. F. Chopin. Mazurka in B flat major, Op. 7 No. 1. Fragment (hearing);
2. F. Chopin. Polonaise in A major, Op. 40 No. 1. Fragment (hearing);
3. M. Ravel. "Bolero" (listening);
4. G. Struve, lyrics by A. Barto. “Tamtams are beating” from the cantata for choir and soloist “The Dove of Peace” (singing, musical and rhythmic movements).

Characteristics of activities:

1. Recognize intonation-figurative, genre features music (taking into account the criteria presented in the textbook).
2. Compare and identify musical works of different genres and styles (taking into account the criteria presented in the textbook).
3. Creatively interpret content musical works in singing, in musical-rhythmic movement.

Just as musical rhythms are diverse, so are musical time signatures. For example, the 3/4 time signature, just named the main feature of the waltz, is equally obligatory for the mazurka, the polonaise, and the bolero! At the same time, despite the common size, these genres are very difficult to confuse with each other.

Let us turn to the genres of mazurka and polonaise.

Mazurka

Mazurka is an old Polish dance performed at a fast pace. It arose in the 12th century among the peasants among the Masurians, courageous Polish riders, and therefore in the mazurka we see movements reminiscent of spurring. The dance was accompanied by playing the bagpipes. Usually four, eight or twelve couples participated in it.

As often happened, folk dance came to dance halls, salons, elegant living rooms, and there he changed his appearance. Since the 13th century, the mazurka has been known as a ballroom dance not only in Poland, but also in many European countries.

But it was not so easy to "handle" the mazurka. Her music is very distinctive. Does not allow dancing smoothly and decently. Fire dance!

... When the mazurka thundered,
Everything in the great hall was trembling,
The parquet cracked under the heel...

This is how Alexander Sergeevich Pushkin describes the mazurka.

But the mazurka is not only musical accompaniment dance. Like the waltz, she became instrumental music. The Polish composer F. Chopin was very fond of mazurkas. In the form of this folk dance, he composed many piano pieces.

This is how the mazurka in B-flat major by F. Chopin sounds.

The rhythmic pattern of the mazurka is far from the measured smoothness of the waltz. It is full of sharp and angular intonations, sharp accents.

Polonaise

Another three-beat dance is the polonaise. He, too, is of Polish origin, as can be seen even from his name. In French, the word polonaise means "Polish", in Italian it is written like this - polacca, in Russia the name "Polish" was common.

The polonaise is a solemn ballroom dance-procession, therefore, in its triplet, one hears not a light whirling of a waltz, but the ceremonial tread of court ladies and their gentlemen - a half-forgotten picture of bygone times.

Interestingly, the polonaise, like the mazurka, was not at first ballroom dance. In the 16th century, it was performed at weddings and solemn ceremonies accompanied by singing. Only later did the polonaise become a court and purely instrumental dance - a symbol of the Polish national spirit.

In the polonaises that F. Chopin composed for the piano, we hear “the tread of people who act with valiant courage against all the most unjust” - this is what Franz Liszt said about F. Chopin's polonaises.

Bolero

Let's turn to another dance - the bolero.

The three-part bolero - a dance that was born in Spain, included in its rhythm the characteristic knock of castanets, expressed in rhythmic onomatopoeia.

The traditions of bolero music were embodied with great brightness in his "Bolero" for orchestra by M. Ravel. Subtle, deep comprehension by him of the national spirit of this Spanish dance was so accurate that the name of Ravel, the French composer of the first half of the 20th century, is still associated with Spain.

“Spain is my second home,” Ravel often said. The Spanish theme runs like red drink through its entire creative way: "Spanish Rhapsody", "Spanish Hour", "Bolero", etc. Spanish motives constantly found in his piano and vocal pieces. In his Spanish opuses, Spain lives and breathes with its unique colors, the aroma of its gardens, the movements of its folk dances.

The element of dance permeates all of Ravel's work. But in no other work of the composer this bewitching power of dance rhythms manifested itself so brightly and unrestrainedly as in the symphonic piece "Bolero".

The music of "Bolero" in the shortest possible time won wide recognition throughout the world, a truly popular popularity. In less than two or three years, this work, having gone beyond concert halls, has become the property of all sorts of arrangers who have arranged it for the most unexpected ensembles.

The famous theme "Bolero" was whistled in the street by people who did not even suspect its origin. "Bolero", quite unexpectedly for Ravel, brought him such fame during his lifetime, which only great classical composers are awarded.

