RAVEL
*Christos Sipsis
Maurice Ravel-Bolero (Berlin Philharmonic-Pierre Boulez 1993)
The Raven - Read by Christopher Lee
Ravel - Bolero (original version)
Sylvie Guillem - Boléro
Pogorelich plays Ravel: Gaspard de la nuit (Ondine - Le Gibet - Scarbo)
Gaspard de la nuit - Wikipedia, the free encyclopedia
wikipedia
Gaspard de la nuit: Trois poèmes pour piano d'après Aloysius Bertrand is a suite of pieces for solo piano by Maurice Ravel, written in 1908. It has three movements, each based on a poem by Aloysius Bertrand. The work was premiered on January 9, 1909, in Paris by Ricardo Viñes.
The piece is famous for its difficulty, partly because Ravel intended the Scarbo movement to be more difficult than Balakirev's Islamey. Because of its technical challenges and profound musical structure, Scarbo is considered one of the most difficult solo piano pieces ever written.[1]
The manuscript currently resides in the Harry Ransom Center of the University of Texas at Austin.
Etymology
The name "Gaspard" is derived from its original Persian form, denoting "the man in charge of the royal treasures": "Gaspard of the Night" or the treasurer of the night thus creates allusions to someone in charge of all that is jewel-like, dark, mysterious, perhaps even morose.[2] Gaspard de la nuit is an old French expression for the Devil.[citation needed]
Structure
Ondine
An oneiric tale of a water fairy singing to seduce the observer into visiting her kingdom deep at the bottom of a lake. It is reminiscent of Ravel's early piano masterpiece, the Jeux d'eau (1901), with the sounds of water falling and flowing, woven with cascades. This piece contains technical problems for the right hand such as the fast repetition of three-note chords.
Le gibet
The observer is presented with a view of the desert, where the lone corpse of a hanged man on a gibbet stands out against the horizon, reddened by the setting sun; the sound of a bell tolls from inside the walls of a far-off city, creating the deathly atmosphere that surrounds the observer. Throughout the entire piece is a B-flat octave ostinato, imitative of the tolling bell, that must remain distinctive and constant in tone as the notes cross over and dynamics change.
Scarbo
“ I wanted to make a caricature of romanticism. Perhaps it got the better of me. ”
—Maurice Ravel, on "Scarbo".[3][1][4]
This movement depicts the nighttime mischief of a small fiend or goblin, making pirouettes, flitting in and out of the darkness, disappearing and suddenly reappearing. Its uneven flight, hitting and scratching against the walls, casting a growing shadow in the moonlight, creates a nightmarish scene for the observer lying in his bed. With its repeated notes and two terrifying climaxes, this is the high point of technical difficulty of the three movements. Technical difficulties include repeated notes in both hands, and double-note scales in major seconds in the right hand. Ravel reportedly said about Scarbo: "I wanted to write an orchestral transcription for the piano."[1]
Gaspard de la nuit: Trois poèmes pour piano d'après Aloysius Bertrand (1908) - musicanth
I. Ondine
. . . . . . . . I thought I heard
A faint harmony that enchants my sleep.
And close to me radiates an identical murmur
Of songs interrupted by a sad and tender voice.
CH. BRUGNOT - The two Spirits.
- "Listen! - Listen! - It is I, it is Ondine who brushes drops of water on the resonant panes of your windows lit by the gloomy rays of the moon; and here in gown of watered silk, the mistress of the chateau gazes from her balcony on the beautiful starry night and the beautiful sleeping lake.
"Each wave is a water sprite who swims in the stream, each stream is a footpath that winds towards my palace, and my palace is a fluid structure, at the bottom of the lake, in a triangle of fire, of earth and of air.
"Listen! - Listen! - My father whips the croaking water with a branch of a green alder tree, and my sisters caress with their arms of foam the cool islands of herbs, of water lilies, and of corn flowers, or laugh at the decrepit and bearded willow who fishes at the line. »
Her song murmured, she beseeches me to accept her ring on my finger, and be the husband of an Ondine, and to visit with her her palace and be king of the lakes.
And as I was replying to her that I loved a mortal, sullen and spiteful, she wept some tears, uttered a burst of laughter, and vanished in a shower that streamed white down the length of my stained glass windows.
II. Le Gibet :
Que vois-je remuer autour de ce gibet ?
Faust.
Ah ! ce que j’entends, serait-ce la bise nocturne qui glapit, ou le pendu qui pousse un soupir sur la fourche patibulaire ?
Serait-ce quelque grillon qui chante tapi dans la mousse et le lierre stérile dont par pitié se chausse le bois ?
Serait-ce quelque mouche en chasse sonnant du cor autour de ces oreilles sourdes à la fanfare des hallalis ?
Serait-ce quelque escarbot qui cueille en son vol inégal un cheveu sanglant à son crâne chauve ?
Ou bien serait-ce quelque araignée qui brode une demi-aune de mousseline pour cravate à ce col étranglé ?
C’est la cloche qui tinte aux murs d’une ville, sous l’horizon, et la carcasse d’un pendu que rougit le soleil couchant.
The Gibbet
What do I see stirring around that gibbet?
FAUST.
Ah! that which I hear, was it the north wind that screeches in the night, or the hanged one who utters a sigh on the fork of the gibbet?
Was it some cricket who sings lurking in the moss and the sterile ivy, which out of pity covers the floor of the forest?
Was it some fly in chase sounding the horn around those ears deaf to the fanfare of the halloos* ?
Was it some scarab beetle who gathers in his uneven flight a bloody hair from his bald skull?
Or then, was it some spider who embroiders a half-measure of muslin for a tie on this strangled neck?
It is the bell that tolls from the walls of a city, under the horizon, and the corpse of the hanged one that is reddened by the setting sun.
III.
[ Scarbo (1) :
Mon Dieu, accordez-moi, à l’heure de ma mort,
Les prières d’un prêtre, un linceul de toile,
Une bière de sapin et un lieu sec.
Les Patenôtres de M. le Maréchal.
« Que tu meures absous ou damné, marmottait Scarbo cette nuit à mon oreille, tu auras pour linceul une toile d’araignée, et j’ensevelirai l’araignée avec toi !
— Oh ! que du moins j’aie pour linceul, lui répondais-je, les yeux rouges d’avoir tant pleuré, — une feuille du tremble dans laquelle me bercera l’haleine du lac.
— Non ! — ricanait le nain railleur, — tu serais la pâture de l’escarbot qui chasse, le soir, aux moucherons aveuglés par le soleil couchant !
— Aimes-tu donc mieux, lui répliquais-je, larmoyant toujours, — aimes-tu donc mieux que je sois sucé d’une tarentule à trompe d’éléphant ?
— Eh bien, — ajouta-t-il, — console-toi, tu auras pour linceul les bandelettes tachetées d’or d’une peau de serpent, dont je t’emmailloterai comme une momie.
« Et de la crypte ténébreuse de St-Bénigne, où je te coucherai debout contre la muraille, tu entendras à loisir les petits enfants pleurer dans les limbes. »]
Scarbo
Il regarda sous le lit, dans la cheminée, dans le bahut ; — personne.
Il ne put comprendre par où il s’était introduit, par où il s’était évadé.
Hoffmann — Contes nocturnes.
Oh ! que de fois je l’ai entendu et vu, Scarbo, lorsqu’à minuit la lune brille dans le ciel comme un écu d’argent sur une bannière d’azur semée d’abeilles d’or !
Que de fois j’ai entendu bourdonner son rire dans l’ombre de mon alcôve, et grincer son ongle sur la soie des courtines de mon lit !
Que de fois je l’ai vu descendre du plancher, pirouetter sur un pied et rouler par la chambre comme le fuseau tombé de la quenouille d’une sorcière.
Le croyais-je alors évanoui ? le nain grandissait entre la lune et moi, comme le clocher d’une cathédrale gothique, un grelot d’or en branle à son bonnet pointu !
Mais bientôt son corps bleuissait, diaphane comme la cire d’une bougie, son visage blêmissait comme la cire d’un lumignon, — et soudain il s’éteignait.
Scarbo
He looked under the bed, in the chimney,
in the cupboard; - nobody. He could not
understand how he got in, or how he escaped.
HOFFMANN. - Nocturnal Tales.
Oh! how often have I heard and seen him, Scarbo, when at midnight the moon glitters in the sky like a silver shield on an azure banner strewn with golden bees.
How often have I heard his laughter buzz in the shadow of my alcove, and his fingernail grate on the silk of the curtains of my bed!
