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: Examining Through Ravel's Composition

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Theatre scholar, Kevin Egan, presents a novel comparative analysis between the performance score of Concerto and Ravel's Concerto for the Left Hand (1930). Employing his own hybrid technique of micro-scoring, which interlaces bespoke scores alongside text, he expands upon the notion and application of Composed Theatre (Rebstock and Roesner 2012) by examining Concerto's engagement with an embodied and enacted musicological process. Egan proposes several visual scores for the making and reading of Concerto as both the musical score and the performance text to explore how the physical, embodied performance of Concerto maps onto the original manuscript. He does this within the context of his recent practice research ‘staging scores’.

Keywords: Classical music ; Composed theatre ; Composition ; Contemporary performance ; Devised theatre ; Dramaturgy ; Musical scores ; Musicology ; Performance scores ; Postdramatic ; Scores ; Staging scores

Hardback ISBN: 9781789389333
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: Examining Through Ravel's Composition
Intellect , 95 (2024); https://doi.org/10.1386/9781789389333_6
/content/books/9781789389333.c06
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References

  1. Boccard, Aurélien Bastien (2017), ‘Maurice Ravel and Paul Wittgenstein: Le Concerto Pour La Main Gauche in response to World War I’, MA thesis, Kansas City: University of Missouri.
  2. Chevallier, Claire (2006), ‘Concerto pour la main gauche’, composed by M. Ravel, Ravel, CD, France: Zig Zag Territories.
  3. Cook, Nicholas (2013), Beyond the Score: Music as Performance, New York: Oxford University Press.
     [Google Scholar]
  4. Egan, Kevin (2019), ‘Schrödinger's notes: A minimalist equation for a reckless sleepers project’, Studies in Theatre and Performance, 39:2, pp. 177–97.
     [Google Scholar]
  5. Egan, Kevin and Pinchbeck, Michael (2022), ‘Staging scores: Devising contemporary performances from classical music’, Open Library of Humanities, 8:1, pp. 1–30.
     [Google Scholar]
  6. Leong, Daphne and Korevaar, David (2005), ‘The performer's voice: Performance and analysis in Ravel's Concerto pour la main gauche’, Society for Music Theory, 11:3, pp. 1–17, https://mtosmt.org/issues/mto.05.11.3/mto.05.11.3.leong_korevaar.pdf. Accessed 28 February 2022 .
     [Google Scholar]
  7. Mawer, Deborah (2011), ‘Musical objects and machines’, in D. Mawer (ed.), The Cambridge Companion to Ravel, Cambridge: Cambridge University Press, pp. 47–67.
     [Google Scholar]
  8. Pinchbeck, Michael (2016), Concerto, devised and performed by R. O'Shea, K. Perry, and M. Pinchbeck, Nottingham Lakeside Arts, 14 December 2016.
  9. Rebstock, Matthias and Roesner, David (eds) (2012), Composed Theatre: Aesthetics, Practices, Processes, Bristol: Intellect.
     [Google Scholar]
  10. Roesner, David (2014), Musicality in Theatre: Music as Model, Method and Metaphor in Theatre-Making, Abingdon: Routledge.122
     [Google Scholar]
  11. Russ, Michael (2011), ‘Ravel and the orchestra’, in D. Mawer (ed.), The Cambridge Companion to Ravel, Cambridge: Cambridge University Press, pp. 118–39.
     [Google Scholar]
  12. Smith, Ollie (2016), ‘Conductor/director: Reflections on making Concerto’, in M. Pinchbeck (ed.), Concerto Programme, Michael Pinchbeck website, December, p. 3, http://michaelpinchbeck.co.uk/assets/wp-content/uploads/2013/06/CONCERTO-Programme.pdf. Accessed 28 February 2022 .
     [Google Scholar]
  13. Steinberg, Michael (1998), The Concerto: A Listener's Guide, Oxford: Oxford University Press.
     [Google Scholar]

References

  1. Boccard, Aurélien Bastien (2017), ‘Maurice Ravel and Paul Wittgenstein: Le Concerto Pour La Main Gauche in response to World War I’, MA thesis, Kansas City: University of Missouri.
  2. Chevallier, Claire (2006), ‘Concerto pour la main gauche’, composed by M. Ravel, Ravel, CD, France: Zig Zag Territories.
  3. Cook, Nicholas (2013), Beyond the Score: Music as Performance, New York: Oxford University Press.
     [Google Scholar]
  4. Egan, Kevin (2019), ‘Schrödinger's notes: A minimalist equation for a reckless sleepers project’, Studies in Theatre and Performance, 39:2, pp. 177–97.
     [Google Scholar]
  5. Egan, Kevin and Pinchbeck, Michael (2022), ‘Staging scores: Devising contemporary performances from classical music’, Open Library of Humanities, 8:1, pp. 1–30.
     [Google Scholar]
  6. Leong, Daphne and Korevaar, David (2005), ‘The performer's voice: Performance and analysis in Ravel's Concerto pour la main gauche’, Society for Music Theory, 11:3, pp. 1–17, https://mtosmt.org/issues/mto.05.11.3/mto.05.11.3.leong_korevaar.pdf. Accessed 28 February 2022 .
     [Google Scholar]
  7. Mawer, Deborah (2011), ‘Musical objects and machines’, in D. Mawer (ed.), The Cambridge Companion to Ravel, Cambridge: Cambridge University Press, pp. 47–67.
     [Google Scholar]
  8. Pinchbeck, Michael (2016), Concerto, devised and performed by R. O'Shea, K. Perry, and M. Pinchbeck, Nottingham Lakeside Arts, 14 December 2016.
  9. Rebstock, Matthias and Roesner, David (eds) (2012), Composed Theatre: Aesthetics, Practices, Processes, Bristol: Intellect.
     [Google Scholar]
  10. Roesner, David (2014), Musicality in Theatre: Music as Model, Method and Metaphor in Theatre-Making, Abingdon: Routledge.122
     [Google Scholar]
  11. Russ, Michael (2011), ‘Ravel and the orchestra’, in D. Mawer (ed.), The Cambridge Companion to Ravel, Cambridge: Cambridge University Press, pp. 118–39.
     [Google Scholar]
  12. Smith, Ollie (2016), ‘Conductor/director: Reflections on making Concerto’, in M. Pinchbeck (ed.), Concerto Programme, Michael Pinchbeck website, December, p. 3, http://michaelpinchbeck.co.uk/assets/wp-content/uploads/2013/06/CONCERTO-Programme.pdf. Accessed 28 February 2022 .
     [Google Scholar]
  13. Steinberg, Michael (1998), The Concerto: A Listener's Guide, Oxford: Oxford University Press.
     [Google Scholar]

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