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46Journal of Siberian Federal University. Humanities & Social Sciences 1 (2016 9) 41-54
УДК 78.085
The Genre of the Minuet in the Works of Maurice Ravel
Valentina V. Bass*
Krasnoyarsk State Institute of Art 22 Lenin Str., Krasnoyarsk, 660049, Russia
Received 19.07.2015, received in revised form 21.08.2015, accepted 30.08.2015
The article deals with the key issue of modern musicology, the issue of a certain genre that prevails in the works of a music composer, an ability of a genre to become a factor that determines stylistic specificity. In the works of Maurice Ravel this style-forming factor is dance. On the example of the minuet that occupies a special place in the works of the composer, the article explores the principles of mediation of choreographic and musical features of the dance prototype at the semantic and structural levels in the thematism and form generation of Ravel's works. The aesthetic perfection and delicate elegance of gestures, graphical precision of choreographic pattern and dialogueness typical for the minuet have been reflected in the motive-composition character of the thematism, the periodicity of the syntax, the relative stability of the meter, the active use of various methods of polyphonization of the musical texture, the exclusive role of the principle of symmetry on the compositional, melodic and textural levels of the musical form. Individual features of the minuet in various works of Ravel are related to their stylistic origins and genre fusion creating certain imagery.
Keywords: minuet, dance prototype, choreographic pattern of dance, genre semantics, counter rhythm, figurative polyphony, stylistic multilayers.
DOI: 10.17516/1997-1370-2016-9-1-41-54.
Research area: culture studies.
One of the most important features of the creative personality of Maurice Ravel is his strong interest in dance genres at all stages of his creative evolution. Ravel's works include three ballets and one opera-ballet. The works focused on a particular dance are widely represented in Ravel's symphonic works, concert and symphonic genres, piano, chamber-instrumental and vocal music.
Ravel's method of implementation of dance in the music is characterized by a desire for
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* Corresponding author E-mail address: valentinabass@mail.ru
multidimensional reflection. On the one hand, this is expressed in a wide range of the involved dance genres, which differ in terms of historical, national and social belonging. Among them, there are old courtly dances: the sarabande, the pavane, the minuet; a kind of an emblem of romanticism, the waltz; pop-jazz dance of the composer's epoch, the foxtrot, the national Spanish dance malagueña, the habanera, the bolero, the jota, the guayara and the zortsiko. On the other hand, multidimension of the reflection reveals itself in variability, multiplicity of interpretations of one and the same dance. Using certain techniques of transformation (intensification or attenuation shades of meaning) or conversion (rethinking) of original semantics of some dance prototype, Ravel "expands" its semantic borders.
The minuet occupies a special place among ancient dances, which served as an intonation prototype of the thematic invention of Ravel's works. The composer was especially attracted to this dance, which gained the title of "the king of dances and the dance of kings" in the 17th - 18th centuries. He composed solo piano works in the minuet genre: Menuet antique (Ancient minuet, 1895) and Menuet sur le nom d'Haydn (1909), wrote one of the parts of the piano suite Le tombeau de Couperin (1917) and the second part of the Sonatine for the piano (1905), and a scene from the opera L'enfant et les sortilèges (The Child and the Spells) (1925) with involvement of fairytale characters, an old armchair and a couch.
The historians of choreography associate the origin of the minuet with the French folk dance branle. This agile and cheerful round dance played a special role in the history of dance. Its regional varieties formed the basis for a variety of ballroom dancing. For example, the branle danced in the Auvergne, gave life to the bourrée, the branle of Breton gave rise to the passepied; the gavotte, in fact, is a modified branle of Provence
[Vasil'eva-Rozhdestvenskaia, 1987]. The minuet comes from the branle of the province of Poitou in western France1. Performance of the branle de Poitou among peasants was graceful and elegant contributing to its rapid spread and popularity in the aristocratic society. V. Rannev considers the amener to be a transitional genre from the branle de Poitou to the minuet, when the dancers moved not in a circle but in a chain along a zigzag line [Rannev, 2004: 83, 91]. The minuet itself, according to most researchers, got its name due to its characteristic short steps, pas menus.
The French royal court began to dance the minuet approximately in 1650. Becoming a favorite dance of the royal court of Louis XIV, the minuet was improved by well-known choreographers Pierre Beauchamp and Louis Pecour according to the aesthetics of the court etiquette. As a result, the dance was danced more slowly, it lost its typical simplicity and directness, became elegantly majestic and ceremonial. According to S. Khudekov, the salon minuet was called "a wild flower to live through the evolution of the garden culture, completely different from its prototype from Poitou" [Khudekov, 2014: 280]. Later on, the minuet was widespread in many countries across Europe.
