Gaspard de la nuit

Gaspard de la nuit: Trois poèmes pour piano d'après Aloysius Bertrand is a suite of pieces for solo piano by Maurice Ravel, written in 1908. It has three movements, each based on a poem or fantaisie from the collection Gaspard de la Nuit, fantaisies à la manière de Rembrandt et de Callot completed in 1836 by Aloysius Bertrand. The work was premiered in Paris, on January 9, 1909, by Ricardo Viñes.

The piece is famous for its difficulty, partly because Ravel intended the Scarbo movement to be more difficult than Balakirev's Islamey. Because of its technical challenges and profound musical structure, Scarbo is considered one of the most difficult solo piano pieces in the standard repertoire.[1]

The manuscript currently resides in the Harry Ransom Center of the University of Texas at Austin.

Etymology

The name "Gaspard" is derived from its original Persian form, denoting "the man in charge of the royal treasures": "Gaspard of the Night" or the treasurer of the night thus creates allusions to someone in charge of all that is jewel-like, dark, mysterious, perhaps even morose.[2]

Of the work, Ravel himself said: "Gaspard has been a devil in coming, but that is only logical since it was he who is the author of the poems. My ambition is to say with notes what a poet expresses with words."[3]

Aloysius Bertrand, author of Gaspard de la Nuit (1842), introduces his collection by attributing them to a mysterious old man met in a park in Dijon, who lent him the book. When he goes in search of M. Gaspard to return the volume, he asks, 'Tell me where M. Gaspard de la Nuit may be found.' 'He is in hell, provided that he isn't somewhere else,' comes the reply. 'Ah! I am beginning to understand! What! Gaspard de la Nuit must be...?' the poet continues. 'Ah! Yes... the devil!' his informant responds. 'Thank you, mon brave!... If Gaspard de la Nuit is in hell, may he roast there. I shall publish his book.'[4]

Structure

Ondine

Written in C-sharp major and based on the poem "Ondine", an oneiric tale of the water nymph Undine singing to seduce the observer into visiting her kingdom deep at the bottom of a lake. It is reminiscent of Ravel's early piano piece, the Jeux d'eau (1901), with the sounds of water falling and flowing, woven with cascades. This piece contains technical challenges for the right hand such as the fast repetition of three-note chords in the opening accompaniment, the double note passages beginning at bar 57, and the disjunct climactic movement of the hands beginning at bar 66.[5] The duration of Ondine is about 6:30.

Ondine

(. . . . . . . . Je croyais entendre
Une vague harmonie enchanter mon sommeil,
Et près de moi s'épandre un murmure pareil
Aux chants entrecoupés d'une voix triste et tendre.

Ch. Brugnot. – Les deux Génies)

» Écoute ! – Écoute ! – C'est moi, c'est Ondine qui frôle de ces gouttes d'eau les losanges sonores de ta fenêtre illuminée par les mornes rayons de la lune; et voici, en robe de moire, la dame châtelaine qui contemple à son balcon la belle nuit étoilée et le beau lac endormi.

» Chaque flot est un ondin qui nage dans le courant, chaque courant est un sentier qui serpente vers mon palais, et mon palais est bâti fluide, au fond du lac, dans le triangle du feu, de la terre et de l'air.


» Écoute ! – Écoute ! – Mon père bat l'eau coassante d'une branche d'aulne verte, et mes sœurs caressent de leurs bras d'écume les fraîches îles d'herbes, de nénuphars et de glaîeuls, ou se moquent du saule caduc et barbu qui pêche à la ligne. »


Sa chanson murmurée, elle me supplia de recevoir son anneau à mon doigt, pour être l'époux d'une Ondine, et de visiter avec elle son palais, pour être le roi des lacs.

Et comme je lui répondais que j'aimais une mortelle, boudeuse et dépitée, elle pleura quelques larmes, poussa un éclat de rire, et s'évanouit en giboulées qui ruisselèrent blanches le long de mes vitraux bleus.

(. . . . . . . . I thought I heard
A faint harmony that enchants my sleep.
And close to me radiates an identical murmur
Of songs interrupted by a sad and tender voice.

