Ravel - Gaspard de la nuit, M.55 (Gryaznov)

II.Ravel Gaspard de la nuit: Trois poèmes pour piano d'après Aloysius Bertrand
Performed by Vyacheslav Gryaznov
The Composition:
"Gaspard de la nuit" is frequently considered Ravel's most challenging composition. This is fitting since he intended to compose a piece more difficult than Balakirev's Islamey, and "to say with notes what a poet expresses with words." It satisfies the former, but especially the latter since he adapted the writing of the poet to the composer. Octavio Paz says poetry's difficulty is found in its demand to surrender, so contending with the expression of words as music rather than music with reference to itself means contending with that which surrenders and transcends to something beyond strict musical structure or theory alone, and so, it invites greater difficulty.
The Performance:
We know Gryaznov performed this piece at least twice, specifically in 2017. Once in early March at Yale's Recital Hall, and again, in late November at Stetson's Recital Hall. The reason he delivered his performance in March was that it was a recital designed to satisfy his degree as a Doctor of Musical Arts at Yale, and by that time, he'd already fulfilled the three-year dissertation period and was nearing its completion. His reason for his November performance was likely that it was still fresh in his mind when he performed it in March, and so, performed it at Stetson as he did Yale.
The Commentary:
I. "Ondine" shows a nymphic temptress on a lake attempting to seduce a young man to his death by enticing him through capricious mood changes. These "changes" are felt particularly in this rendition. At the outset, there is excellent lightness in the hands, showing a profound control of power and sensitivity. Observe his right-hand control in the opening chord sequence (00:00) and again (01:55). There's also the graceful flow of notes mirroring the flow of water in the left hand (01:02), which is maintained with equal effectiveness when the themes are recapitulated in greater complexity (02:17). Another feature is the cathartic buildup or climax (04:03), which he adorns with a ferociously nuclear display of dynamic power and phrasal clarity (he performed this like a Rachmaninoff "culmination point" where the musician builds towards a particular moment, a technique which seems to always find its way into Gryaznov's unique approach). We notice his glissandos to be fuller sounding than other performers, and he discretely articulates them with superb control (04:50). Finally, it concludes with the dissipation of the nymph turning to rainwater, and he played it with a subtle but mystical allure (06:49). How fitting he should end it that way given this movement is about the allure of a nymph. In the first movement, we see Gryaznov strike a balance between the slower tempo marking ("lent") and easily reproducing scales and glissandi without excessive virtuosity (just as Ravel intended).
II. "Le Gibet" paints a man hoisted up by a noose, hanging from a gallow at dusk against a red sun, accompanied by distant church bells. The death knells, or strikes of the bell, are signified by the continuous syncopated Bb rhythm ostinato throughout the movement. The technical considerations are atmospheric, where static and monotonous are integral to the piece, and a high polyphonic aptitude is required to project the melodic passages and bell strikes. Effective expression of this movement requires an eerie calm and tranquil countenance from the pianist that's as disquieting as it is unphased.
III. "Scarbo" regards a devilishly sadistic and nocturnal dwarf or beast of some kind, who oppresses people's dwelling place, causing a miasmatic mayhem in the mind of those who are in that confused state between wakefulness and sleep, experienced most horribly immediately after a nightmare or when one is sick. The movement is one of agonizing torment and thick darkness, deliberately intended to overwhelm the listener while still possessing lyrical refinement of the most brilliant kind. It was, for Ravel, a beautiful hallucination of the mind or a surreal dream that assumed the form of a nightmare. The greatest technical considerations include the rhythmic virtuosity, the amount of notes, and diabolically dissonant phrases.
Timestamps:
00:00 - I. Ondine
07:12 - II. Le Gibet
13:49 - III. Scarbo
Gryaznov's Performance:
• Great Pianists at Stet...
Gryaznov's Channel:
/ vyacheslavgryaznovpiano
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