For a long time the minuet was danced by one couple and represented, according to B. Iavorskii, "an etiquette dance scene moving along the ballroom between the 'hedgerow' of spectators <...> At the end of the dance, this couple was substituted by the following couple" [Iavorskii, 2002: 46 ]. Then, the number of couples started to increase. Moreover, the dancers moved strictly by ranks: the first couple were the king and the queen, then the dauphin with one of the ladies, then the princes, etc.
The minuet was peculiar due to the simplicity of its dance units. It did not contain neither brilliant steps, nor pretentiousness. The composition of the minuet was based mainly on
three movements: pas de menuet, balancé and pas grave. The basic movement of the minuet (pas de menuet) consisted of four short sliding steps, which together covered the distance of about one meter and were performed for two beats of musical accompaniment. Balancé is a dance move in which shifting from one foot to another is accompanied by inclinations of the body, moving the head and arms from side to side giving the impression of a rhythmical movement. Pas grave as pas de menuet take two beats, and includes: plié2 (upbeat), the rise on the toes (the first and second quarters), plié (the 3rd quarter), a sliding step with the right foot in the position II (4th quarter), pulling the left foot to the right foot and a transition back to the position IV (5th and 6th quarters). As described by M. Vasil'eva-Rozhdestvenskaia, this movement is characterized by a peculiar way of holding out a hand. "If pas grave started on the right foot, the dancers joined left hands, if they began with the left foot, then they held out right hands" [Vasil'eva-Rozhdestvenskaia, 1987: 88].
These dance elements were freely combined, and were not supposed to be repeated twice, except for the basic step of the minuet, which had to be alternated with pas grave and balancé.
Special courtliness provided the minuet with delicate bows, greetings and curtsies that the dancers addressed both to each other and the surrounding audience. They accomplished almost every figure of the dance. The dancers made most respectful curtsies to the king and the queen.
Even though the movements were plain and simple, it took quite a long time to learn how to dance the minuet to achieve a delicate manner of performance. Elaborate clothes abundant in decoration obliged the dancers to move slowly. The transition from one movement to another was accomplished smoothly, without interruption, in a strict rhythm. During the dance, the danoers had to maintain a dignified posture with the body tightened, the lie ad raised and kepr straight, arms slightly bene with n beautiful bend oO hands. Vasil'eva-Rozhdestvenskaia writes, "the male part was particularly complicated, while the movnments with a hnt played a significant role in it. He was supposed io take rhe hat off gracefully during the curtsey, holding it delicately in one and the other hnnd alternately and put it on easily" [Vasireva-Rozhdestvenskoia, 1h87: 85].
An important feature of the minuet are typical features of a dialogue, intimate conversation. Manv researchers pointed at this.
"The movements of the gentleman were gallant and respectful and expressed admiration for the lady", writes M. Vasil'eva-Rozhdestvenskaia [Vasil'eva-Rozhdestvenskaya, 1987: 84]. According to S. Khudekov and B. Iavorskii, the minuet was interpreted as a declaration of love in the form of dancing [Khudekov, 2014: 290; Iavorskii, 2002: 46]. However, the court etiquette put its imprint on the temper of the dance dialogue. It is characterized by restraint expression of feelings. Direct demonstration of feelings in the dance was considered vulgar, a sign of "a bad taste". Emotions and feelings were "shown" in accordance with the rules of the courtly code assuming the character of a gallant game. Therefore, it is hardly appropriate to consider psychologization of the aristocratic minuet. In this case, a visual image of the gesture, its subtle beauty and perfection come to the forefront.
The majestic and solemn spirit of the court dance was largely determined by a strict compositional pattern. Dance movements rhyming w ith each other, entwined in a spectacular decorative structure like an ornament. Location of dancers was strictly regulated in accordance with a certain scheme. According to Curr Sachs, tire pattern of the minuet; was originally figure 8, then S (a symbol oC the Sun King), later 2 and since 1700, after the reform of the Parisian dancing master Louis Pecour, it took the form of Z [Sachs, 19377: 406r. Numecous patterns of moving of the dancers im the minuet with all the dif)erences have a common pattern: a mireor symmetay ot configuration.
