Ravel’s Waltzes – Noble, Sentimental, Always Enchanting

As the waltz began shed­ding its ländler folk-dance roots and emerg­ing into the glid­ing, twirling dance we know today, it also acquired the rep­u­ta­tion of being shock­ing erot­ic. Cou­ples danced close­ly togeth­er, clasped in each other’s arms, “each move­ment mak­ing lit­tle lust­ful pres­sures,” sniffed one onlook­er. But as the Nine­teenth Cen­tu­ry pro­gressed, pro­hi­bi­tions against the waltz gave way to a waltz craze, fueled by the entic­ing three-quar­ter-time music that swept all of Europe into its lilt­ing rhythm.

The title Valses Nobles et Sen­ti­men­tales suf­fi­cient­ly indi­cates my inten­tion of writ­ing a cycle of waltzes after the exam­ple of Schu­bert,” said Rav­el, though most lis­ten­ers today are more like­ly to think of Johann Strauss, Jr. What­ev­er the actu­al inspi­ra­tion, Ravel’s cycle of eight waltzes was orig­i­nal­ly writ­ten for piano, and had its pre­mier in 1911 at a con­cert put on by the Soci­eté Musi­cales Indépen­dante. None of the pieces were attrib­uted to com­posers and the audi­ence vot­ed on each work’s author­ship. Rav­el lat­er remem­bered his work being “per­formed to the accom­pa­ni­ment of hoots and cat-calls.” Though Debussy com­ment­ed, “It is the prod­uct of the finest ear that has ever exist­ed.”

A year lat­er Rav­el orches­trat­ed it — superbly. The bril­liant instru­men­ta­tion gives each waltz a unique tim­bre, so that even in the eighth waltz (labeled “Epi­logue” in the score) when mate­r­i­al from the ear­li­er waltzes returns, it takes on a dif­fer­ent hue. The first waltz begins with a series of brac­ing chords, like the first sips of a per­fect­ly chilled mar­ti­ni on a swel­ter­ing after­noon, astrin­gent and filled with deli­cious promise. From exu­ber­ance to inti­ma­cy, from child­like glee to wispy melan­choly, each rav­ish­ing­ly beau­ti­ful waltz has its own sharply etched char­ac­ter defined with­in a mea­sure or two, though Rav­el said “the sev­enth waltz seems to me to be the most char­ac­ter­is­tic.” With the excep­tion of the third waltz that segues into the fourth with­out a break, the waltzes are sep­a­rat­ed by a slight pause.

Through­out Ravel’s fabled crafts­man­ship is ful­ly in evi­dence. Each waltz is a per­fect minia­ture, its melody, rhythm and har­mo­ny set out in a such a way that the lis­ten­er can­not con­ceive of a sin­gle note being dif­fer­ent than it is. The piece as a whole is enchant­i­ng­ly summed up by a quo­ta­tion Rav­el put at the head of the score, from Hen­rí de Régnier’s Les Ren­con­tres de Mon­sieur de Bréot: “…the plea­sure, delight­ful and always new, of a use­less voca­tion.”

A slight­ly dif­fer­ent ver­sion of these notes appeared in the 2010 Lucerne Fes­ti­val Sum­mer pro­gram book.