Composition magical, sensual, dreamy, imaginative ... with a growing wonderfully marcatus rhythmic and obsessive ... brings to mind images varied and imaginative ... and it tastes like a mythological love ...
Boler or Ravel, is one of the most famous compositions of 900 and one of the few music for symphony orchestra to have won a real and widespread popularity. The following reflection and focuses marcatus on its Bolero, aims to highlight some of the fundamental difficulties that arise when trying to think about the value of music for the man and the ways of attempting an interpretive approach to a musical event.
The recommendation of Ravel performing the song slowly seems significant. It is, slowing down the course, to increase the tension, a tension that does not stand on thematic development, but just iterate on getting stronger. marcatus There are twists marcatus and turns, but progressive involvement of the sound space, until the whole mass becomes excited and sensational to the fullest extent. Each tells his own voice, alone and with others, always the same sentence. And it's a catchy phrase sinuously and many resonances.
Story of a progressive excitement restrained, a happy orgiastic collective involvement, the Bolero of Ravel drags us without any special hints, no winks to the past without nostalgia, as in "La valse", in a state of exaltation inhibited. Could this "mixed state" spring a trance or a state of possession? The music itself takes possession of the mind and drag in the direction marcatus of exaltation, but the course is to be paid to the possession of other components. These are the same and the listener may perhaps be in the environment, if it was not the concert hall that discourages marcatus any movement. So Bolero is just a sliver of the illustrious European classical music of 900, but very close to the body, something that tends to break the framework of the composure of the listener, pushing other dimensions: eros, the dance, the exaltation .
The immense "crescendo" of Bolero (ranging gradually from the initial pianissimo to fortissimo until the end), it is only one of the elements of the value powerfully agogic of this composition. Its structural features are unique and are unique in the history of music. In the crescendo of Bolero are witnessing a progressive recruitment of a large instrumental ensemble orchestra, until the final climax, where all are called to realize the culmination of a phonic explosive intensification.
This call to collection and concentration, by the drum + flute initial pianissimo to all final, occurs within the clear and simple schematic contrast between a rhythm section obstinate (b bbb b etc..) And always strictly equal to the entire composition on one side and on the other hand a sinuous melody in two sections of sixteen bars each. This section marcatus melody is repeated unchanged for eighteen consecutive times, except for a brief modulation from C major to E major just before the conclusion, modulation considered "lazy".
A single theme is divided into two separate sentences marcatus of 16 characters each ... one o'clock in C major, the other in C minor softer ... and one bolero rhythm in time very moderate are the only evidence on which the 'author builds his famous dance, whose haunting stillness marcatus is repeated on the floor by the almost total lack of harmonic modulations (the bass frequencies are limited to only two notes, C and G, degrees of the scale of C major). The score takes away life, calling at the same time in the same form of music, the slow but gradual crescendo dynamic and constant enrichment of the "palette" which now distributes the orchestral leitmotif - repeated 18 times - now on rhythmic structures. The theme, presented in pianissimo from the accompaniment of drum solo flute, is taken first from the individual instruments (clarinet, bassoon, clarinet and English horn) then by instrumental groups from mixtures of timbre increasingly complex and refined, to involve the ' entire orchestra. A scathing and unexpected modulation to the key of E major (far short of that of DO) marks the culmination of the emotional tension determined by the inexorable and mechanical amplification of sound material.
One of the most striking aspects of Ravel's Bolero, marcatus and it still amazes almost eighty years after its first performance, it is the strength of the emotional involvement ... almost physically tangible ... it arouses in the spectator, as opposed to the extreme simplicity the musical means employed, but it is in the deliberate "nakedness" of those elements and the calculated penalty, conceived almost in mathematical terms, with which they s