In the 18th century, the minuet undergoes same changes. The development oe tUr ballet, tie improvement of the dance language was reflected in the ballroom choreography. Compared to the minuet of the 17th century, the new minuet was characterized ry e lively pace amd more complicated movements. The choreographic units see vnriche) with new movemeats, io praticular
chassé (an easy slight advancing leap when one leg seems to catch up the other).
The music of the classical minuet is characterized, first of all, by a triple meter (3/4, 3/8) and a moderate tempo perceived as an indirect expression of smooth slow movements with soft rounded postures and gestures. Steady and measured temper provides the musical accompaniment with accentuation of all the beats of the measure (by means of syncopation, harmony shifts per quarter, articulation). L. Kirillina considers such accentuation to be the most indicative feature of the rhythm of the minuet, which reflected the peculiarities of its choreography: "In the minuet measure, there are usually three accents of a different degree, since per each beat <...> there is a real or imaginary step" [Kirillina 1998: 135].
The rhythm of the minuet is quite complicated and whimsical. According to V. Rannev, the specificity of the rhythmic organization of the dance is determined by a bizarre symbiosis of two types of the rhythm, the boundary falls exactly on the epoch of Beroque: timed, accentuated and qualifatna^ and untimed, timermeasubng and quantitative. The acceat-regulat time meter in the minusn is based on the rlmthmic focmulas oS a quantitative nature, preserved from the branle de Poitou: 0 0 ("the rhythmic formula of a dactylic step" 3),
J J, J- -h J, J J- J1, J J J, ("the rhythm of a
steedy step"4), as well aa tlteir variants produced by means of the melodic ornamentation, for example, a typical minuet rhythmic pattern J J J J J or J J J J J. Connected into motivic and phassal groups, they ofSen areate n countetweight to the uniform pulsation forming metrical shifts and modulation [Rannev, 2004]. Variable metnir funcrione are also fonned by individualization of rhythmic pattemne ot the parts of the texture leading na a dispeisal of aceents in tne aeneral movement.
What ismost typical for the minuet, is its accentual details appearing at the level of i litisractio n of the music and the danch movement. The steps of the dancers in pat de menuet fo rm an autonomous metric pattern contradicting both the musical meter and the syntax. The rhythmic pattern of pas de menuet (aabb) J J J J coveri ng the beat for 3/2, foams a counter rhythm to rwo beats of the music; foi 3/4. Therefore, the minuet, as lightly noted by Oscar Bie, "coincides duple meter rtd triple meter in the tuple beat per 3/4" [cited by: Rannev, 22004: P5].
Metric pulsation of the music: 3/4 3/4 |J JJ | J J t |
Metric puls atio n of the choreography: 3/2 3/2 | * t J |
Z-shaped pattern of the minuee usually includjd six pbs de menuet and occupied 12 beats of the music; [Little, 2001: 7Jf], Frequent non-concurrence of musical and choreographic accents in this section of musical time created the impression of asynchrony of the metric design.
Due to the complementary interrelation of rhythmic design of the musical accompaniment plans and the counter-rhythm, a whimsical rhythmic pattern appears between the groups of steps and the music on the one hand, and on the other hand, the accentual interrelations become smoothed and aligned. This enhances the feeling of smoothness, softness and grace of the movements.
In ths pas de menuet of the fast minuet of the 18th century, the conflictual relationship oh the music snd the dance movement gives wary to their simultaneous correspondence. Parallelism of music and choreography is most evident in the rhythmic figure frequently encountered in the minuet:
Right foot stsp pesisg pulling up three short steps
with knee bending left foot
Elegant and noble simplicity of the minuet has reflected to a certain extent in its laconic musical texture. Quile often, the minuet was performed in chree or two parts with a moderate use of melismatic decorations. The melodic lines of the parts are highlighted by steady music into nations compared with the plastic elementr of the minuets;. These include the so-called etiquette cadencies (according to the terminology of M. Aranovskii): a descending melodic course of I-V-I or V-V | -I | in the bass and the figure of retention, which reflect, respectively, the salute5 and the bow of the gentleman and a gallant women curtsy. These intonation formula embodying reverence both plastique of curtsies and grace and nobility of manners, are found in other court arisdocrati- dances.
The specific feature of the choreography of the minuet - the features of a dance dialogue ("plastic polyphony" according to O. Astakhova [Astakhova, 1987: 197]) - is revealed in the musical texture through the use of imitating polyphonic technique, matching of different keys, tone colours, ways of articulation, contrasting dynamic sound colour.