What is the "secret" of the enormous charm of this work?

First of all, in the rare beauty of the theme.

Born in the lightest sound of the flute against the background of an absolutely unchanged rhythmic formula (two snare drums pp), this theme is repeated many times all the time against the same rhythmic background, but each time in a new instrumental "clothes". From repetition to repetition, with inexorable persistence, the strength of the sound grows, the timbre palette flourishes, and the dynamic tension intensifies. New appearance of the theme - new paint. After the flute - a clarinet, then a bassoon in a high register, followed by a small clarinet, then an oboe d "amour. When the overall sounding power of the orchestra has already reached a certain intensity, the composer entrusts the theme to two voices - a flute and a trumpet with a mute. Then the melody sounds alternately for several saxophones, flutes supported by horn and celesta, oboes, cor anglais and clarinets, finally the hitherto silent trombone enters, after which the melody is transmitted to the entire composition wooden tools and saxophone. This is how this unstoppable avalanche grows and expands.

N. Zabolotsky, who dedicated his poem "Bolero" to the remarkable creation of the French master, deliberately calls Ravel a "Spaniard". And that sounds like the ultimate reward!

So, Ravel, let's dance the bolero!
For those who will not change music to a pen,
There is an original holiday in this world -
The chant of bagpipes is meager and sad
And this dance of slow peasants...
Spain! I'm drunk on you again!
But the people are alive, and their song is alive.

Dance, Ravel, your gigantic dance,
Dance Ravel! Cheer up Spaniard!
Turn, History, cast millstones,
Be a miller's wife in the terrible hour of the surf!
Oh, bolero, sacred battle dance!

The “Spaniard” Ravel in this poem by Zabolotsky appears as a musician who, like a true Spaniard, managed to enter the original element of Spanish folk rhythms, be captivated by their bewitching beauty and raise a modest peasant dance on a pedestal of universal admiration.

Questions and tasks:

1. What unites and what distinguishes a mazurka and a polonaise? Give the example of F. Chopin's Mazurka in B flat major and Polonaise in A major.
2. What is the reason for such a strong influence of the music of "Bolero" by M. Ravel? Is rhythm alone involved in the creation musical image this work?
3. "Bolero" is written in the form of variations. Can the composer's choice of this form be considered natural? Why?
4. While listening, pay attention to the rhythmic imitation of the sound of the castanets. What does it bring to the perception of music?
5. Why do you think dances are the most rhythmic of all musical genres?

Presentation

Included:
1. Presentation, ppsx;
2. Sounds of music:
Ravel. Bolero, mp3;
Chopin. Mazurka in B-dur, Op. 7 no. 1, mp3;
Chopin. Polonaise A-dur, Op. 40 no. 1, mp3;
3. Accompanying article, docx.

The reason for the extraordinary popularity of Ravel's Bolero is
hypnotic effect of an unchanging many times repeated rhythmic
figures, against which the two themes are also held many times, demonstrating
an extraordinary increase in emotional tension and introducing more and more new
tools.

So,
Ravel, let's dance the bolero!
For those who will not change music to a pen,
Is in this
the world's original holiday -
The chant of bagpipes is meager and sad
And this
dance of the slow peasants...
Spain! I'm drunk on you again!
dream flower
cherished sublime,
Again your image burns before me
Beyond the distant
on the edge of the Pyrenees!
Alas, tormented Madrid fell silent,
All in echoes
passing storm,
And there is no Dolores Ibarruri with him!
But the people live and their song
alive.
Dance, Ravel, your gigantic dance.
Dance Ravel! Do not be upset,
Hispanic!
Turn, History, cast millstones,
Be a miller's wife in a terrible hour
surf!
Oh, bolero, sacred battle dance!
Nicholas
Zabolotsky

birth
of this work, we owe the interweaving of two life lines in the fate of Ravel,
this Frenchman - the lines of the Spanish and, oddly enough ... Russian. Russian connections
Ravel was given an external impetus to write the second part of this ballet
representation. Spanish - by the inner force that prompted Ravel
write exactly "Bolero", in other words, again, as he had done more than once,
turn to the Spanish theme, Spanish folklore, try to convey the Spanish
spirit and colour.
For many years, Ravel has been associated with figures of Russian culture,
especially with the composers who conquered Paris in the early 900s. This before
of all, the Russian theatrical figure Sergei Pavlovich Diaghilev with his "Russian
ballet" and "Russian Seasons" in Paris. It was by order of Diaghilev that Ravel was still in
In 1912 he wrote the ballet Daphnis and Chloe.
On writing "Bolero" by Ravel
inspired by Ida Rubinstein.
Ida Rubinstein planned to perform on stage
Grand Opera in Paris, a choreographic composition to music already written by then
"Waltz" by Ravel. But this one orchestral piece in order to present it
in a theatrical performance, it was not enough. And then she turned to Ravel with
asking him to write another piece for this production. Decided
was that it would be "Bolero".

