Classics Explained: Ravel - Bolero and Ma Mere L'Oye (Smillie)

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An Introduction to … RAVEL: Bolero and Ma Mere L'oye (more info)
Composed by: Maurice Ravel
Jeremy Siepmann, reader


1.   Bolero-Introduction; cue to unadorned Bolero rhythm, Part 1 - 2:29
2.   Bolero rhythm, Part 2: an extended variation of Part 1 - 0:07
3.   ' Motto ' rhythm complete - 0:21
4.   But here we have snare drums and plucked violas and cellos - 0:22
5.   Section 1: Introduction of ' the theme ' by solo flute - 0:37
6.   Flute continues with Part 2 of theme - 0:48
7.   Section 2: Complete statement of theme by clarinet as flute joins ' motto ' group - 1:30
8.   Introduction of ' discordant ' harp into the unfolding picture - 0:18
9.   Section 3: Bassoon introduces closely related variant of theme - 0:34
10.   ...but then veers upwards, slowing rhythm and introducing new syncopation - 0:59
11.   Section 4: ' Petite ' E flat clainet takes over theme, including variants - 1:21
12.   Section 5: Oboe d'amore takes over theme but returns to its original form - 1:34
13.   Section 6: Theme now shared by two instruments: uted trumpet and flute - 1:16
14.   Section 7: Tenor saxophone takes Theme as trumpet replaces horn in ' motto ' - 1:39
15.   Section 8: Theme taken by soprano saxphone, ' espressivo ' - 1:09
16.   Section 9: Theme: celeste, piccolos and horn; Motto: flute and French horn - 1:24
17.   Section 10: Theme: Oboes, horns, clarinets; Motto: plucked violas and violins - 2:06
18.   Section 11: Theme taken by First Trombone, complete with jazzy slides - 1:40
19.   Section 12: Theme: flutes, oboes, clarinets, sax; Motto: bassoons, horns, trumpets - 1:13
20.   Section 13: Violins at last take the main tune, joining massed winds - 1:14
21.   Section 14: Violins divide into four groups, each ' double-stopping ' - 1:04
22.   Section 15: Trumpet, trombone 2 and tuba join the foreground - 1:18
23.   Section 16: First trombone and soprano saxophone ' rejoin ' theme - 0:56
24.   Section 17: Fortissimo; all strings ' double-stopping '; trumpets added - 1:26
25.   Section 18: Entire orchestra now employed, ' as loudly as possible ' - 1:18
26.   Section 19: Sudden, amazing change of key, lurching from C to E major - 1:20
27.   Section 20: Key now lurches back to C, as jazzy trombones whiningly protest - 0:36
28.   Cue to complete performance - 0:20
29.   Bolero (complete) - 16:16

An Introduction to … RAVEL: Bolero and Ma Mere L'oye (more info)
Composed by: Maurice Ravel
Jeremy Siepmann, reader


1.   Pavane de la Belle au bois dormant-Opening figure on flute; rising, falling, and then reeated - 1:04
2.   Same again, with emphasis on delicacy of scoring - 0:30
3.   answering variant, accompanied by plucked double basses - 0:19
4.   Reminder of opening figure - 0:18
5.   ... and now its rhythmical mirror image, or almost... - 0:12
6.   Answering Phrase 2: a near-inversion, over ' James Bond ' accompaniment - 0:41
7.   Pivotal Phrase 3, reversing direction but keeping rhythm of Phrase 2 - 0:46
8.   Reprise of Phrases 1 and 2, but with new accompaniment - 0:39
9.   Further Reprise of Phrase 2, now on violin, accompanied by harp - 0:40
10.   Pavane (complete) - 1:41
11.   Petit Poucet (Tom Thumb)-Introduction; Opening, with multi-metre rising scales from muted violins - 0:49
12.   Change of metre continue as solo oboe introduces Theme One - 0:24
13.   Oboe yields to Cor Anglais for Theme Two, against lower (still muted) strings - 0:44
14.   Theme One returns, shared by clarinet and flute, muted horn added to accompaniment - 0:25
15.   'Motto' rhythm dominates as intensity increases from lower strings to full orchestra - 0:46
16.   Fear subsides as Theme Two returns, again in Cor Anglais but now in a different key - 0:32
17.   Sensational sound effects evoke a wood at night, with screeches, cuckooing etc. - 0:44
18.   Texture thins; Theme one returns, delicately scored for strings and piccolo - 0:19
19.   The main part of movement ends, with waltz-like march(!), featuring flute - 0:28
20.   Petit Poucet (complete) - 3:28
21.   Laideronnette, Imperatrice des Pagodes-Introduction; opening bars, followed by Theme One - 2:00
22.   Oriental-orchestral equivalent of an imprial telephone bell - 0:15
23.   ... oboe ' answers ' with a very slightly varied version of Theme One - 0:15
24.   Expanded derivative of the ' telephone bell ' interrupts the theme again - 1:00
25.   Fragments of theme in flutes and cor anglais, with ' James Bond ' tag in violins - 0:24
26.   'Gamelan ' music from flute and piccolo, accompanied by harp, xylophone and strings - 0:32
27.   arrival of Empress; upper strings yield to winds, celeste, harp and (very discreet) gong - 0:47
28.   Laideronnette, Imperatrice des Pagodes (complete) - 3:57
29.   Les entretiens de la Belle et de la Bete- opening - 0:51
30.   Characteristic pattern of two short phrases answered by a long one - 0:36
31.   Clarinet, flutes and violas, with ' sighing' figure derived from downward string motif - 0:21
32.   Varied reprise of opening, entry of the ' Beast '; ' Watch it ! Watch it ! ' - 0:32
33.   Again the ' Beast ' growls; again the cautious warning ' Watch it ! ' from the winds - 0:40
34.   Derivative of Beauty's Theme from flute, combined with ' caution motif ' in strings - 0:38
35.   ' Beast's theme ' rises in pitch with each successive ' gowl ' (representing hope?) - 0:52
36.   ' Beauty ', ' Beast ' and ' Caution ' motifs all combine simultaneously - 1:12
37.   ' Beast ' (contra-bassoon) climbs ever higher, handing over to bassoon proper - 0:49
38.   Harp's upward glide heralds the moment of transformation; love song, fear, release - 2:09
39.   Les entretiens de la Belle et de la Bete (complete) - 4:14
40.   Le jardin feerique-Introduction; Opening bars are unfuuuuuuuuurled by the strings alone - 0:40
41.   The rhythmic basis, and its guises. First, a question: ' Where went my childhood?' - 1:23
42.   The question intensified:' Oh where went ... my childhood?' - 0:15
43.   The answer, with a falling inflection: ' Gone is your childhood.' - 0:20
44.   The plea: ' Bring back my childhood!' - 0:14
45.   The response: ' Seek in ... your mem'ry. There it ... will be.' - 0:25
46.   Ravel's use of tone colour to change the feeling of the music - 0:49
47.   Further illustration of the same point - 0:27
48.   Continued - 1:44
49.   The nobility of the strings - 0:45
50.   Bells evoked by French horns; the final, opulent, moving climax of the whole suite - 1:11
51.   Le jardin feerique (complete) - 4:00

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