M. Ravel and C. Debussy belonging to the Impressionist school have much similarities in view of emphasizing on the timbre effect using melodies or harmony topics unlikely to the Romantic era. Whereas differences also can be easily found, in a word Debussy music is obscure, and Ravel music is obvious...
M. Ravel and C. Debussy belonging to the Impressionist school have much similarities in view of emphasizing on the timbre effect using melodies or harmony topics unlikely to the Romantic era. Whereas differences also can be easily found, in a word Debussy music is obscure, and Ravel music is obvious. Define melodies, classical and functional harmonies, composition of sonata and dance music in stale etc can support the music features of Rad el, and considering that Ravel is considered as a composer with strong classical features. In the orchestral technique, Ravel had the excellent technique of timbre and musical instruments use by much influence from N. Rimsky-Korsakov. Ravel mainly used wood wind instruments and also pertmaently used the brass, so his rich orchestral sound can be sufficiently enjoyed by dynamics coming on grandeur, high-technique and tonal magnification. Two piano concertos composed in the later period of his days including Jazz pursued the new style apart from the Impressionism, and showed new possibilities of orchestral technique as the result of his rich imagination, and continuous trials and studies on new things. Ravel composed works, and soon arranged, showed the conspicuous change of transliteration and composition sharing melodies with each instruments when arrangement, and also sufficiently indicated the effect of timbre melody changing musical instruments in realms of non-composition as well as thanreiteration. During the First World War when `Le Tombeau de Couperin' was composed, a number of French artists turned their attention to reviving past national glories, and `Le Tombeau de Couperin' was also composed under such an intention. As showed by the title, this work has remarkably classical propensities, and is estimated as his last piano work made the Baroque leveled up the highest level. Comparing piano works with orchestral arrangements, external differences are omitted the Fugue and the Toccata, that is considered why in Fugue diverse moods were expressed through the counterpoint of melody by rests and in Toccata the performance's effect including quick training motion was not so large as that of piano. And also Ravel changed the sequence to Prelude, Forlane, Minuet and Rigaudon. Moreover one measure in Prelude extended, and the tempo in Minuet was fast from 92 to 128. Characteristics of each works indicated by the comparison study are as follows. In Prelude, the first subject comes out three times, and the second subject comes out four times. By the way the former changes depending on one musical instrument, whereas the latter uses in turns musical instruments more than two. In this view, the contrast between the first subject and the second subject can be recognized. In Forlane, there are many frequent repetitions of the main melody, and the same melody often indicating by different transliteration, therefore a certain change of timber can be recoyiized by the comparison with the orchestral technique. In Rigaudon, oboe assumes the main melody of B-section, and so the Oriental and mysterious mood indicates well. Totally, the weight of oboe is high, and also Minuet does so. It certainly shows orcheslYal features of Ravel that each musical instrument is used during proceeding from Musette toffand then all musical instruments used previously are performed. When `Le Tombeau de Couperin' of Ravel was compared by piano works and musical orchestral arrangements, I got recoyiized that the delicateness and magnificence not being sufficiently performable with pianos were newly expressed with orchestral melodies. And I think that such a comparison study will be able to help the piano performance as a method approaching even just a little by composer's intentions.
M. Ravel and C. Debussy belonging to the Impressionist school have much similarities in view of emphasizing on the timbre effect using melodies or harmony topics unlikely to the Romantic era. Whereas differences also can be easily found, in a word Debussy music is obscure, and Ravel music is obvious. Define melodies, classical and functional harmonies, composition of sonata and dance music in stale etc can support the music features of Rad el, and considering that Ravel is considered as a composer with strong classical features. In the orchestral technique, Ravel had the excellent technique of timbre and musical instruments use by much influence from N. Rimsky-Korsakov. Ravel mainly used wood wind instruments and also pertmaently used the brass, so his rich orchestral sound can be sufficiently enjoyed by dynamics coming on grandeur, high-technique and tonal magnification. Two piano concertos composed in the later period of his days including Jazz pursued the new style apart from the Impressionism, and showed new possibilities of orchestral technique as the result of his rich imagination, and continuous trials and studies on new things. Ravel composed works, and soon arranged, showed the conspicuous change of transliteration and composition sharing melodies with each instruments when arrangement, and also sufficiently indicated the effect of timbre melody changing musical instruments in realms of non-composition as well as thanreiteration. During the First World War when `Le Tombeau de Couperin' was composed, a number of French artists turned their attention to reviving past national glories, and `Le Tombeau de Couperin' was also composed under such an intention. As showed by the title, this work has remarkably classical propensities, and is estimated as his last piano work made the Baroque leveled up the highest level. Comparing piano works with orchestral arrangements, external differences are omitted the Fugue and the Toccata, that is considered why in Fugue diverse moods were expressed through the counterpoint of melody by rests and in Toccata the performance's effect including quick training motion was not so large as that of piano. And also Ravel changed the sequence to Prelude, Forlane, Minuet and Rigaudon. Moreover one measure in Prelude extended, and the tempo in Minuet was fast from 92 to 128. Characteristics of each works indicated by the comparison study are as follows. In Prelude, the first subject comes out three times, and the second subject comes out four times. By the way the former changes depending on one musical instrument, whereas the latter uses in turns musical instruments more than two. In this view, the contrast between the first subject and the second subject can be recognized. In Forlane, there are many frequent repetitions of the main melody, and the same melody often indicating by different transliteration, therefore a certain change of timber can be recoyiized by the comparison with the orchestral technique. In Rigaudon, oboe assumes the main melody of B-section, and so the Oriental and mysterious mood indicates well. Totally, the weight of oboe is high, and also Minuet does so. It certainly shows orcheslYal features of Ravel that each musical instrument is used during proceeding from Musette toffand then all musical instruments used previously are performed. When `Le Tombeau de Couperin' of Ravel was compared by piano works and musical orchestral arrangements, I got recoyiized that the delicateness and magnificence not being sufficiently performable with pianos were newly expressed with orchestral melodies. And I think that such a comparison study will be able to help the piano performance as a method approaching even just a little by composer's intentions.
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