According to some sources, the bolero dance was created by the Spanish
dancer Sebastiano Cerezo around 1780. Although it has always been a tripartite,
share it in different time divided differently: three equal beats in the first measure
(three-quarters, if expressed in professional musical language), then on
downbeat of the next bar stop (dotted quarter note) and three short notes
(eighths). One of the rhythmic variants of the bolero: the first measure is divided into
short notes; in this case there are six of them (eighths), moreover, instead of the first note
pause. The second cycle is the same as in the first version. Subsequently crushing
becomes even smaller. The pace of the classic bolero is moderate, one might say
even restrained. The movement is complete inner strength and passion. Dancing like this
bolero to the accompaniment of a guitar and a drum, while the dancers themselves beat on
castanets additionally complex rhythmic figures intertwined in an unusually
whimsical pattern. There are many varieties of bolero, characteristic of different
regions of Spain.

Paradox,
however, is that none of these options coincide with the rhythmic
the structure of Ravel's "Bolero". To the remark of one musician (Cuban pianist and
composer Joaquin Nina) about this Ravel replied: "It has no
meaning." "Of course," agrees with Ravel René Chalu, publisher of letters
composer. - And yet a work that is so popular
and conquered the whole world, is hardly accepted by the Spanish audience -
solely because of the name. "The circumstance noted above gives, by the way,
reason to think about the problem of authenticity or, as they say now,
authenticity, "national flavor" in works on the national plot,
written by foreign composers. What is perceived in the outside world
as a kind of musical emblem of a particular country, by no means always
is such for the inhabitants of this country itself.

What
As for the Spanish bolero itself, this dance inspired more than one
only Ravel. Bolero was written by Beethoven (the processing of the bolero is included in his cycle "Songs
different peoples"- Notebook 1, Nos. 19 and 20). This dance is included in operas and ballets
- "The Blind of Toledo" by Megul, "Preciosa" by Weber, "The Black Domino" and "The Silent
Portici" Aubert, "Benvenuto Cellini" Berlioz, " Swan Lake"Tchaikovsky and
"Coppelia" Delibes. Glinka, with his passion for Spain, used the bolero in
his songs and romances ("Winner", "Oh, my wonderful maiden"). Surprisingly
(although it may be explainable in view of some similarity of the bolero rhythm with the rhythm
polonaise), Chopin wrote piano piece, which is called "Bolero"
(Op.19). But, despite such a crop of boleros in European music, first
the association that arises with this dance, of course, "Bolero"
Ravel.

At first
it was a kind of composing experiment: what effect can be achieved with
with the help of only one composer's means - orchestration. After all, a play that sounds
fifteen minutes (a lot, in order to keep the listener's attention in
constant voltage), is built on only two stubbornly repeated without any
development topics. In addition, there are no modulations in it, that is, transitions to different
tonality, in other words, changes in harmonic colors. And finally hard
limitation sets Ravel's tempo - according to the composer's intention, he should remain
unchanged throughout the work.

So,
"Bolero" is Ravel's true composer's trick. The composer himself
described his work: "This is a dance at a very restrained pace,
completely unchanged both melodically, so harmonically and rhythmically, and
the rhythm is continuously beaten by the drum. The only element of diversity is introduced
orchestral crescendo. In the stubborn repetition of two themes, Ravel saw Arabic
element characteristic of this dance.

Premiere
"Bolero" as ballet performance took place in Paris on November 20, 1928.
Danced by Ida Rubinstein, scenery painted Alexander Benois. The triumph was complete.
Here is the testimony of one of the eyewitnesses: "A dimly lit room in a Spanish
tavern; along the walls, in the darkness, revelers talk at tables; in the middle of the room
big table, on it the dancer starts the dance ... Revelers do not pay attention to her
attention, but gradually begin to listen, come to life. There are more and more of them
captures the glamor of the rhythm; they rise from their seats, approach
table; extraordinarily excited, they surround the dancer, who triumphantly
ends the speech. On that evening in 1928, we ourselves felt like these
revelers. At first we did not understand what was happening, and only then did we realize ...
".

