When Ravel composed his illustrious ballet Daphnis et Chloé in 1909, it had become the largest work the composer would ever premiere.

It was a full scale ballet over an hour with full orchestra and choir, commissioned by Ballets Russes (Russian Ballet), based on the novel of the same name by Ancient Greek poet Longus.

While the piece is large in scale, so is the technical facility required to play the prominent flute part.

Ravel uses the flute throughout the ballet to create both atmospheres and introduce characters, so getting the performance of the flute part is vital to understanding Ravel’s vision with the piece. In this post we’ll focus mainly on the Pantomime section of the last act, where the flute is featured the most.

Before we jump in, this blog post is based on a tonebase lesson on the Ravel excerpt with renowned flutist Marianne Gedigian, which features other excerpts such as those from Brahms 4th Symphony:

If you want to watch the full course, click here to sign up for a free trial to tonebase Flute.

General background on the piece

The pantomime scene masterfully depicts the traditional narrative of Syrinx and Pan engaging in a sensual encounter. There is an alternative, rather chilling, interpretation of this story, wherein the imagery of cutting reeds to create a panpipe bears a morbid undertone for the person being severed. This alternative perspective prompts thought-provoking reflections on the evolution of our comprehension of such tales. Nonetheless, she will focus on the traditional version, as it provides a beautifully rendered account of the story that has become beloved by many.

Within this pantomime scene, the flute takes on a prominent role, delivering one of the most adored solos in the repertoire. Spanning approximately a minute and a half, this solo possesses stunning melodic lines and offers ample opportunities for expressive playing, highlighting the flutist's ability to create a diverse palette of sounds, colors, and pacing. Moreover, it demands the flutist's artistry in employing vibrato changes, further enriching the musical tapestry. This solo encompasses the entirety of a flutist's arsenal, allowing them to showcase their range of skills and techniques.

Flute excerpt analysis

The pantomime solo unfolds in three distinct sections, commencing in the stratosphere, where the flutist skillfully navigates the musical high wire. The marking indicates playing with a sense of quietude, though not timidly. Initiating in the uppermost registers, it gradually descends towards the lower ranges, akin to a descent into the depths of the earth.

Gedigian highlights the importance of expressing oneself throughout this section, creating a profound and earthy musical experience reminiscent of ballet. As performers, we are the dancers – we embody the music, using our interpretation to convey a dancer's movements through the fluidity of sound.

It is noted that the framework of this musical piece lies in the orchestra. Similar to Brahms Symphony No. 4, where the orchestra continuously drives the rhythm, this section also possesses a pulsating energy. The bass strings play a vital role in establishing a sense of lift, accompanied by an empty second beat in the orchestra, further enhancing the feeling of movement. Gedigian encourages the reader to feel and embody the third eighth note as the solo sound, which is marked at approximately 66 beats per minute. Although this tempo is relatively fast, it is not unusual for this piece to be played slightly slower, around 60 or more, allowing for variations and phrasing. However, it is crucial to prioritize the rhythmic pulse points in the solo.

Recognizing that the solo is written in 2/4 time, just as Brahms wrote in 3/2 time for his works, Gedigian suggests focusing on the larger beats to capture the sense of flow within the music. Instead of emphasizing each individual beat, an approach of "one and two, and one and two" is suggested, creating wave-like motions to ride upon. This helps to maintain a fluid and cohesive interpretation throughout the solo.

{{trip-wire}}

While we have some tempo flexibility, Gedigian emphasizes the importance of maintaining a consistent pulse and rhythmic structure while playing. Playing chamber music requires demonstrating a sense of pacing to colleagues and respecting the framework they established. Staying connected to the general pulse allows the listener to perceive the ebb and flow of the music beyond mere beautiful ornaments.

Ravel leaves out beat two in every measure, except at measure 178, where everything changes. It is the only moment where the flute plays alone on the downbeat, creating a special opportunity to showcase an impactful rise to the D-natural.

Regarding the scale in the sixth bar, Gedigan is used to seeing a D-natural, E-sharp, F-sharp. However, Ravel’s original score (held at the University of Texas at Austin) shows a change from D-sharp to E-natural. This confused Gedigian, until she saw in the next measure that there was a natural sign on the E. This is odd, since the key signature dictates it would already be an E-natural. For this reason, Gedigian believes that the manuscript contains a mistake, and that the D-natural, E-sharp combination is correct. 

