Maurice Ravel’s Vocalise-étude en forme de Habanera is a magically evocative technical study for mezzo-soprano voice. The dreamy, ephemeral song without words has been described as a “nostalgic and haunting Andalusian cantilena.” (Vladimir Jankélévitch)
Ravel composed this music in March of 1907 during the time he was working on Rapsodie espagnole. It was commissioned by Amédée-Louis Hettich, a voice professor at the Paris Conservatory who approached numerous prominent composers, asking each to write a vocalise (a wordless vocal exercise). 150 of the compositions were published in the collection, Répertoire Moderne de Vocalises-Études.
As a child, Ravel heard Spanish folk songs, sung to him by his mother, who was of Basque heritage, and who grew up in Madrid. These Iberian influences can be heard throughout Ravel’s works, including the Vocalise-étude. The habanera was popular in Spain. It originated in 19th century Cuba, taking its name from the island’s capital, Havana. The distinctive, sultry dance rhythm alternates between triplets and duplets. One of the most iconic examples can be heard in Georges Bizet’s opera, Carmen.
This recording features French mezzo-soprano Marianne Crebassa with pianist Fazil Say:
Ravel’s Vocalise has been adapted for numerous instruments. Burning with quiet, controlled intensity, this performance by French violinist Ginette Neveu was made in 1946. She was accompanied by her brother, Jean Neveu. Tragically, both of their lives were cut short as a result of an airplane crash in 1949.
Thanks for contrasting this Ravel piece between voice and violin. It reinforced my lifelong preference for instrumental music, as much as I also still appreciate classical voice.