LADOTONAL AND COLORISTIC FUNCTIONS OF THE HARMONY OF THE ORCHESTRAL SUITE NO. 2 FROM THE BALLET “DAPHNIS AND CHLOE” BY MAURICE RAVEL

Abstract

The article is dedicated to the analysis of the modal-tonal and coloristic functions of harmony in the Orchestral Suite No. 2 from the ballet “Daphnis et Chloé” by the French composer Maurice Ravel. The research focuses on the uniqueness of Ravel's harmonic language, which became an integral part of the development of European music in the early 20th century. It is demonstrated that harmony in this Orchestral Suite No. 2 serves as one of the key elements contributing to the creation of diverse sound images. The study identifies how Maurice Ravel employs various harmonic techniques to achieve a rich coloristic effect. It is emphasized that the use of extended chords, altered harmonies, and polyharmonic structures forms the foundation for creating a unique soundscape in the analyzed work. The article also reflects on the choice of expressive musical tools used by the composer to highlight the main musical ideas and central images. It is underscored that Ravel's stylistic thinking involves active engagement with various orchestral coloristic effects, as evidenced by the inclusion of the timbral colors of a mixed choir, castanets, alto flute, celesta, and two harps to enrich the orchestra`s palette. The coloristic effects are shown to influence the harmonic perception of the work and its emotional tone. It is proven that harmony in Suite No. 2 from the ballet “Daphnis et Chloé” is the key element shaping the musical composition and dramaturgy of the work. It is revealed that the modal-harmonic and coloristic aspects not only define the sound image but also contribute to a deeper understanding of the work`s concept and aesthetics. This underscores the importance of studying Maurice Ravel's harmonic language for understanding his contribution to the development of 20th-century music, as well as for broadening contemporary approaches to the analysis of musical works from this period.