Jeux d'eau
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Jeux d'eau
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Water features in the Italian and French gardening styles
For the piano piece by Ravel , see Jeux d'eau (Ravel) .
Jeux d'eau (Italian giochi d'acqua ) or "water games", is an umbrella term in the history of gardens for the water features that were introduced into mid-16th century Mannerist Italian gardens .
Pools and fountains had been a feature from Roman times, but hydraulic engineers first took full advantage of characteristic sloping sites of villas in the hills surrounding Lazio, where there was copious available water. Giacomo Barozzi da Vignola 's catene d'aqua ( water chains ) and water stairs , fountains, cascades , jets , pools and canals at Villa Farnese at Caprarola and Villa Lante at Bagnaia led the way. At Villa Lante a rill of water flows down the center of a stone picnic table.
French 16th-century gardens in the Ile-de-France were generally in flat terrain that did not lend itself to elaborate jeux d'eau. Fountains, bassins (pools in raised basins) and canals were more typical of French water features. For the jeux d'eau at Versailles , a watermill -driven pumping station (the machine de Marly , at the time being the most powerful machine in Europe) and elaborate aqueducts had to be constructed to bring water from many kilometers away.
Sloping sites at the palaces of Caserta and Peterhof permitted grand cascades. At Caserta, a rill of water even flows down the handrail of a staircase balustrade.
A favorite jeu d'eau was the practical joke of surprise water jets that could be turned on suddenly by a gardener accomplice turning a hidden wheel, trapping guests or soaking their finery. Joking water jets remained a feature in German gardens well into the 19th century.
In the 1930s, Otto Przystawik invented the novelty musical fountain feature that came to be called "dancing waters". Early systems in displays and night clubs were manually operated by hand pumps and levers. Harold Steinman, the New York-based promoter of " Holiday on Ice ", spotted the Przystawik display in a Berlin nightclub. He took the machine on tour with his roller-skating review where its success inspired him to send out duplicates on tours during the 1950s and 60s. In the later 20th century programmable "dancing waters" became a feature of novelty fountains associated with resort hotels, where they were combined with laser light shows . Elaborate moving water effects and shifting colored lighting were coordinated with recorded music. Such features draw crowds in Las Vegas , where they were initiated as part of Liberace 's stage show and have been satirized in a Simpsons episode.
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“…the wellspring of all the pianistic innovations which have been thought to be found in my work.”
So said composer Maurice Ravel (1875-1937) of his breakthrough composition Jeux d’Eau , completed on November 11th, 1901 and dedicated to his teacher Gabriel Fauré. As such, the work is surely a milestone not only in Ravel’s compositional development, but also in that of the classical piano repertoire.
In this post I will consider the genesis and significance of Jeux d’Eau before taking a look at Nicolas Southon ’s brand new urtext edition of the piece, with fingering and notes on the interpretation by concert pianist Alexandre Tharaud , recently published by Bärenreiter .
At the time of composing Jeux d’Eau , Ravel was in his mid-twenties, attending Fauré’s composition classes at the Paris Conservatoire, and on the cusp of establish himself as a young composer of note having recently won a Second Prize at the Prix de Rome .
His previous piano pieces had included the Menuet antique of 1895, and (in 1899) the dreamy Pavane pour une infante défunte . But it was with the Jeux d’Eau the Ravel embarked on a series of more ambitious, virtuoso pieces, written with a shimmering impressionism that recaps Liszt, and which would soon include the Sonatine and Mirroirs (both completed in 1905) and Gaspard de nuit (1908).
Ravel headed the score to Jeux d’Eau with the epigraph, taken from a poem by his contemporary Henri de Régnier,
“The River God laughing at the waters that tickle him’”
According to the composer, the piece was “inspired by the splashing of water and by the musical sounds of fountains, cascades and rivulets”.
There’s little doubt that he was also inspired by Liszt’s Au bord d’une source and Jeux d’eau à la Villa d’Este . But as Nicolas Southon explains in the Preface to his new Bärenreiter urtext edition,
“Inbued with Lisztian procedures, the piece revivifies romantic virtuosity and opens new pianistic horizons: iridescent textures, broad and compact sound spaces, novel accompaniment figures, and ornamentation that becomes itself the musical material.”
The piece was given its first public performance at the Salle Pleyel in Paris in April 1902 by Ravel’s friend, the concert pianist Ricardo Viñes, receiving a somewhat mixed reception. Suggests Southon,
“With its sparkling textures, its extraordinarily refined harmonies, and its unprecedented sonic imagination, the piece appeared unnecessarily complicated to the traditional ears of the epoch.”
