Research Point: Music Between the Wars 1919 – 1945

Varese – Ameriques (1927) found on Spotify

Varese's creativity was not lost when listening to this piece, although traditional theories of music being ‘beauty’ could be questioned.  When first listening to this piece there was a distinct sense of ‘jumbled’ sections featuring severe dissonance and wildly varying dynamics.  However, after listening to it a few more times, I began to notice the sense of patterns that occur throughout.

The large orchestra provides extremely dramatic crescendos, contrasted with quiet sections of repeating motifs that appeared to lack a sense of movement or development.  The use of percussion in this piece also provided some interesting rhythmic texture. However, I found the large sections of dissonance, especially within the woodwind section, to prove ‘too much’ for my ears!

Whilst I appreciate that Varese has incorporated a great many ideas and technical skill when composing this piece, I feel its lack of rhythmic and tonal centre creates a deep sense of imbalance.  Although juxtaposition was clearly a feature within Varese’s mind, I feel that the abrupt merging of such distinct colours would be better served within a theatrical score.  

Ravel – Bolero (1928) found on Spotify

The simplicity of Ravel’s Bolero seems to be a major factor in its success.  The repetition of a simple melodic line, overlaid with a simple drum rhythm has the potential to create a sound that lacks development. However, it is Ravel’s approach to layers and dynamics that creates such a spectacular and dramtic effect.

Which listening to this piece I found myself thinking back to my earlier studies of ‘rounds and catches’.  The ‘passing’ of the melodic line between instruments, simultaneously growing in dynamics, builds a distinct sense of movement and growth, whilst the ostinato rhythm portrays stability. 

However, it is when Ravel brings together the central motifs and introduces darker, longer tones that the piece changes colour.  At this stage the dynamics have grown the piece towards a definite cadence and a joyful air is felt.  By the end of the piece, the growth of the music creates tension and drama and the brass is heard loudly.  The volume of the drums is almost deafening as we reach the final dramatic crescendo before a very abrupt end. 

This piece has always invoked very deep emotion for me, and I believe that this due to the blend of instruments and steadily growing pace and tone.  The underpinning of the drums gives the whole movement an arduous but steady feel and the final crescendo uses such ferocious dynamics that the listener is almost overwhelmed by the tension. 

Exercise: Music Between the Wars

Whilst reading through the course material I took a particular interest in the section describing the work and life of Ravel.   I have therefore chosen to base this study his life and works. 

A study of Ravel

Maurice Ravel (1875 – 1957) was a French Impressionist composer famous for creating numerous pieces throughout his career.   It is clear from Ravel’s work that he gained an enormous amount of influences throughout his career, possibly beginning with his mother's Spanish heritage and his father’s profession as an inventor. 

As a child Ravel reportedly had a very inventive nature and began developing many ideas throughout his childhood.  However, his passion and ability for music seemed to begin when he received a ‘traditional’ musical education and began drawing inspiration from composers such as Wagner.  Although he proved to be a very talented pianist, it was composition that sparked Ravel inventive nature and he begin composing works by the late 1800’s. 

Throughout his career Ravel produced number pieces for piano, orchestra, opera and ballet.  Possibly his most famous works include Sheherazade (1897), Miroirs (1905) and the infamous Bolero (1928).  Working and living during and between wars proved to be somewhat of a challenge for Ravel, but his taste for adversity and invention enabled him to draw upon a great many influences to develop his style.   

Many composers played a large role in the development of Ravel’s music.  Spanish music and well as the Russian influences gave Ravel’s pieces a slightly unusual texture, contrasted with his respect for more traditional composers such as Mozart and Chopin.   However, Satie and other more modernist composers and artists arguably gave Ravel his largest influence.

Ravel received mixed reviews on his works throughout his careers.  His early works, such as Sheherazade (1897), reportedly gained a mixed reception, but by the end of his career, and today, his work is heralded as amongst some of the most influential of all time.  It is understandable that some of Ravel’s works could have been seen as ‘radical’ at such times of cultural change.  His bold Impressionist ideas and techniques of seamlessly blending the old and new may have been ‘too much’ for audiences of the time, but by the end of his career, despite his own tendencies of self-criticism, pieces such as Bolero (1928) created quite a public following. 

Whilst listening to numerous pieces composed by Ravel throughout his career, it is clear to see that his inventive nature enabled him to blend, experiment and create works unlike anything heard before.  His earlier works such as Menuet Antique (1895) demonstrates the more romantic styles of Mozart, whilst later compositions such as Rapsodie espangnole (1907) shows Ravel’s keen interest in Spanish folk tones.  By the end of his career, his influences were so far reaching and included jazz and oriental styles.  These influences are evident in some of his final compositions, such as Piano Concerto in G (1929-1931), which is a rich blend of culture, texture and colour. 

Ravel’s inventive and modernist views provided a vast contrast to his traditional musical education, but gave him an opportunity to blend the romantic traditions with more modern techniques.  The Los Angeles Philharmonic Association (2013) writes that:

“His distinctive voice was simultaneously one of the last of the Romantic era and one of the first of the modern age.”

I believe it was this blend of the ‘old and new’ which gave Ravel’s works such impact on musical history.  His worldly influences and inventive nature enabled him experiment with genre, style, rhythm, pitch and harmony whilst working alongside other great artists of the time.  However, I believe his vast knowledge of the more traditional music theories were the reason he was able to blend such distinct styles.