Tzigane

Maurice Ravel

Tzigane

M. 76

About this work

While a good part of Ravel's energies during the period 1920-1925 were spent on the opera L'Enfant et les sortilèges, the composer did find time to produce a handful of smaller-scale works, most notably the Sonata for violin and cello (1920-1922) and Tzigane, a virtuosic, gypsy-inflected vehicle for solo violin and piano. Though Ravel did not complete Tzigane until spring 1924, the idea of composing such a work came to him many years earlier, on the occasion of his introduction to the enormously gifted Hungarian violinist Jelly d'Aranyi. D'Aranyi had given a private London performance of the Sonata for violin and cello in the early 1920s, and after the concert had so impressed Ravel with her stock of gypsy tunes and bravura technique that he kept her playing until the sun rose the following day. By April 22, 1924, Tzigane was ready, and a few days later, it was premiered in London by d'Aranyi and pianist Henri Gil-Marchex. (True to form, Ravel continued to tinker with the piece for several weeks after the first performance.) During the summer of the same year Ravel made an orchestral version of the piano part; he also allowed for the substitution of the piano by a luthéal (a piano with a sound-modifying mechanism placed on its soundboard). Neither of these incarnations, however, entirely captures the nuances of the original.

Tzigane opens with an extended solo for the violin (Lento, quasi cadenza), buried in the middle of which is a theme characterized by a dotted-rhythm, falling-fifth figure which serves as the melodic meat for much of the work. The piano (or harp, in the orchestra version) enters with its own chromatic mini-cadenza as the soloist's fiery technical gestures and robust double stops subside into flickering double tremolos and a pair of unaccompanied trills that usher in the main body of the piece. The remainder of Tzigane is worked out in a clearly sectional manner. After a restatement of the falling-fifth idea by the violin, the piano produces its own little theme, a staccato tune that makes thorough use of the typically "gypsy" interval of an augmented second. Some time later, a bombastic Grandioso breaks in. After a brief pause, the violin resumes in sixteenth note perpetual motion, colored by such features as Paganini-like left-hand pizzicato. The musical line accelerates and decelerates time and again until it finally achieves unstoppable momentum. The work comes to an end with three incisive chords (marked pizzicato, but often played with the bow).

Done