The analysis of Ravel's works written in the style ofthe minuet, showed that the implementation of the creative abilities of this genre in all cases is essentially influenced by showing the most typical features of the choreographic structure of the dance. Ravel's minuets, though different in type6, demonstsate significant similarity. The maj ertically solemn Menuet antique and the hushic Menust sur le nom d'Haydn, the elegant minuets fhom the suire Le tombeau de Couperin and the Sonatine, and the comic minuet of the armchair and the couch all inherit the most important features of the plastique of "the king of the dance".
Ravel's minuets preserved the following features from the genre prototype: triple meter and moderate tempo. Steady and strictly ordered
movements of the ceremonial dance are indirectly reflected inthe unieorm metric pulration supported by tee complementary reythm of the parts or the musicrl texture, sometimes by a change of harmony for eachbeat; thr pattern of the melodic line cerheeteeized by abalynce or ups and downs, jjurmeeap^ss end emooth movemant; petiodiciiy ot coesueaes atd square constructions (in tloer sections the expositional teeCuro (tJI ehe themes) Tee rhythmic intonations hrvr a specie1 rof cs the rhythmic pattern goiag back fro the classicaO minuet: the different variants of the "dactylic step" - J J , J J | JJ J ; J JH J (fe tombeau de Couperin): motor-metric figure of res "rtrady ttrp" n nm "Sonatine), (Menuet sur le nom d'Haydn): dotted rhythmic fammulas -
J1J J (Menuet antique), nnn (Tllte scane Xhe íarmsi]líliL:r and the smell Louis XV couct).
Particelao attention Po the beauty and eleoance ofp monements, tfe geometric eccuracie of the composition pattern in Ohe minuet d^irirK^d1 ahe motive-composiiian ^t;!/-prueas; of thie themattc inventioo in Ravel's works, thie iiequeacy C3tli' syntactic divtsion, the exceptional role of the principle of symmeiiy at different ievele of the musical foam of til ahe works: composition;]-melodic nnd fexturol.
Discrate, "composite" chaaacter of the thematosm creator analog; witdthe plartie pi^ltttirn of the dance as a specific combibation of posOuoes and movements. Some elements of the thematism give rise to more concrete ideas of the exquisite plastique of the gallant aristocratic dance.
For example, the development of the outer movements in the theme of the Menuet antique characterized by beautiful colourful sound is based on four thematic elements that are associated with graceful dancing pas. It should be mentioned that it is not the isomorphism of the musical motif and choreographic movement we are talking about. There cannot be complete
similarity of gestures and the musical intonation. Nevertheless, the general outlines of the dance and melodic movements coincide.
The opening chordal motif (a) repeated twice with reharmonozation (diminished Vn43-3 t6 and II71) is linked to the curtsey in the perception, due to tha trochaic accent7, rising minor second intonaOionVII-I clhaily nudibae inthe middle part: they help to simulate bending of the body and putting it back to the starling position. Moreover, it is not so much an exqmsitely courteous curteey, but a majcsiicrlly solemn bow. Such temper is provided by the chegdal pattern and a set of accents: rhythmic, harmonic (the brightly sounding and gunctionally intenge harmony ot tVe diminivhed four-three choed), dynamin (/) and articulator^ (marcato).
1 — , — ! -" J _r ï
Juwi* fiO 1 g 1 10*7 ■ - '
As notrd previously, bows and curtsies were obligatosy elements of the minuet. This can probably explain the particular importance rf the motit a in fosm generation. It opens each section of the music piece (except for tht trio), organizes the syntactic structure of the minuet (divides the texture into equal sections, just as a vertical line separates the interlacing motifs of the horizontal ornament in the visual arts). The special significance of the element a becomes obvious due to the culmination areas of the developing section of the first part, where it comes to the
fore: it sounds mainly in the high range and is almost always outlined dynamically (sf, f, ff) and articulatorily. It penetrates also in the trio of Menuet antique appearing on the border of its developing and repeating sections.
In three other thematic elements, the contours of dance movements can be guessed mainly in the melodic pattern. The cascading melody of the motif b from the top-source seems to reproduce the plastic outlines of pas de chasse (easy short leap to the promotion of, the performance of which one leg as it catches up to the other). The undulating melodic contour of the motif c may be compared with the balancé (a dance move in which shifting from one foot to another is accompanied by inclinations of the body, moving the head and arms from side to side giving the impression of a rhythmical movement). The spiral upward melodic line of the motif d can be compared with the advanced diagonal movement with turns, a version of pas de bourrée (the movement of the melody up provides the effect of receding, and permanent returns remind such turns).