Ch. Brugnot – The two Spirits)

» Listen! – Listen! – It is I, it is Ondine who brushes drops of water on the resonant panes of your windows lit by the gloomy rays of the moon; and here in gown of watered silk, the mistress of the chateau gazes from her balcony on the beautiful starry night and the beautiful sleeping lake.

» Each wave is a water sprite who swims in the stream, each stream is a footpath that winds towards my palace, and my palace is a fluid structure, at the bottom of the lake, in a triangle of fire, of earth and of air.

» Listen! – Listen! – My father whips the croaking water with a branch of a green alder tree, and my sisters caress with their arms of foam the cool islands of herbs, of water lilies, and of corn flowers, or laugh at the decrepit and bearded willow who fishes at the line. »

Her song murmured, she beseeched me to accept her ring on my finger, to be the husband of an Ondine, and to visit her in her palace and be king of the lakes.

And as I was replying to her that I loved a mortal, sullen and spiteful, she wept some tears, uttered a burst of laughter, and vanished in a shower that streamed white down the length of my blue stained glass windows.

Le Gibet

Written in E-flat minor and based on the poem "Le Gibet",[6] the observer is presented with a view of the desert, where the lone corpse of a hanged man on a gibbet stands out against the horizon, reddened by the setting sun; a bell tolls from inside the walls of a far-off city, creating the deathly atmosphere that surrounds the observer. Throughout the entire piece is a B-flat octave ostinato, imitative of the tolling bell, that must remain distinctive and constant in tone as the notes cross over and dynamics change. The duration of Le Gibet is about 7:15.

Le Gibet

(Que vois-je remuer autour de ce Gibet?
– Faust.)

Ah! ce que j'entends, serait-ce la bise nocturne qui glapit, ou le pendu qui pousse un soupir sur la fourche patibulaire?

Serait-ce quelque grillon qui chante tapi dans la mousse et le lierre stérile dont par pitié se chausse le bois?

Serait-ce quelque mouche en chasse sonnant du cor autour de ces oreilles sourdes à la fanfare des hallali?

Serait-ce quelque escarbot qui cueille en son vol inégal un cheveu sanglant à son crâne chauve?

Ou bien serait-ce quelque araignée qui brode une demi-aune de mousseline pour cravate à ce col étranglé?

C'est la cloche qui tinte aux murs d'une ville sous l'horizon, et la carcasse d'un pendu que rougit le soleil couchant.

(What do I see stirring around that gibbet?
– Faust.)

Ah! that which I hear, was it the north wind that screeches in the night, or the hanged one who utters a sigh on the fork of the gibbet?

Was it some cricket who sings lurking in the moss and the sterile ivy, which out of pity covers the floor of the forest?

Was it some fly in chase sounding the horn around those ears deaf to the fanfare of the halloos?


Was it some scarab beetle who gathers in his uneven flight a bloody hair from his bald skull?

Or then, was it some spider who embroiders a half-measure of muslin for a tie on this strangled neck?


It is the bell that tolls from the walls of a city, under the horizon, and the corpse of the hanged one that is reddened by the setting sun.

Scarbo

An excerpt of the Scarbo section appears in a mural in downtown Minneapolis, Minnesota.

Written in G-sharp minor and based on the poem "Scarbo",[9] this movement depicts the nighttime mischief of a small fiend or goblin, making pirouettes, flitting in and out of the darkness, disappearing and suddenly reappearing. Its uneven flight, hitting and scratching against the walls, casting a growing shadow in the moonlight, creates a nightmarish scene for the observer lying in his bed. With its repeated notes and two terrifying climaxes, this is the high point in technical difficulty of all the three movements. Technical challenges include repeated notes in both hands, and double-note scales in major seconds in the right hand. Ravel reportedly said about Scarbo: "I wanted to write an orchestral transcription for the piano."[1] The duration of Scarbo is about 8:30.

Scarbo

(Il regarda sous le lit, dans la cheminée, dans le bahut;
– personne. Il ne put comprendre par où il s'était
introduit, par où il s'était évadé.

Hoffmann. – Contes nocturnes)

Oh! que de fois je l'ai entendu et vu, Scarbo, lorsqu'à minuit la lune brille dans le ciel comme un écu d'argent sur une bannière d'azur semée d'abeilles d'or!

