Piano Forum

These two measures appear after an extended introduction where the right hand has the “shimmering” water figuration. This figuration (until measure 14) changes harmonic color often but nevertheless stays rather static (register wise). The first time, this shimmering figuration turns into a figuration of a dynamic movement is in these two measures you indicate (think of the motions the surface of the water is capable of doing).

Above this motion, you have the main melodic line from measures 3-4  but now more active and more sonorous achieved by Ravel by writing the melody in broken octaves. The ascending motion reaching to the upper note of the broken octave is vital to make the melodic line ever so slightly more active. This ascending interval and the gesture of the hands crossing is, I believe, an essential musical gesture in Ondine that cannot be genuinely achieved when passagework is divided over two hands.

I have tried several fingerings for this passage, trying to realize the best way to divide the passage and cheat by avoiding crossings. All this was futile. I never achieved the sound I wanted. Stick to the way Ravel wrote it. Practice the crossing in slow motion. The hands will bump at first and reaching that B natural broken octave seems really hard if you have a small hand + have your RH under your LH. But with hard work it will work.

Practice your RH separately making sure the figuration is very smooth and clean. The wrist having a relaxed gliding motion to it in order to make transitions smooth making sure your fingers are always on the center of the key. For the LH, try maintaining a high bridge (knuckles area) to allow the RH enough space to play under the LH. 

Once the RH is under control make sure you can play it smoothly pianissimo (I know its easy to say). The dynamic difference between the LH and the RH should be very clear. I would make sure your LH is always on a different level than your right hand…That the RH never becomes the melody itself.

To sum up: carefully observe the score, and try your best to play passages the way Ravel wrote them. This, I believe, gives you the best musical and technical benefits.
I know it might feel awkward and uncomfortable but after all you chose to study a score that is known to have some very uncomfortable and difficult passages. Persevere and you will be immensely satisfied once you overcome all these difficulties.