It is significant that the motives are short and laconic, which is obviously due to the nature of the minuet dance movements: the steps are short and light, the gestures are delicate and soft. The motives follow each other without interruption, one naturally flowing into another, resulging in a feeling of smooth transitions nrom one movement to another, which is typical for the choreography of the court minuet [Vasil'eva-Rozhdestvenskaia, 1987: 55].
Thematism of the outer movements oe Menuet sur le nom d'Haydn composed bg Ravel for the centenary of the death of Joseph Haydn is featured by a combination of the featurea of lyrical intonation and "heavy" accent plastique
of the rustic minuet. Here there is a much larger proportion of melodic turns with wide passages containing the fourth and the sixth (special importance of the fourth's intonation is predetermined by the monogram's structure). Consequently, there is reason to talk about the importance of jumping movements (chassé) in the choreographic dance pattern, which usually end with balancé. Moreover, they are not always graceful. On the contrary, sometimes they are heavy and clumsy. This feeling is due to the "weighting" of the leap through the strengthening of the volume, accentuation and compression of the texture: the descending minor second following the leap with the major sixth "acquires" the major seventh rhovds with duplication of all parts in nhe ootage (motif b), or by accenUiating ehc downbeat and the subsequent syncopation (the motif of a). Usinv these iggenious techniques, Ravel reminds the listener of the nature of the "rustic" minuets of Haydn.
The second part of the Sonatine for the piano written by Ravel in Tempo diMenuetto, combines the lyric tone of elegy and the delicate grace of the court dance. The synthesis of the dance and vocal genre elements is determined by the functional ambiguousness of this part. It fulfills the function bf tire slow part and the function of the minuet of the sonatatoymphonic cyrle an the some time8. Mayhe that is why the danes poohotype herewith is not; so texturized as in the works that Ravel called minuets. Nevertheless, the melodic pattern 47 -
of the group of the head motives, which further become the leading motives, demonstrates the features of the movements that are typical for the minuet. Short uprising motives with the leap for the perfect fifth (bars 1, 2): two delicate pas de chasse from the right and the left feet; in the motif with the undulating contour (bars 3-4): graceful balancé. "Etiquette cadencies" of the exposition period (bars 11-12) and the repeat (bars 63-64) with the movement of the bass V-Vj-Ij and the gruppetto figure in the melody are comparable with the curtsies.
Him" J- iiii.-I
tem
The melodic and rhythmic formula that opens each section of the outer movements of the sadly mournful minuet from Le tombeau de Couperin seems to represent soft gliding steps or the main pas of tine minuet (step with knee bending, posing, pulling up legs). Its melodic texture is formed by gruppetto culminating in anticipation and the rhythm is a diminished version of the dactylic step (J n J ). Cadence formulas with the movemect of V-ll ire nhe bass and the sioging figure in the are perceived as music and visual equioaleots of theeurtsies (bars 3-4, 31-32).
Exceptionol spatial-temporal ordering ty picar for the minuet, is reflected in the principle of symmetry, which has great imponnance in the composition and texture of Ravel's works.
Thus, developing section of the first part Menuet antique (bars 9-337) is subieci ro the prinniple of rotational symmetry, in whicy ihe figure (rapport) is repeaCedly tqnnsfemed along; a straight Une (axis of transfer) forming
a series of identical figures. Initially the given sequence alternatively changed motives (a, b, bj, c) is developed on the basis of sequencing. Then the new combination of motives (a, b2, a, dj) is sequenced, and then the motives a and d sound simultaneously in different parts. Complex interweaving of figures-motives, and their various combinations, the division of continuously flowing musical texture by recurring cadences (the motif a) into equal sections: all this suggests an analogy with an ornament. Associations with the compositional rearrangement of dancers, combination of dance figures are possible. At the same time, relying on motivic combinatorics in the development of the material can be considered as one of the features of the baroque style.
Symmetry is also (observed at the level of composition. The three-part structure with the exact repetttton and the trio middle Is a closed murical unit buiSt on ehe principle of" mirron symmetry, and proportional m scale.