Upon recognizing that this sequence is in F-sharp minor, and viewing the scale as a melodic passage instead of a mere flurry of rapid notes, Gedigian grasps the notion of “easing in” to the scale. This perspective allows for a more thoughtful approach rather than perceiving it as a daunting task accompanied by accelerated movements. In reality, the scale is meant to be executed at a relatively slow pace. This melodic interpretation of the scale has proven to be beneficial.

Additionally, Gedigian occasionally regards the first two notes of the scale as pickup notes leading into the scale. Instead of immediately diving into the scale, she creates a mental framework where these initial notes serve as an introduction.

Another valuable tip that Gedigian shares is to group the notes in the scale in a manner that deviates from the conventional four-beat groupings. While the instinct may be to adhere to the initial inclination of forming two sets of four notes, it is important to note the slightly awkward transition between D-natural and E-sharp. By experimenting with alternate note groupings, such as 5 and 3, or 2 and 6, the fluidity of finger movements can be significantly improved.

Additionally, Gedigian introduces the concept of "beading" the scale, comparing it to beads on a necklace. This technique involves gradually adding notes to the scale, building it up incrementally.

Notably, Gedigian points out that the solo prominently begins on a G-sharp, which presents a difficulty on the instrument. Gedigian acknowledges that many musicians find it more comfortable to play A-flats in that register due to early exposure to flat keys in band settings. Therefore, Gedigian suggests considering the alternative of playing A-flat instead of G-sharp to achieve a more relaxed sound. 

Highlighting the importance of finesse and flexibility, Gedigian explains that the opening of the solo necessitates precise control and a sense of suspension in the sound. She recommends practicing the solo down an octave, in a comfortable register, allowing for unrestricted imagination and exploration.

Another technique Gedigian advocates for is practicing harmonics. By engaging in harmonics exercises, players develop an understanding of velocity, the speed and volume of airflow, and air pressure. These exercises also provide significant resistance, enabling players to activate their core muscles instead of relying solely on embouchure. Although the resulting sound may lack beauty, it is a valuable tool for comprehending the interaction between air placement, airspeed, and air pressure. This knowledge is paramount before exerting excessive demand on the lips.

To maintain clarity and precision in sound production, Gedigian emphasizes playing from the soft, moist area of the lips. This approach ensures the embouchure remains intact while allowing the aperture to determine the size of the opening and regulate the direction and speed of the air. Harmonics serve as an invaluable resource in acquiring such control.

As an aside, Gedigian provides a helpful tip for the second flute player in the opening passage of the entire suite. This section presents a considerable challenge, with the second flute part positioned a third below the first flute part. The player is required to reach down to the pinky finger for fundamental C naturals, demanding precision and dexterity. Gedigian suggests a modification in hand positioning, advising players to bring their right-hand thumb closer to the foot joint. By doing so, reaching down for the C-natural becomes more accessible, facilitating a seamless execution.

Gedigian acknowledges the presence of beautiful themes, imitating bird calls, noting that as the orchestra progresses, the music swells into rich and magnificent orchestrations, with the strings carrying the melodic line. However, this intensity eventually gives way to a moment of tranquility, where the oboes introduce a captivating and intriguing theme. With the first flute embodying the grace and agility of a ballet dancer, Gedigian recognizes the myriad of musical intricacies within the piece.

Switching gears to focus on flute technique, Gedigian emphasizes the need for core engagement and support to achieve optimal energy in playing. By establishing a solid foundation, flutists can effortlessly traverse the inner circle of the lips, allowing for a more fluid and controlled performance. Gedigian encourages players, explaining that playing in an orchestra brings a sense of unity, as they become part of a cohesive rhythmic structure. Rather than solely creating the pulse, they can join in, further enhancing the ensemble's musicality and cohesion.

By prioritizing proper air placement and spin, flutists can achieve a beautiful sheen on the sound, enhancing the overall musical experience. Gedigian acknowledges the challenges of finger coordination in this passage, including tricky finger connections and cross fingerings. Mastery of these technical elements is crucial in delivering a seamless and polished performance. Refer to the Fundamentals course taught by Gedigian and Chelsea Tanner.