However, the work immediately found a place in the standard repertoire, and has remained one of Ravel’s most popular and influential piano pieces.
Nicolas Southon’s detailed Preface to the new edition lists the many extant sources he has referred to: an undated initial sketch, three complete manuscripts (the last of which formed the basis for the first edition, and is here the primary text used by Southon), the first edition (1902), second impression (1912), the independent Schirmer edition for the North American market (1907), and the Max Eschig edition (1928).
In several cases he was able to look at copies of the published editions with Ravel’s own handwritten corrections. And in addition to re-evaluating these many sources, he consulted memoirs from musicians close to Ravel such as Vlado Perlemuter, Jacquers Février and Hélène Jourdan-Morhange.
Importantly, the 13-page work is followed by an 8-page Critical Commentary offering exhaustive insight into the text, opening up new perspectives on the piece.
The score itself is well spaced (important, bearing in mind the density of the textures at times!) and gorgeously engraved on luxuriant cream paper in Bärenreiter’s house style.
As noted earlier in the review, fingerings have been added to Ravel’s few proposals by the concert pianist Alexandre Tharaud, whose complete recording of Ravel’s piano music for the Harmonia Mundi label I can also highly recommend.
In addition to Southon’s detailed and engaging Preface , Tharaud has written an insightful section of Notes for Performance , in which practical advice is mixed with poetic inspiration.
For many years performers of this masterpiece enjoyed Roger Nichols’ excellent Edition Peters score of Jeux d’Eau , later joined in the catalogue by the Henle Urtext edition in 1998.
In lending a fresh pair of eyes to the various sources, Nicolas Southon has now brought us an exemplary, dare I say authoritative score, and I suspect this is the version to which performers will quickly turn.
With its unimpeachable scholarship, beautiful engraving, helpful and detailed commentary, this is surely now the version to beat; the inclusion of Tharaud’s insights and fingering are the icing on the cake.
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From the emotive nostalgia of On an Overgrown Path, via the outpouring of 1. X. 1905 and the reflection of In the Mists to the highly personal utterances of his late piano pieces, Janáček's contribution to the piano repertoire is surely one of the most personal, as well as one…
Following on from the great sets of Schubert and Chopin, Fauré’s five Impromptus present a third significant group of such pieces, and though less well-known they certainly deserve to be played more widely. This exemplary new edition from Bärenreiter makes them an even more tempting prospect, and can be recommended…
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Andrew Eales is the author of HOW TO PRACTISE MUSIC, published worldwide by Hal Leonard. He is a widely respected piano educator and published composer based on Milton Keynes UK.
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Public Domain - Non-PD US [ tag / del ]
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URTEXT EDITION [ more... ] This "urtext" or "scholarly" (scientific) edition was published at least 25 years ago in the EU (or 20 years ago in Italy, before 1997 in the former USSR). Hence, the edition is public domain in its country of origin or a government publication. Such editions are also public domain in Canada because they fail to meet the minimum 'threshold of originality' to qualify for copyright as an 'adaptation'. They may not be public domain elsewhere. More information about this can be found here . Please obey the copyright laws of your country. IMSLP does not assume any sort of legal responsibility or liability for the consequences of downloading files that are not in the public domain in your country.
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Informal performance, with some mistakes, no edits. Image, is a thumbnail of Germaine Deluc "Étude cinegraphique sur une arabesque"
Berlin: Deutsche Grammophon , 1961. 138 679.
Source: Disque microsillon 33 t, 30 cm, stéréo
Recording obtained from the Wikimedia Commons
Paris: E. Demets , 1902. Plate E. 12. D.
New York: G. Schirmer , 1907. Plate 19284.
This file is part of the Sibley Mirroring Project .
Moscow: Muzgiz , 1933. Plate М. 14121 Г.
Moscow: Muzyka , 1955. Plate M. 14121 Г.
Originally uploaded by Physicist as a locked file on 10/29/2006.
Includes changes to time and key-signature, improved layout and hand.
Jeux d’eau ; 水の戯れ ; Игра воды ; Гра води ; Jeux d'eau (Ravel) ; [ 3 more... ] 물의 장난 ; 水上遊戲 ; 水上游戏
1902-04 in Paris, Salle Pleyel.
Ricardo Viñes (piano)
1902 - Paris, E. Demets (later Max Eschig)
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