Tuesday, April 22, 2014

TUESDAY, APRIL 22, 2014

QUOTE:
"The pause is as important as the note."
AUTHOR:
Truman Fisher
MEANING OF THE QUOTE:
"There is no music without both sound and silence; it is the
 silence
   that makes the rhythm by separating sounds into patterns."


COMPOSER
RAVEL
BOLERO
BOLERO
Riccardo Muti, Conductor
Philadelphia Orchestra

http://fineartamerica.com/featured/bolero-costume-granger.html
BOLERO
Royal Concertgebouw Orchestra
THIS ARTICLE FROM:
by Michael Steinberg
RAVEL: BOLÉRO
Joseph Maurice Ravel was born in
Ciboure near Saint-Jean-de-Luz,
Basses-Pyrénées, on March 7, 1875,
and died in Paris on December 28, 1937.
He composed Boléro between July and
October 1928 on commission from
Mme. Ida Rubinstein
Valentin Serov: Ida Rubinstein, 1912
(The inspiration behind Boléro)
for her ballet troupe, which mounted
the premiere at the Paris Opera
Louis Béroud: The grand stairway of the Paris Opera,
designed by Charles Garnier, was begun in 1864
but not finished until 1875.
on November 22, 1928, with
Walther Straram conducting.
Walther Straram
Walther Straram
Ravel conducted the first concert
Ravel Conducting Bolero
performance in Paris with the
Lamoureux Orchestra on January 11,
1930, but the North American premiere
had already taken place two months
earlier, on November 14, 1929, when
Arturo Toscanini
conducted the New York
Philharmonic Symphony.

BOLERO
Arturo Toscanini, Conductor
NBC Orchestra, 1939

https://www.youtube.com/watch?v=HiYIiPWZ6cQ
Boléro is scored for two flutes and piccolo,
two oboes (second doubling oboe d'amore)
and English horn, two clarinets, high clarinet
in E-flat, bass clarinet, two bassoons and
contrabassoon, three saxophones
(sopranino, soprano, alto),
four horns, four trumpets, three trombones,
bass tuba, timpani, two snare drums,
cymbals, tam-tam, celesta,
harp, and strings.
Duration: about fifteen minutes.
Ravel in 1928
Just before composing Bolero Ravel had been to the
United States on a major concert tour and
was the guest conductor

at the San Francisco Symphony
concerts of February 3 and 5, 1928. He
was a tiny man, fine-featured, with a long nose
and a mouth like a horizontal line. His tightly
contained white hair made him look older than
his not quite fifty-three years; a certain diffidence
betrayed the fact that he rarely found himself on
a podium before an orchestra. Maurice Ravel
had in fact led the Boston and Chicago
symphonies and the Cleveland Orchestra within
the past few weeks, and when he acknowledged
the ovations in the Curran Theatre
Curran Theatre, 1922
image
Here is a page out
of the program book
in San Francisco he was about one-
quarter of the way through a triumphal tour
that took him, between January 4 and April 21,
to twenty-five cities in the United States and
Canada. He was celebrated and prosperous;
with few exceptions, he had already written the
music that made him so. Those exceptions
included Boléro, which would quickly become
the most famous of all his works.
Before leaving for America, Ravel had promised
Ida Rubinstein a new work for her ballet troupe.
Antonio de la Gandara: Ida Rubinstein, 1913
He was on vacation at
St. Jean de Luz, France
Georges LaCombe: Baie de St. Jean de Luz (Côte de Sainte-Barbe)
(The Bay of St. Jean de Luz [Sainte-Barbe Coast]), ca. 1902-04
just across the bay from his birthplace,
and Gustave Samazeuilh,
Gustave Samazeuilh in 1930
music critic of La Républicaine, was
his guest. As the two were about to go out
for their pre-breakfast swim, Ravel made a
detour via his piano and played a melody.
Maurice Ravel and Gustave Samazeuilh
(Rene de Castera "page turner")
"Don't you think this theme has
a certain insistent quality?"
he asked.
"I'm going to try and repeat it a number of
times without any development, gradually
increasing the orchestra as best I can."
As soon as Ravel returned to Le Belvédère,
his villa west of Paris, he began his new
score. His first working title was Fandango,
but realizing that the increase in speed and
the sudden stops characteristic of that dance
were contrary to his idea for the new piece,
he retitled the piece Boléro.
BOLERO
(For Dance)
Maurice Bejart, Choreographer
Nicolas Le Riche, Dancer
Ida Rubinstein's dance, in its smoky Spanish
but it was only when her exclusive
performance right elapsed and the first
concert presentations took place that the
staggering popularity of Boléro began.
BOLERO
(With Animation of the
Different Instruments)
Lubjlana Radio Symphony Orchestra