The solo begins with G-sharps, where it is vital to focus on controlling the airflow. The professor stresses the importance of maintaining structured embouchure corners and avoiding excessive tension. By offering consistent support, one can prevent the flute from collapsing and allow a resonant sound to emerge. It is noted that the lips should be kept firm, ensuring a defined opening. However, the specific shape that works best may vary from player to player, and thus each individual should determine what suits them personally.

As the piece progresses, Ravel has thoughtfully embellished the G-sharps, adding 16ths, triplets, and 32nd notes to enhance their musicality. This decoration technique aids in seamlessly transitioning in and out of the G-sharp sequences. Subsequently, the music descends to a C-sharp, requiring elevation of this specific note. Gedigian acknowledges the potential awkwardness of the finger connections involved in playing the C-sharp to D-sharp and back to C-sharp. Some flutists find it beneficial to keep keys three and four depressed to stabilize the flute, particularly considering the inherent weightiness of the instrument. Additionally, it is crucial to feel the rhythmic swing back to beat one, akin to the support provided by the bass section in an orchestra. This swing serves as an encouraging guide for maintaining an impeccable sense of pulse throughout the solo.

Always strive to convey your intentions through the nuanced coloring of sound, the thoughtfully selected vibratos, and the deliberate balancing of intensity and release. It is paramount to keep in mind that these musical decisions ultimately serve the listener, but let us not forget that our fellow musicians in the orchestra are also avid listeners. As we embark on this extravagant solo passage, it is crucial to approach it with a sense of grandeur, meticulously attending to every lavish ornamentation bestowed upon us by Ravel.

A graceful sense of line must be sought, one that not only showcases our technical prowess but also pays homage to the expressive qualities inherent in the music. Amidst the intricate melodies, we must demonstrate resilience, ensuring that passages featuring rapid 16th notes followed by dotted 8th notes, do not diminish in their impact. This requires maintaining a perpetual sense of lift and buoyancy on the downbeats, giving rise to a feeling of musical ascent.

Amidst Ravel's compelling rhythmic tapestry, it would be remiss not to acknowledge some truly intriguing moments. Let us focus our attention on the section three measures before number 177, where Ravel introduces a delightful triplet on the first beat. Additionally, as our musical journey progresses, we descend into the lower registers, with the flute taking the lead from its soaring position in the high register, while the orchestra's tessitura concurrently ascends. This simultaneous contrast of motion creates a captivating musical discourse.

Returning to the recurring discussion of the notes E-natural and E-sharp, we come to appreciate their significant interplay within the solo passage. These two notes flutter back and forth, intertwining in a delicate dance. If we encounter an E-sharp within a particular scale and subsequently encounter E-naturals shortly after, we find an exquisite intermingling of the two within a couple of measures. This captivating interplay continues until two measures before number 177, where both E-sharp and E-natural are juxtaposed again.

The E-sharp note proves to be quite elusive for Gedigian. The note to be emphasized during the cascading measures leading up to measure 177 would undoubtedly be the E-sharp. However, upon examination, there is no crescendo indicated in the flute part for the sustained C-sharp tied over into measure 177. Curiously, the orchestra part does include a crescendo. It is quite likely that this is a misprint. Nevertheless, as the orchestra swells, Gedigian suggests maintaining a unified soundscape with the orchestra on the C-sharp note. 

As the composition proceeds, a shift into a resonant earth tone register becomes apparent. After transitioning from the ethereal stratosphere, the music plunges into a rich, deep soundscape. Gedigian expresses that her desires for more sound are scarcely satisfied here! The marking of mezzo-forte indicates a significant dynamic contrast, which Gedigian encourages players to embrace by utilizing a full vibrato. Gedigian also advises players to remain attentive to the interplay between major and minor sections, suggesting that these variations should be reflected in the sound and inflections produced.

For individuals preparing for an audition before rehearsal 177, Gedigian stresses the importance of maintaining a steady pulse. She cautions against rushing through the elongated note, warning that it is all too easy to overlook the inclusion of a few missing eighth notes. She advises players to pay close attention to the design and timing of their crescendo to deliver a polished performance.