Crmyrsitirnal pattern rf Menuet antique: Axle rf symmetry
I
I
Number of beats
ABACDCABA 8 29 8 8 16 8 8 29 8 Exposition Trio Repetition
Tne principle of mirror symmetry raveals itself rlso ic the features of the textured design of the material. The musicsl texture of the minuet includer two Sypes of mireoa symmetry: horizpntale which is cvidenr in nhe structure of the melo dic line, and is the embodiment of beauty and elegance of gesture (see melody in bars 2-5, 30-33, 46-47); and vertical observed in the ratio of different parts of the iexture and associated with the clear precise choqeog^aphic pattern (ree bars 1, 6^, 38e39, 43-44).
The role of different types of symmetry in Menuet sur le nom d'Haydn is critical. Rotational symmetry is fulfilled by means of repetition (repeating the motif in sequences similar to repetition of the rapport in the ornament, repeated expositional period of the minuet). Mirror symmetry reveals itself in the principle of repetition at the compositional level, the balance of ups and downs in the melodic line, the use of special methods of polyphonic art in the second part of the work. Thus, the retrograde is a mirror image of the primary type in relation to the vertical axis, and the inversion retrograde is a mirror image of the retrograde in relation to the horizontal axis.
However, in this work (in contrast to Menuet antique) it is appropriate to mention the embodiment of the so-called "negative" symmetry or "dissymmetry" in music. For example, the repetition of the minuet is not the complete reflection of the exposition, but partial. The symmetry of the melody structure is also not perfect giving it special charm and naturalness: h a d dg d d (c h g a) a h.
In the minuet from Le tombeau de Couperin, the principle of symmetry isparticularly important. The laws of mirror symmetry (dissymmetry, to be exact) can be traced in tht tonal ratio or cadencies of exposition and repetition of the simple ternary form (G ( h | a \ G), with the identical cadencies in the mailt key, and the cadencies similar in melodic contour in tecondary keys. Due to the
rearrangement of the rhythmic motives and inversion of the pitch pattern, the initial two-beat phrases of the expositional period are perceived as mirror-symmetric.
The principle of ornamental symmetry comes to action in the middle section based on the motive-variation development. Here there are two phrases with variant repetitions (bars 9-11 -a, bars 12-14 - aj, bars 17-18 - b, bars 19-20 - bj) associated with the figures of the ornament.
The principle of symmetry is most generally represented at the level of composition. Composition of the outer movements of the minuet differs by harmony and proportional scale. Ravel follows the logic of the baroque three-part repetition form coming from the two-part (such a form is common in the dance compositions of the harpsichord ordres of F. Couperin, insertable dances of J.S. Bach's suites. The ratio of the sections is perfectly balanced: l|: a :||: b a : || t16 8 The teatures of the dance dialogue typical for the choreography of the minuet, in Ravel's are represented by the active use of the imitative polyphony techniques enciching the: dommant homophonic hermony (the role of the polyphony in the minuet fromLe tombeau ife Couperin is the least significant); in tone-register correlations and dynamic contrasts.
Tbus, in the outey movements of Monurt anttque, the meSody is imitated in the two
formations of the music texture, and the developing sections are based on the polyphonic work of individual elements of the theme dispersed in space: they come in different part, registers and keys (a - dis-moll, b - Fis-dur, c1 - b-mo//, a - f-moll). This principle of distribution of the texture components results in associations with the successive performance of the dance figures by the dancers and their movement in space in accordance with the choreographic pattenn.
The trio of Menuet antique also contains "plastic polyphony". There is polyphonézation of the homophonic texture in its exposition section due to various phrasal inhale in the outer parts (the size of the phrase in the upper part is six beats, and in the bottom part it is five beats). In the middle sectionthere are several clearly distinguished independent formations: relief is the line of the upper voice (the motiff); background is the harmonic hierarchy including monophonic ostinato (two-beat structures separated in time) and the chord formation, which is independent due to hemiola, autonomous ohythm of harmonic shifts and author's phrasing with Ceagues (motiC g). The development is based on tie principle of switching the functions of the parts: when the leading part is "switched off", the vertical chords com to the fore creating the effece that one part (if the dancers moves away to anothee sector of the space in the ballroom. Register feacrangements of the parts (middle bars 54, 55 acd 62, 633) cemrnd the solo of the lady (the melody in the upper part) and the solo of the gentleman (the melody the middle part).