Necessary
to say that although this scenario was naturally agreed with Ravel, he himself
the composer imagined differently what he depicted with sounds. the most important
the difference was that, according to Ravel's plan, the action was to take place on
open air. Moreover, Ravel knew exactly where (and it had to be
reflected in the scenery) - against the background of the wall of the factory building! Unexpected and
seemingly strange artistic decision. But if you know the circumstances
biography of Ravel, you will not be surprised. The composer has always had a fondness for
industrial landscape. He admired factories in Belgium and the Rhineland,
which he saw when at one time - in the summer of 1905 - traveled on board
yachts "Eme".

One
Ravel's statement on this subject: "What I saw yesterday stuck in my memory
and will be preserved forever, like the port of Antwerp. After a boring day on the wide
river, between the hopelessly flat, inexpressive banks, a whole
a city of chimneys, masses spewing flames and clouds of reddish and blue smoke. it
Haum, giant foundry, where 24,000 people work around the clock
workers. Since Ruhrort is too far away, we moor here. All the better,
otherwise we would not have seen this marvelous spectacle. We caught up with the factories
when it was getting dark. How to convey to you the impression of this realm of metal,
from these blazing cathedrals, from this wonderful symphony of whistles, the noise of
belts, the roar of hammers that fall on you! Above them - red, dark
and a blazing sky, In addition, a thunderstorm broke out. We're back scary
wet, in different moods: Ida was depressed and almost cried, me too
I was ready to cry, but from delight. How musical it all is!
I use".
The plant, drawn by Ravel in "Bolero", existed in
reality and was not far from the place where the composer acquired
a small house near Paris, which he called the Belvedere. Walking here with friends
Ravel often said, pointing to this factory: "Factory from" Bolero "".

Leon
Leiritz, painter, sculptor and decorator, close friend Ravel, made the layout
scenery for "Bolero". This layout was shown at the Salon
decorators during the lifetime of the composer and received his full approval.
Knowing this, the directorate of the Grad-Opera, staging Bolero after Ravel's death,
entrusted Leitritz with the design of the performance. Serge Lifar, choreographer of the Russian
seasons" Diaghilev, and at the time of this production (1938) the former main
choreographer of the Opera, strongly protested against this plant. But brother
composer Eduard Ravel, who knew the artistic intentions of the author well,
showed firmness and threatened that he would not give permission for the production, if not
his brother's will be done. Ravel's will was carried out and the success was complete.

Spain, plant, bolero torero... (French Ravel). Involuntarily in the mind
another row emerges: Spain, tobacco factory, habanera, torero... Of course,
"Carmen" (French Bizet).

Life
"Bolero" as a brilliant orchestral, and not just ballet and stage
plays, gave Aturo Toscanini. 1930 Toscanini is preparing a performance of "Bolero" in
Paris. At the same time, "Bolero" is conducted by Ravel himself. Composer like me
mentioned, gave very great importance to keep the tempo of the piece
unchanged from start to finish. This is exactly what - with a continuously growing
the sound of the orchestra and the ostinato (that is, also continuous) beating one and the same
the same rhythmic figure as a drum - has a hypnotic effect on
listeners. And so, Ravel came to the rehearsal of Toscanini. The famous conductor
throughout the play made a noticeable acceleration. Then Ravel went up to the platform and
brought this to the attention of the director. Toscanini very calm and strong Italian
he answered with an accent: "You don't understand anything in your music. This is the only
way to make her listen." "After the concert at which Toscanini repeated this
acceleration, - I quote Rene Chalu, - Ravel decided not to go to his artistic
congratulations, but the Portuguese conductor Freitas Branco, who was in the hall,
persuaded Ravel not to attract everyone's attention with such unkindness. Ravel
allowed himself to be persuaded, but, shaking hands with the maestro, he said to him:
only to you! And no one else!" He did not want - and he was quite right - that
a false tradition of performance has become established among musicians. However, contrary to the opinion
Toscanini, the audience listened to "Bolero" and without any acceleration of the pace, and how
listened!"

Bolero / Maurice Ravel - Bolero (Maurice Bejart; Maya Plisetskaya)

http://youtu.be/NRxQ_cbtVTI

Painters
Fabian
Perez
Jeremy Seaton
Raynold Reech
Andrew Atroshenko
Mark
fielding
Yanira Collado
Karen Bierteldt

Text
Alexander
Maykapar

http://www.liveinternet.ru/users/arin_levindor/post73974687/