How important rhythm and tempo are in an impressionistic piece like Jeux D'eau?

Question

I mean "how important are rhythm..."

Answer 1

Extremely important. Jeux D'eau, as with other works by Ravel, is intricate and detailed, almost like the inner workings of a Swiss Watch. (Stravinsky's words, not mine). Keep the beat!! Tempo as indicated by the composer, or he wouldn't have gone to the trouble.

It has been my experience that impressionistic pieces sound more impressionistic if played in strict tempo. I think it is a mistake to overdo the rubato, unless the composer indicates that is what is wanted.

Answer 2

I'm learning that piece right now, and I adore it! I'd say that rhythm and tempo are very important for an impressionistic piece, as they are for every piece, though don't forget to also focus on other aspects as well, such as dynamics, voicing, etc.

Of course, some rubato would be nice in certain areas, but for a piece like Jeux d'eau, its sound is made even richer and more lush with some rhythmic energy. For that rhythmic energy to happen, you of course need correct, sharp rhythm and a nicely-paced tempo. Thus, you do definitely need to keep in mind the rhythm and tempo. For Jeux d'eau, or any impressionistic piece, you need to "paint a picture", sort of, if you get what I'm saying. This impressionistic imagery comes through rhythmic energy and color/voicing, as I said before, as opposed to a romantic piece, which conveys emotion through the usage of rubatos and other rhythmic freedoms.

Answer 3

Take note of an excellent point that Glinzek has quietly made. Ravel would have been seriously pleased. The soubriquet 'impressionistic' has very often been treated as a get-out-of-jail-free card by (to paraphrase dear Anna Russell) pianists who can't count. Ravel detested self-indulgent rubato -- he wasn't too partial to rubato, full stop, and insisted that such minor pushing and pulling of time was applied only there where he had explicitly marked it. More tellingly than anything, when once asked how his piano scores might best be rendered most faithfully, he unhesitatingly recommended mechanical player pianos!

When playing Ravel (and Debussy too, for that matter, as his études will attest to) the tautest of time keeping is critical and -- Glinzek's specific point -- as a result in performance, the sense of 'impression', that of a mirage shimmering through from within, is actually heightened, whereas self-indulgence will merely reduce everything to a murky, shapeless 'soup'. It is this demand that Ravel invariably sets that is so treacherous in performing Gaspard de la Nuit, and what makes the Concerto in G scintillate in its outer movements, and half kill you in the slow movement which has to be as taut as a wire to work. Swoon in Ravel at your peril: it will all fall to ashes.

Answer 4

People need to play as the composer wrote. Debussy for example wrote his own fingerings to get a specific color from the piano. Besides rhythm and tempo, pedal markings must be observed. Ravel's pieces are beautiful but can easily be ruined by even professionals, take care.

Answer 5

Just as important as they are in any piece of any style. Discount the counting and your music will be short-changed.

Answer 6

I dont have much idea about this question but i give u the URL of a website which is very good as it gives descriptions of many many questions. I am sure this website will be helpful to you.

http://www.jeux-concours.net/

Answer 7

It has been my understanding that most "older" classical style music has strict rhythm and tempo - there isn't much room for interpretation beyond dynamics. David Lanz has GREAT stuff for interpretation!!