Ravel: Ma mère l'Oye (arr. for organ)
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- Composer: Maurice Ravel (1875-1937)
- Arranger: Thomas Ospital
- Instrumentation (this edition): Organ
- Originally for: Piano 4-Hands
- Work: Ma mère l'Oye ("Mother Goose"), M. 60
- ISMN:
- Size: 9.0 x 12.0 inches
Description
One may well wonder why Ravel never composed for the organ.
That eternally unanswered and unanswerable question keeps puzzling organists ...
Yet did the composer even appreciate the instrument? Could his graceful, so endlessly fluid music fit the apparent austerity of the organ?
One may also fantasize about Ravel's possible relationship with the instrument, had the organ music of his time been more in tune with the early 20th century musical scene. or had he known our modern instruments...
One could carry on and on with such endless and fruitless debates and speculations.
Transcriptions help fill part of the gap, of course. But the ultimate question is: do we have the right to di vert a piece from the original purpose and soundscape of the composer 's vision, Just to overcome our frustration?
I hesitated a long time before embarking on this adventure. Yet in the course of my work, I realized it opened up new avenues for organ writing so as to be able to go beyond the mere transcription of the musical text and conjure up the fluid, atmospheric quality of Ravel's music.
I based my work and reflection on the two versions ofMa Mère l'Oye: the 1910 piano 4-hand version and the 1911 orchestrated version. Because of the so distinctive and elusive sound quality of the piano, transcribing piano pieces for another instrument is never an easy task. in that respect, Ravel's own orchestration ofMa Mère l'Oye was a great help in finding how to deal with resonance or texture issues.
The great organ of Saint-Eustache, Paris, proved an invaluable partner, a kind of sound lab to try and translate the orchestral sound colors to the organ. The choice of registrations was inspired by the tonal quality of this particular instrument albeit codified for a three-manual organ. in consequence, it is important not to be too strict when following these directions. On the whole, make sure to keep some balance and clarity throughout the diffèrent sound planes. Do not hesitate to leave out some foundation stops for greater clarity and transparency of the musical discourse. Finally, a moderate adjunction of harmonies will add color to your registration.
Thomas Ospital
Publishers use a lot of words to describe what they sell, and we know it can be confusing. We've tried to be as clear as possible to make sure you get exactly what you are looking for. Below are descriptions of the terms that we use to describe the various formats that music often comes in.
Choral Score
A score for vocalists that only contains the vocal lines. The instrumental parts are not there for reference. Generally, cheaper than a vocal score and requires multiple copies for purchase.
Facsimile
Reproductions of the original hand-written scores from the composer.
Full Score
For ensemble music, this indicates that the edition contains all parts on a single system (there are not separate parts for each player). In larger ensembles, this is for the conductor.
Hardcover
Hardbound. Generally either linen-covered or half-leather.
Orchestral Parts
Similar to a wind set, this is a collection of parts. In the case of strings, the numbers listed are the number of copies included, though generally these are available individually (often with minimum quantities required).
Paperback
When publishers offer multiple bindings (e.g. hardcover) or study scores, this is the "standard" version. If you're planning to play the music, this is probably what you want.
Performance / Playing Score
A score of the music containing all parts on one system, intended for players to share. There are not separate parts for each player.
Set of Parts
For ensemble music, this indicates that there are separate individual parts for each player.
Solo Part with Piano Reduction
For solo pieces with orchestra, this is a version that contains a piano reduction of the orchestra parts. For piano pieces, two copies are typically needed for performance.
Study Score
A small (think choral size) copy of the complete score meant for studying, and not playing. They make great add-ons when learning concertos and small chamber works.
Vocal Score
A score prepared for vocalists that includes the piano/organ part or a reduction of the instrumental parts.
Wind Set
For orchestral music, this is a collection of wind and percussion parts. The specific quantities of each instrument are notated.
With Audio
In addition to the printed music, the edition contains recordings of the pieces. This may be an included CD, or access to files on the internet.
With / Without Fingering (Markings)
Some publishers prepare two copies - a pure Urtext edition that includes no fingering (or bowing) suggestions and a lightly edited version that includes a minimal number of editorial markings.
Ravel: Ma mère l'Oye (arr. for organ)
