Maurice Ravel’s Piano Concerto in G begins with the crack of a whip, startling the orchestra’s piccolo into action. The scene seems set for a race. Before a minute has passed, each of the concerto’s chief characteristics has made a fleeting appearance: joyous brilliance, melancholy lyricism, lively virtuosity, classical economy, evanescent orchestral color, a hint of American jazz, and a trace of Ravel’s native Basque country.
In the spirit of Mozart and Saint-Saëns, Ravel had intended the concerto for his own use. But unlike those composers, Ravel was no keyboard virtuoso, and it was Marguerite Long who gave the premiere. Ravel may not have been much of a pianist, but he was a virtuoso of the orchestra, and in this concerto the orchestra is featured as much as the piano. After the piccolo and trumpet introduce the frolicsome opening theme, the English horn escorts us into Spain, accompanied by languid strumming from the piano. The clarinet introduces the first of a series of jazz-inspired gestures that suggest George Gershwin. Listen for the distinctive qualities of high bassoon and muted trumpet; listen for the harp, which is given the first cadenza, ahead of the soloist!
The slow second movement begins with piano alone, playing one of Ravel’s most expressive and finely crafted melodies. Ravel claimed it nearly killed him, but there’s no evidence of the painstaking effort that went into sculpting this perfectly poised music. Ravel creates a feeling of impulse by superimposing a stately sarabande rhythm in the right hand above a slow waltz in the left. Once the orchestra enters, the mournful tones of the English horn lead a wistful and tender dialogue.
The third movement is launched with a drum roll and a fanfare. We’re back in the world of races and circuses—the world of Igor Stravinsky’s Petrushka and Erik Satie’s Parade.
The Presto is more overtly jazzy than the first movement, with piercing clarinet flourishes and sliding trombones. Through all this the piano darts and weaves until the dazzling movement is brought to a sudden and abrupt end, exactly as it began.
Here is this amazing music as played by pianist Helene Grimaud:
