Posts in Maurice Ravel

Ravel - Short Biography Joseph Maurice Ravel (7 March 1875 – 28 December 1937) was a French composer, pianist and conductor. He is often associated with Impressionism along with his elder contemporary Claude Debussy, although both composers rejected the term. In the 1920s and 1930s Ravel was internationally regarded as France's greatest living composer. #mauriceravel #classicalmusic #music We are a educational channel specializing in history of classical music. Our goal is to spread classical music to the greatest number of people. Explore our channel and listen to more works by Mozart, Chopin, Beethoven, Tchaikovsky, Bach, Haydn, Schumann, Schubert, Vivaldi, Dvorak, Debussy and more! I hope you enjoy it and don't forget to Subscribe. 🎧 🔴 Facebook: https://www.facebook.com/TopClassicalMusic 🔴 WebSite: https://www.melhoresmusicasclassicas.com

Ravel - Piano Concerto for the Left Hand - Music | History The Piano Concerto for the Left Hand in D major was composed by Maurice Ravel between 1929 and 1930, concurrently with his Piano Concerto in G major. It was commissioned by the Austrian pianist Paul Wittgenstein, who lost his right arm during World War I. The Concerto had its premiere in January 1932, with Wittgenstein as soloist performing with the Vienna Symphony Orchestra. The piece was commissioned by Paul Wittgenstein, a concert pianist who had lost his right arm in the First World War. In preparing for composition, Ravel studied several pieces written for one-handed piano, including Camille Saint-Saëns's Six Études pour la main gauche (Six Études for the Left Hand) (Op. 135), Leopold Godowsky's transcription for the left hand of Frédéric Chopin's Etudes (Opp. 10 and 25), Carl Czerny's Ecole de la main gauche (School of the Left Hand) (Op. 399), 24 études pour la main gauche (Op. 719), Charles-Valentin Alkan's (Op. 76 No. 1), and Alexander Scriabin's Prelude and Nocturne for the Left Hand (Op. 9). Wittgenstein gave the premiere with Robert Heger and the Vienna Symphony Orchestra on 5 January 1932; Ravel had first offered the premiere to Arturo Toscanini, who declined. The first French pianist to perform the work was Jacques Février, chosen by Ravel. We are a cultural channel specializing in classical music. Our goal is to spread classical music to the greatest number of people. Here you will find musics for studying, concentration, relaxing and working. Explore our channel and listen to more works by Mozart, Chopin, Beethoven, Tchaikovsky, Bach, Haydn, Schumann, Schubert, Vivaldi, Dvorak, Debussy and more! I hope you enjoy it and don't forget to Subscribe. 🎧 🔴 Facebook: https://www.facebook.com/TopClassicalMusic 🔴 WebSite: http://www.melhoresmusicasclassicas.com #MusicHistory #ClassicalMusic #Ravel #MusicHistory #ClassicalMusic #Ravel

Daphnis et Chloé is a ballet in one act with three parts (scenes) by Maurice Ravel described as a "symphonie chorégraphique" (choreographic symphony). The scenario was adapted by Michel Fokine from a romance by the Greek writer Longus thought to date from around the 2nd century AD. Scott Goddard published a contemporary commentary that discussed the changes to the story that Fokine made to prepare a workable ballet scenario. The story concerns the love between the goatherd Daphnis and the shepherdess Chloé. Ravel began work on the score in 1909 after a commission from Sergei Diaghilev. It was premiered at the Théâtre du Châtelet in Paris by his Ballets Russes on 8 June 1912. The orchestra was conducted by Pierre Monteux, the choreography was by Michel Fokine, and Vaslav Nijinsky and Tamara Karsavina danced the parts of Daphnis and Chloé. Léon Bakst designed the original sets. At almost an hour long, Daphnis et Chloé is Ravel's longest work. In spite of the ballet's duration, four discernible leitmotifs give musical unity to the score. The music, some of the composer's most passionate, is widely regarded as some of Ravel's best, with extraordinarily lush harmonies typical of the impressionist movement in music. Even during the composer's lifetime, contemporary commentators described this ballet as his masterpiece for orchestra. Ravel extracted music from the ballet to make two orchestral suites, which can be performed with or without the chorus. The second of the suites, which includes much of the last part of the ballet and concludes with the "Danse générale", is particularly popular. When the complete work is itself performed live, it is more often in concerts than in staged productions. Maurice Ravel Daphnis et Chloé - Suite No. 2 For more: http://www.melhoresmusicasclassicas.blogspot.com #MusicHistory #ClassicalMusic #Ravel

