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Flute: Ravel: Daphnis et Chloé [176] until 2m after [179]
This is the audition excerpt that is often requested at orchestral flute auditions. View the sheetmusic and listen to recordings of the excerpt.
Source: orchestraexcerpts.com
Date Published: 6/20/2021
View: 3630
2014 Flute Excerpts – Carnegie Hall
2014 Flute Excerpts. FOR EDUCATIONAL PURPOSES ONLY … Flute Excerpts. FOR EDUCATIONAL PURPOSES ONLY. Ravel: Daphnis et Chloé, Suite No.2 (176–2 after 179) …
Source: www.carnegiehall.org
Date Published: 4/17/2022
View: 2307
Ravel Daphnis et Chloé – flute solo – Trailer – Principal Chairs
Aldo Baerten, first flute of the Royal Flemish Philharmonic, demonstrates how to prepare Ravel Daphnis et Chloé flute solo for and orchestral audition.
Source: www.principalchairs.com
Date Published: 7/2/2022
View: 9658
Ravel – Daphnis Et Chloé – Flute Part | PDF – Scribd
Ravel – Daphnis et Chloé – flute part.PDF – Free download as PDF File (.pdf) or read online for free. Flute part of the Ravel’s orchestral score.
Source: www.scribd.com
Date Published: 9/25/2021
View: 8498
#FluteFridays: Orchestral excerpts 1 – Daphnis et Chloé …
#FluteFrays: Orchestral excerpts 1 – Daphnis et Chloé, Maurice Ravel … Make sure it’s a healthy, solo piano; after all, the flute has …
Source: maryhalesflute.wordpress.com
Date Published: 2/4/2022
View: 5648
Ravel: Daphnis and Chloé – MUSAIC – New World Symphony
Mark Sparks, Principal Flute of the Saint Louis Symphony, demonstrates and discusses the flute solo from Ravel’s Daphnis and Chloé, Suite No. 2.
Source: musaic.nws.edu
Date Published: 6/15/2021
View: 6559
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- Date Published: 2016. 6. 30.
- Video Url link: https://www.youtube.com/watch?v=ymoYEzGrgZk
Flute: Ravel: Daphnis et Chloé [176] until 2m after [179]
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Ravel – Daphnis Et Chloé – Flute Part
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#FluteFridays: Orchestral excerpts 1 – Daphnis et Chloé, Maurice Ravel
Happy Friday, fluties!
Thanks for responding to the Twitter poll on @MaryHalesFlute for this week’s topic. The winner was orchestral excerpts! So today, we’ll be taking a look at the solo from Ravel’s ballet Daphnis et Chloé. This post will be divided into a few pieces – the excerpt itself, score analysis, and some tips for learning it.
Here’s the solo, provided by the wonderful Emmanuel Pahud with the Berlin Philharmonic (stop at 2:13):
One of the things you should notice right off the bat is the amount of dynamic contrast and technicality this solo requires. It’s one of the most beautiful in our repertoire, but we can’t spend too much time getting caught up in the beauty just yet! There’s analysis that must first be done. Listen again, and pay close attention to the low strings before the entrance of the flute.
Here’s what the solo looks like on the page (starting at rehearsal 176):
Sir Simon Rattle was conducting in four in the video, but the piece is written in 2/4. Why, you ask? The answer is simpler than you might expect – subdivision! The tempo in this part of the ballet (or orchestral suite, depending on which edition you’re performing) is such that with an eighth note pulse, it’s much easier to conduct the music in a 4 pattern rather than in 2. (For the sake of simplicity, this post will be counting in 4.)
Remember when we paid close attention to the low strings earlier? That accompaniment figure (on beats 4 and 1 of each bar) is what you as a soloist have to latch onto for that opening scale. If you listen closely to Pahud, he takes a brief bit of time on his first note before going up to the high A, but not too much time. Rubato works best when applied between beats, and tastefully. Ravel has marked expressif et souple underneath the scale – expressive and supple. Those are good words to keep in mind as you practice.