The dialogueness typical for the monuet Cs revealed in Menuet sur le nom d'Haydn by means of polyphonization and layering of the texture in the second section. Here Ravel uses more complex
polyphonic techniques than in Menuet antique: the monogram theme sounds in the main version (bars 16-18), in the retrograde performance (bars 19, 20), retrograde of inversion (bars 24, 25 ) in the transposition of the retrograde (bars 27-34). The counterpoint part is based on the development of the motives d, e and f Herewith, simultaneously the theme is heard in the middle part and the countertheme appears in the upper pant. One can imagine thar the dancers divided inter two groups are in different part of the ballroom and perform various movements.
The most vivid expression of the "plastic polyphony" is observed in the scene of the old armchair and the small Louis XV couch (measures 17-21), in which Ravel recreated the individual features of the gallant minuet of the middle of the 18th century adding a variety df brilliant details, which make the dance quite grotesque. Nevertheless, the attributes of the minuet close to the exquisite Rococo style dances are given in a poihted, exaggerated form. Thua, the polyphonfc texture of the middle part (measure 1tn df a co mmon ternary forms a countenpoint of contrasting thematic elements. One of them comet from textured formula of fanfares (octave-unison sound, dotted rhythm, repetition of one tone), and is completed by two oppositely directed leaps to the seventh. First it rs sequently given ia the part ot the piano, and then altennanely itte imitations oh the horn, bass clarinet and contrabassoon sound. Active, energetic nature of this thematic element 50 -
involves the proper plastique: dashing, rough movement inappropriate for the gallant minuet movement. It may be rightly associated with the impulsive dance of the old armchair annoyed and angry with the "wicked" boy. The second element performed by the woodwind and string instruments is based on the conjunct rhythmically aligned movement allowing to correlate it with the basic step of the minuet - pas menu. However, speeded rhythmic pulsation with the quavers, sharp staccato, appoggiaturas that adorn every sound, reflect the fussy manner of performance and the "fluttering" bouncing steps of another member of the dance dialogue - the couch. The parody effect is reinforced by glissando of cellos and trombones. The inaccuracy of imitations and changes in the time interval of introduction of individual parts make the dance duo seem unharmonized with a distorted choreographic pattern.
In the repetition (measure 19), the orderly deployment of the theme by the piano part and the soloists' part is "broken" spontaneously by the replicas of the horns: a rapid descending passage of the clarinet, an abrupt rise and tremolos of the flute, nervous repetitions of the piccolo flute, piccolo clarinet and French horn, glissandos of the trombone. These motives remind amusing situations that occur during the dance: running, trampling, awkward turns and sliding9.
Along with the similar features of the rhythmic-syntactic and melodic-textured organization associated with the generalized reflection of plastic and musical components of the dance prototype, all Ravel's minuets are united due to their neoclassicist trend. Moreover, in three works - Menuet antique, minuets from the Sonatine and Le tombeau de Couperin - the style prototype is multi-layered. We can assume that thus the idea of the timeless, universal character of the minuet is revealed, which in
Ravel's opinion is a certain ideal, a perfect example of the dance.
Specific; features of the genre prototype in Ravel's works are associatedwith their content and stylistic origins. For example, in Part II of the Sonatine 1er uses the techniques that appeal to the style of the 17th century minuets. The rhythmic formula I J and its verrion Ji Ji J are particularla impoehant in ttie rhyef mio patteen of the musicas remindimg the qaansitative formulas of the branle de Poitou preserved in the minuet. The counter rhythm occurring at the level rf interaction between she muric and the dance movement minuet in the 17th century minuet is indirectly reflected in Ravel's work by constant metric shifts, which are formed by syncopation and articulation of accents, "failure" of the harmonic pulse. Quite often the emphasis falls on the fifth beat of two-measure phrases (bars 2, 4, 14, 16, 24, and the like). Curt Sachs considered this accent on the fifth beat to be the most significant for the "good old-style minuets" [Sachs, 1937: 406].
Transparent harpsichord texture, exquisite melodic ornamentation, unsteady illusive sound, which recreates not so much the dance itself, but the perfect illusion of dancing are the features of the Rococo style in the minuets from the suite Le tombeau de Couperin, Sonatine and the opera L'enfant et les sortilèges (The Child and the Spells).
Variability of the figurative-conceptual aspect of Ravel's minuets determines the mobility of the material elements of the genre prototype: interaction with other genres, "deformation" of some structural features of the genre model.