{{trip-wire}}

Following 177, the composition progresses into a section described as a poetic dance of B notes. This section consists of a vibrant sequence of B notes, akin to a bouncing ball. Syncopations and urgency are intricately woven into the fabric of the music. The notation on the score, a line and a dot with a slur above, suggests that one should not simply approach this section as a string of isolated B notes. It is crucial to execute these notes with precision, while ensuring that the vibrato employed remains tasteful and controlled, rather than excessive. This is one of the most exciting parts Gedigian has ever seen in flute music! 

However, Gedigian discerns that the true high point lies not in the series of B's but rather in the captivating A-sharp. This note, the “heartbreaker,” demands special attention. Gedigian emphasizes the importance of sustaining a steady airflow throughout, ensuring that all the notes in the upper register maintain their integrity and do not sound lackluster. The objective is to avoid a mundane execution and instead create a captivating performance that keeps the listeners engaged. The air must flow continuously, filling every nuance within the triplets, as they are all part of the beautiful material leading to the culmination of the musical journey. Reaching the pinnacle, Gedigian encourages the flutist to relish the breathtaking view from the top of the mountain, metaphorically speaking. The accomplishment of ascending to this height warrants celebration and appreciation, amplifying the impact and depth of the performance.

However, the descent from the musical summit brings the flutist to a new phase. Transitioning into a melodious triplet, the piece regresses to the familiar grounds of home base. The return is marked by the inclusion of E-sharps, a recurring element that heightens the musical expression. Yet, this time, a different harmony emerges, infusing the solo with a sense of inquiry and contemplation. It is an opportune moment for the flutist to showcase their versatility and artistic interpretation, allowing the listener to lean forward and be captivated by the unique color and expression woven in this segment.

With seamless fluidity, the solo progresses swiftly toward 178, where the theme resurfaces. Having invested considerable time and effort in developing the musical narrative from its inception, Gedigian emphasizes the importance of efficiently returning to this focal point. This theme, now revisited, holds immense significance and continuity, completing the musical journey initiated at the start of the solo.

She advises players to exercise caution while voicing the intervals in these two measures. Appreciating the beauty of whole steps and half steps, she emphasizes the importance of fluently balancing the flute's sound in the middle register. These passages, however, are treacherous, especially the D-sharps and C-sharps. As a solution, she encourages players to approach these notes carefully, gradually scaling up to perceive the true essence of each interval, both grandiose and diminutive.

Amidst the musical journey, a moment of tranquility beckons at 178. Gedigian invites players to relish this rare opportunity for solitude, commencing on a downbeat. After this personal interlude, the orchestra enters the scene, assuming a more subdued role in the earthy tonality. Gedigian revels in this exquisite moment of release, urging players to align themselves with the indicated tempo, a crucial element of this poignant section.

As the solo concludes, Gedigian highlights an important swell occurring three measures after 178, urging players to unleash their resonance of sound on the second eighth note of the measure. The cascade of triplets commences at the measure's end, symbolizing a descent toward the finale. In this particular instance, Gedigian encourages experimental flexibility and a touch of artistic freedom, reminding players that no other instruments will accompany them. She envisions this section to possess a cadenza-like quality as the notes gracefully descend, only to soar back up in a final triumphant triplet.

Embracing the conductor's guidance, players are urged to tap into their creative wellspring and unleash their imagination. This section becomes an opportunity for each individual to express themselves freely, enriched by the magical pulse the music bestows upon them. Gedigian encourages players to ride the waves of ornamental sound with confidence, as the solo becomes a sonic tapestry of artistic interpretation. She emphasizes the importance of commitment to one's ideas and the freedom to express oneself with unabated fervor.

Conclusion

Ravel’s masterpiece Daphnis et Chloé is not only one of the standout pieces of the early 20th Century, but also a cornerstone of flute virtuosity, and as you can see, performing these excerpts properly requires a high level of attention, care, and understanding of phrasing.

Are you an active flutist looking to take your performance to the next level?

Be sure to check out tonebase Flute’s vast library of courses from the world’s best flutists, such as Jasmine Choi, Mark Sparks, and Carol Wincenc, whose course this post is based on.

Members are also invited to weekly live events, an online forum of passionate flutists, and gain access to exclusive workbooks and custom-annotated scores.

Click the button below to sign up for a 14-day free trial!