How often have I seen him alight on the floor, pirouette on a foot and roll through the room like the spindle fallen from the wand of a sorceress!
Do I think him vanished then? the dwarf grows between the moon and me like the belfry of a gothic cathedral, a golden bell shakes on his pointed cap!
But soon his body becomes blue, translucent like the wax of a candle, his face pales like the wax of a candle end - and suddenly he is extinguished.
RAVEL: GASPARD DE LA NUIT, (Engels) | R
Κριτική για τις γνωστότερες ηχογραφήσεις των 3 κομματιών του Ραβελ. εδώ:
RAVEL: GASPARD DE LA NUIT Noctural (bad) dreams as a piano triptych, intended to be the non plus ultra of romantic expression and technique
Maurice Ravel - Trois Poèmes de Stéphane Mallarmé
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Maurice Ravel - Trois Poèmes de Stéphan Mallarmé (1913)
*Έλλη Τσιρογιάννη
Ravel Piano Trio in A minor - Menuhin, Cassadó, Kentner
http://www.youtube.com/watch?v=al7I97UsuYA
Ravel Piano Trio in A minor - Menuhin, Cassadó, Kentner
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Argerich - Ravel Piano Concerto in G Major
*Effie Mattheou
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Scholar discovers missing bassoon line in Ravel manuscript | Cultural Compass
*Gianni Christopoulos
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*Constantino Pittas
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*Panos Ermidis
Ravel - Gaspard de la nuit (Benjamin Grosvenor)
Arturo Benedetti Michelangeli - Ravel Piano Concertohttp:
*Stratis Vagis
Ravel - Bolero. Sergiu Celibidache 1971
* Marita Kouroupi Santoro
Ravel - Miroirs (Sviatoslav Richter in Prague, 1965)
*Kiriaki Chrysanidou
Ravel: Le Tombeau de Couperin - Robertson/RCO(2010Live)
Η σουίτα "Le Tombeau de Couperin" γράφηκε αρχικά για πιάνο το 1917, όταν ο Ravel επέστρεψε από τον πόλεμο. Το 1919 ο συνθέτης επεξεργάστηκε τη σουίτα για ορχήστρα, παραλείποντας όμως δύο μέρη (τη φούγκα και την τοκάτα) από τα έξι. Έτσι παρουσιάστηκε για πρώτη φορά στο Παρίσι το 1920.
Ο Ravel αφιέρωσε αυτό το έργο στη μνήμη των φίλων του που σκοτώθηκαν στον πρώτο παγκόσμιο πόλεμο, ξαναζωντανεύοντας μια γαλλική παράδοση κυρίως του 17ου αιώνα. Την εποχή εκείνη υπήρχε η συνήθεια να γράφουν μεγάλοι συνθέτες "μουσικά μνημεία" (Tombeau, σημαίνει στα γαλλικά τάφος, μνήμα και κατ' επέκταση μνημείο) για άλλους συνθέτες που έχουν πεθάνει όπως έκανε ο Couperin για τον Lully και τον Corelli.
Για τον τίτλο του έργου ο συνθέτης είπε αργότερα ότι η αφιέρωση απευθύνεται λιγότερο στον Couperin και περισσότερο στη γαλλική μουσική του 18ου αιώνα. Έτσι η σύνθεση αυτή βασίζεται σε χαρακτηριστικούς χορούς της γαλλικής σουίτας, τους οποίους όμως ο Ravel γεμίζει με τη δική του μουσική γλώσσα.
*Alexis Zorbas
Ravel Piano Concerto In G Major Argerich Dutoit Orchestre National De France Frankfurt 9 9 1990
Argerich - Ravel Piano Concerto in G Major
*Debora Montenegro
*Debora Montenegro
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http://www.youtube.com/watch?v=HNzm1moxoyQ
Ravel: Le Tombeau de Couperin - Robertson/RCO(2010Live)
*Thanasssis Prisko
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*Thanasssis Prisko
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*Xara Andrianou
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http://www.youtube.com/watch?v=8eOGFk596Po&feature=share
*Christina Kolovou
Ravel Piano Trio in A minor - Menuhin, Cassadó, Kentner
*Despoina Stavrakaki
Hélène Grimaud Ravel Piano Concerto in G Major
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