While we’re talking about the opening scale – be prepared for the conductor to quibble with a few notes. In Ravel’s original score, there is a sharp next to the D and the E! However, some editions remove both the sharps, or keep only one (as you see here with the D-natural and the E-sharp). Be prepared to play it comfortably any way it might appear; each conductor will have a different preference for what he/she wants for that solo.
Moving on – careful, conscious counting is integral to the success of this solo. Once you move off the quarter note G# into the sixteenth notes, that’s the tempo the conductor will take from you, and that you’ll be bound to keep as you go. Keep in mind – the opening dynamic is only piano. Make sure it’s a healthy, solo piano; after all, the flute has the melodic material, and the opening of the solo is in the upper octave, but make sure you leave yourself room to grow later in the solo.
Be sure to take full breaths each time there’s a break in the slur. Try not to breathe under the slurs, because you don’t want to break the phrases Ravel wrote. If you need one early on, the breath marked after the first C# in the fifth bar of the solo is a good one to take, as is the one two bars before 177.
Pay close attention to the downward musical line as you play. The opening is in what I like to call high G#-land, since all the notes are no more than a fifth away. Approaching 177, we start to descend into C#-land. (Be sure you pay close attention to the tuning on all those C#s before 177, both above and in the staff! If you have a C# trill key on your flute, the long, held notes might be a good place to use it.)
Going into the second bar of 177, the dynamic goes up to mezzo forte. Don’t get too carried away just yet – there is a forte coming up in the next line, and you have to leave yourself room to get there. But this is a perfect spot to add some beef and strength to back up your tone. Be careful, though, not to carry all the workload in your embrochure – if your face is doing all the work, your diaphragm is not engaged enough. Make sure you’re supporting from your core, and not doing all the work with your facial muscles. (This is something I’m still working on!)
In the fifth bar of 177, don’t let all those B naturals get boring! Every repeated note is an opportunity to be musical. In one bar, Ravel has given you 15 of those opportunities, before we get a C#! In my copy, I have a big arrow pointing to the right over this line – direction is imperative when you have this many repeated notes. Whatever you do, don’t let them all be the same! Talk to a teacher or mentor about some different ideas for expressiveness. I would experiment with length and articulation, and some reasonable rubato.
Finally, a forte! Take a big breath after the break in the slur, and use your vibrato for good! Don’t oversaturate the note, or the descending figures that follow, but use the expressive tools you have available to you throughout this solo to enrich what Ravel has given you. I would absolutely recommend trying some rubato here, but be especially careful moving from the sixteenth note triplets into the straight sixteenth notes. Remember what we said about counting earlier? Rhythmic integrity goes hand-in-hand with that.
Be careful with the diminuendo into the high D at 178. Don’t let your tone get weak, thin, or unsupported, despite the fact that it’s marked pianississimo. This is another spot to make sure your face isn’t doing all the work, and that you’re engaging your core as you play. Whistle tones are a great idea here to make sure your mouth and throat are open enough (check out Robert Dick’s book Tone Development through Extended Technique for more on those and how they work).
Look closely at the placement of the forte in the third bar of 178. In the orchestral score, the big orchestral hit is not on beat 1, but beat 2! Make sure the heart of your forte lines up with that, even as you crescendo to the downbeat. Also make sure you get back down to a comfortable piano as the rest of the orchestra comes back down. If you can, experiment with the dynamics in the bar before 179. Feel free to incorporate some rubato in that Retenez bar, but again, keep it in good taste.
One last note (pun completely intended) – as you go into the tempo change at the Au movt, give some kind of nod to the second flutist who has to come in with the huge flourish, or coordinate something with the conductor. Don’t leave your colleague hanging out to dry; if you look at the score, there’s not much to cue them into the new tempo besides you and the conductor.
I hope you find this analysis helpful as you practice! If you want some more resources, I’m adding a couple more YouTube clips below.
Happy practicing! Until next time!
-M
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