HERE IS RAVEL ON BOLERO:
"I am particularly anxious that there should
be no misunderstanding as to my Boléro.
It is an experiment in a very special and
limited direction, and it should not be
suspected of aiming at achieving anything
different from, or anything more than, it
actually does achieve. Before the first
performance, I issued a warning to the
effect that what I had written was a piece…
consisting wholly of orchestral texture
without music—of one long, very gradual
crescendo. There are no contrasts, and
there is practically no invention except in
the plan and the manner of the execution.
The themes are impersonal—folk tunes
of the usual Spanish-Arabian kind. What-
ever may have been said to the contrary,
the orchestral treatment is simple and
straightforward throughout, without the
slightest attempt at virtuosity.... I have
done exactly what I have set out to do,
and it is for listeners to take it or leave it."
RAVEL USES TWO MELODIES.
The first could stand by itself, but the
second starts so obliquely that it has to
be a continuation rather than a beginning.
In presenting them, Ravel brings
each around twice before going
on (or returning) to the other.
He traverses this pattern of AABB
four times before wrapping the piece
up with what promises to be
a single compressed AB.

HOW DOES RAVEL ARRANGE
HIS LONG CRESCENDO?
He begins with solo instruments playing
the melody and progresses to groups,
often assembled in novel and effective
ways. Much of the effect of the crescendo
is vested in the accompaniment. A snare
drummer taps out the bolero rhythm from
beginning to end, a second drummer
joining in for the final statement of AB.
But violas and cellos mark the beat too,
and as soon as we have heard the first
melody through once, Ravel begins to
build the accompaniment. Often, the
instrument that last played the melody
joins the accompaniment team. When
the two melodies come around for the
last time, the obsessive rhythm is beaten
out with an increasing dissonance.
Figurine for Ravel's Bolero Antonia Merce,
Antonia Merce:
Figurine for Ravel's Bolero, 1930
HOW DO YOU END SUCH A PIECE?
When a dynamic crescendo is no longer
feasible, Ravel makes a huge harmonic
leap. We have been at a C major stand-
still for fifteen minutes. Virtually without 
warning, we are suddenly plunged into E
major. The shock destroys the piece,
which collapses in upon itself as a mined
tower collapses. Fair enough as a symbol,
for Boléro was a radical challenge
to the most basic assumptions
of Western concert music.
BOLERO
(Scrolling Score)
Dennis Burkh, Conductor
Radio Bratislava Symphony Orchestra


BOLERO
INTERESTING RENDITIONS

BOLERO
Performed by "Blast"
video

BOLERO
(Reworked in a Minor Key)

https://www.youtube.com/watch?t=34&v=SDtrjYUX9gU

BUILDING BOLERO
The Queensland Symphony Orchestra
BOLERO
Ice Scating Free Dance
Jayne Torvill and Christopher Dean
World Figure Skating Competition, 1984
BOLERO
Rehearsal and Part 1/2
Zubin Mehta, Conductor
BOLERO
Part 2/2
Zubin Mehta, Conductor
GRANADA ADV. STRINGS
1.  MANANITAS I and II
2.  HASTE TO THE WEDDING

INTRO. TO INSTRUMENTS
GRANADA
1.  THEORY
a.  Treble Clef Note Reading Rules
1) Line rules
2). Space Rules
3) Quiz on both
HILLVIEW
1.  VIOLIN
a.  Bow Hold
b.  Bow Springs

GRANADA BEG. STRINGS
1.  MAY/TWINKLE
2.  CIELITO LINDO
3.  CIDER HOUSE RULES
a.  Bow Proportioning with slurs and separate bows

HILLVIEW ORCHESTRA
1. BOULEVARD OF BROKEN DREAMS
2.  IMAGINE