Que de fois j'ai entendu bourdonner son rire dans l'ombre de mon alcôve, et grincer son ongle sur la soie des courtines de mon lit!

Que de fois je l'ai vu descendre du plancher, pirouetter sur un pied et rouler par la chambre comme le fuseau tombé de la quenouille d'une sorcière!

Le croyais-je alors évanoui? le nain grandissait entre la lune et moi comme le clocher d'une cathédrale gothique, un grelot d'or en branle à son bonnet pointu!

Mais bientôt son corps bleuissait, diaphane comme la cire d'une bougie, son visage blêmissait comme la cire d'un lumignon, – et soudain il s'éteignait.

(He looked under the bed, in the chimney,
in the cupboard; – nobody. He could not
understand how he got in, or how he escaped.

Hoffmann. – Nocturnal Tales)

Oh! how often have I heard and seen him, Scarbo, when at midnight the moon glitters in the sky like a silver shield on an azure banner strewn with golden bees.

How often have I heard his laughter buzz in the shadow of my alcove, and his fingernail grate on the silk of the curtains of my bed!

How often have I seen him alight on the floor, pirouette on a foot and roll through the room like the spindle fallen from the wand of a sorceress!

Do I think him vanished then? the dwarf grows between the moon and me like the belfry of a gothic cathedral, a golden bell shakes on his pointed cap!

But soon his body becomes blue, translucent like the wax of a candle, his face pales like the wax of a candle end – and suddenly he is extinguished.

Orchestral versions

Eugene Goossens orchestrated Gaspard in 1942.[10] Marius Constant orchestrated the piece in 1990.[11]

Notes

  1. 1 2 3 "The Brilliant Music of Ravel" by Charles Rosen (review of Ravel by Roger Nichols), The New York Review of Books (10 November 2011) (subscription required)
  2. ↑ Bruhn, Siglind (1997). Images and Ideas in Modern French Piano Music: the Extra-musical Subtext in Piano Works by Ravel, Debussy, and Messiaen. Aesthetics in music. 6. Stuyvesant, New York: Pendragon Press. p. xxviii. ISBN 0-945193-95-5. OCLC 37573693.
  3. ↑ Alexander Eccles (Spring 2004). "Gaspard de la nuit: Horror and Elegance" (PDF). .stanford.edu. Retrieved 9 July 2013.
  4. ↑ Bertrand Guégan (Ed.), Gaspard de la Nuit, Fantaisies à la manière de Rembrandt et de Callot, par Aloysius Bertrand. Edition publiée d'après le manuscrit de l'auteur (Payot, Paris 1925), p. 24.
  5. ↑ Ravel, Gaspard de la Nuit, Éditions Durand et Cie, Paris 1957.
  6. ↑ Le Gibet was one of the additional pieces not contained in the original 1836 manuscript of Bertrand, see Guégan, Gaspard de la Nuit (1925), pp. 217–18.
  7. ↑ Ravel, Maurice (1988). Ravel according to Ravel. compiled Vlado Perlemuter, Hélène Jourdan-Morhange; trans. Frances Tanner; ed. Harold Taylor. London: Kahn & Averill. ISBN 0-900707-94-1. OCLC 17983922.
  8. ↑ Piano & Keyboard: The Bimonthly Piano Quarterly. Vol. 184–189. p. 62. String Letter Press, 1997. "The entire Gaspard de la Nuit was not intended as a 'caricature of romanticism'. That statement of Ravel to Vlado Perlemuter only referred to 'Scarbo'."
  9. ↑ The version of 'Scarbo' quoted here is not the same as the piece which appeared under that name in the original 1836 manuscript of Bertrand's, but one of the supplementary poems found among his papers. The original Scarbo, number ii of the third book of Gaspard de la Nuit, 'La Nuit et ses Prestiges', is a completely different text. The gnome Scarbo also appears in other pieces. See Guégan, Gaspard de la Nuit (1925), pp. 219–20.
  10. ↑ "Ravel – Goossens: Gaspard de la nuit (arr. 1942)" at Boosey & Hawkes
  11. ↑
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