Thus, the sad sublime colour of the image is due to the synthesis of the minuet (in the trio -musette) with the genres of the sarabande and the choral in the suite in Le tombeau de Couperin, the nostalgic tone in Part II of the Sonatine is associated with the finest sound of its theme and
significant influence of vocal genres. Thematism of the outer movements of Menuet sur le nom d'Haydn is distinguished by energetic melodic leaps "weighted" by dynamic, articulatory, harmonic and textural accents reminiscent of the rough plastique of the rustic minuet. The majestic nature of the Menuet antique is correlated with the features of the main thematic element of the work: the density of the texture, the tension of the harmony, loud dynamics. Sharp grotesque colours of the minuet of the old armchair and the couch are an exaggerated emphasis on the periodicity of syntactic division and regularity of the rhythm, monotonous ostinato of a single rhythmic cell, broken melodic contour of the vocal
parts, disordered replica of the horns violating the steady pace of the dance are related to the comic decision of the opera.
In conclusion, let us emphasize that in the minuet included into the system of court etiquette, the utmost importance belonged to the visual aspect of the dance: the aesthetic perfection and filigree delicacy of gestures, graphical precision and accuracy of the choreographic pattern. This is reflected in thematism of all Ravel's works based on the genre of the minuet. The plastique of the dance became visible and tangible in them. The choreographic units of the minuet are represented in most detail in Menuet antique and Menuet sur le nom d'Haydn
It was first mentioned that the Minuet comes from the Branle de Poitou in the music manuscript of Michael Praetorius "Terpsichore" (1612). Later this point of view became generally accepted. Nevertheless, some modern researchers (for example, M.E. Little) consider it a mistake [Little, 2001].
In the historical folk dance, the plié means slight bending of knees, i.e. doing knee bends twice as less than demi-plié (slight knee bending) in the classical dance [Ivanovskii, 2004: 56].
The term "dactylic step" was used by Fabritio Caroso in his Nobiltà di Dame to determine the plastique of the step with knee bending. The name was given by the analogy with the rhythm in the ancient versification. This information is given by A. Maksimova [Maksimova, 1999: 58-69].
L. Shaimykhametova refers these rhythmic patterns to the type of intonation formulas assimilating the plastique of the ancient dances [Shaimykhametova, 1999: 39].
N.P. Ivanovskii gives the following definition of this movement: "Salute is the introductory part of the bow, i.e. a welcome which includes taking the hat off and then bowing" [Ivanovskii, 2004: 21].
These differences don't go beyond the semantic borders of the styled minuet, which according to Kirillina possessed "unique generality and softness" [Kirillina, 1998: 134].
It is noteworthy, that outwardly the motif is set as iambic, while it starts with the downbeat. But accentuation of the first sound and reducing the second sound by two transforms it into the trochaic.
As V. Smirnov notes, in the Sonatine Ravel turned to the traditions of pre-Beethoven sonata, mostly three-part sonata by Mozart [Smirnov, 1981: 47].
The techniques of recreation of the amusing dance image in the music of this scene are described in the previously published article of the author [Bass, 2014: 36-38].
References
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Жанр менуэта в творчестве Мориса Равеля
В.В. Басс
Красноярский государственный институт искусств Россия, 660049, Красноярск, Ленина, 22
Содержание статьи находится в русле одной из ключевых проблем современного музыкознания - проблемы функционирования определенного жанра в творчестве композитора, способности жанра выступать фактором, определяющим стилевую специфику. Для Мориса Равеля таким стилеобразующим фактором служит танец. На примере менуэта, занимающего особое место в музыке композитора, в статье исследуются принципы опосредования в тематизме и формообразовании сочинений Равеля хореографических и музыкальных свойств танцевального прообраза на семантическом и структурном уровнях. Эстетическое совершенство и филигранная отточенность жестов, графическая точность хореографического рисунка, диалогичность, свойственные менуэту, нашли отражение в мотивно-составном характере тематизма, периодичности синтаксиса, относительной устойчивости метра, активном использовании разнообразных способов полифонизации музыкальной ткани, исключительной роли принципа симметрии на композиционном, мелодическом, фактурном уровнях музыкальной формы. Индивидуальные особенности воплощения менуэта в различных сочинениях Равеля связаны с их стилевыми истоками и жанровым синтезом, создающими определенный образный строй.
Ключевые слова: менуэт, танцевальный прообраз, хореографическая структура танца, жанровая семантика, встречный ритм, пластическая полифония, стилевая многослойность.
Научная специальность: 24.00.00 - культурология.