Maurice Ravel - Jeux deau Jeux d’eau is a piece for solo piano by Maurice Ravel. The title is often translated as "Fountains", "Playing Water" or literally "Water Games" (see Jeux d'eau, water features in gardens). At the time of writing Jeux d'eau, Ravel was a student of Gabriel Fauré, to whom the piece is dedicated. Pianist Ricardo Viñes was the first to publicly perform the work in 1902, although it had been privately performed for Les Apaches previously. The piece was inspired by Franz Liszt's piece Les jeux d'eau à la Villa d'Este (from the 3ème année of his Années de pèlerinage), and Ravel explained its origins in this way: Jeux d'eau, appearing in 1901, is at the origin of the pianistic novelties which one would notice in my work. This piece, inspired by the noise of water and by the musical sounds which make one hear the sprays of water, the cascades, and the brooks, is based on two motives in the manner of the movement of a sonata—without, however, subjecting itself to the classical tonal plan. Written on the manuscript by Ravel, and often included on published editions, is the text "Dieu fluvial riant de l'eau qui le chatouille..." a quote from Henri de Régnier's Cité des eaux, which in English editions is sometimes translated to "River god laughing as the water tickles him ...". The tonality of the piece is E major. The piece infamously uses non-standard keys included on larger Bösendorfer models, often written into scores using a substituted low A (the lowest key on the standard keyboard) near measure 57, which should be a half-step lower at G♯. The work was first published by Eugène Demets. For more: http://www.melhoresmusicasclassicas.blogspot.com #MusicHistory #ClassicalMusic #Ravel

Maurice Ravel - Le tombeau de Couperin Le Tombeau de Couperin is a suite for solo piano by Maurice Ravel, composed between 1914 and 1917. The piece is in six movements, based on those of a traditional Baroque suite. Each movement is dedicated to the memory of a friend of the composer (or in one case, two brothers) who had died fighting in World War I. Ravel also produced an orchestral version of the work in 1919, although this omitted two of the original movements. The word tombeau in the title is a musical term popular from the 17th century, meaning "a piece written as a memorial". The specific Couperin, among a family noted as musicians for about two centuries, that Ravel intended to evoke is thought to be François Couperin "the Great" (1668–1733). Ravel stated that his intention was to pay homage more generally to the sensibilities of the Baroque French keyboard suite, not necessarily to imitate or pay tribute to Couperin himself in particular. This is reflected in the piece's structure, which imitates a Baroque dance suite. As a preparatory exercise, Ravel had transcribed a forlane (an Italian folk dance) from the fourth suite of Couperin's Concerts royaux, and this piece invokes Ravel's Forlane structurally. The other movements are similarly based on Baroque forms, with the Toccata taking the form of a perpetuum mobile reminiscent of Alessandro Scarlatti.[2] Ravel also revives Baroque practices through his distinctive use of ornamentation and modal harmony. Neoclassicism also shines through with Ravel's pointedly twentieth-century chromatic melody and piquant harmonies, particularly in the dissonant Forlane. Written after the death of Ravel's mother in 1917 and of friends in the First World War, Le Tombeau de Couperin is a light-hearted, and sometimes reflective work rather than a sombre one which Ravel explained in response to criticism saying: "The dead are sad enough, in their eternal silence." The first performance of the original piano version was given on 11 April 1919 by Marguerite Long, in the Salle Gaveau in Paris. Long was the widow of Joseph de Marliave, to whom the last movement of the piece, the Toccata, is dedicated. For more: http://www.melhoresmusicasclassicas.blogspot.com #MusicHistory #ClassicalMusic #Ravel