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- เผยแพร่เมื่อ 5 มิ.ย. 2024
- Maurice Ravel, piano trio in A minor (1914). Jean-Jacques Kantorow - violin, Philippe Muller - cello, Jacques Rouvier - piano. From the sountrack to "Un cœur en hiver" (A Heart in Winter).
1. Modéré - 00:00
2. Pantoum (Assez vif) - 09:11
3. Passacaille (Très large) - 13:15
4. Final (Animé) - 20:50
Buy it here: www.discogs.com/Ravel-Kantorow... - เพลง
One of the most beautiful and enchanting pieces of music I've ever heard.
Maurice had a deep, yet delicate use of harmony, instruments, and also created fabulously complex dramatic orchestrations which used ballet, unusual extra instruments, and unique ideas. The Music World considers him to be largely at the top of the heap. (Me, too! lol)
His music and his works' fabulous performers are beyond description , and I feel the unfathomable emotion
Un cœur en hiver brought me here :)
wow, first time ever for me! how lucky I feel because now I have to something to listen to over and over again for the next 3 weeks!
@Jonathan Beck ha! good point!
un grand film m'a conduit ici ... Un Cœur en Hiver m'a conduit ici !!!!
J' ai acheté en 1988 ce disque alors réédité en CD par Erato. Il a ensuite été une nouvelle fois réédité dans les années 90 avec la photo de l' affiche du film puisque c' est cette version qu' avait choisie Claude Sautet pour Un coeur en hiver - grand film en effet. Elle en reste une des plus belles de toutes les versions aujourd' hui parues de ce trio.
Beautiful playing.
Beautiful!
Magique
Splendide version presque expressioniste avec l'interprétation de Kantorow au violon. Elle va si bien à cette oeuvre terminée pendant la guerre. Pour correspondre à cette musique, le paysage de Monet nous transporte un peu trop dans un hiver cotonneux à mon avis. Peut-être qu'avec quelques corbeaux supplémentaires et des silhouettes d'arbres ténébreuses cela ferait l'affaire ? Un Van Gogh Monet quoi.
Oui, je trouve Manet plus proche de Ravel que Monet.
Cette partie de l'oeuvre de Ravel est méconnue - le film de Claude Sautet me l'a faite découvrir alors je lui suis très reconnaissant d'autant plus que j'aime ses films.
De quel film s'agit-il s'il vous plaît ?
It’s un coeur en hiver
love it
The notes in this composition sound, descending and forlorn....
Well I have a theory that there exists a contemporary esthetic that didn't emerge until Stravinsky and Jazz. So in spite of the modern harmonic sophistication present in this music it still lives largely inside the romantic tradition. However the Adagio cannon that appears later steps into that new esthetic due to it's zen stillness. When the dust finally settled after Schoenberg we find this level of tonal sophistication in the hands of jazz musicians and film composers. So what distinguishes the contemporary esthetic is hard to nail down but I always know it when I hear it. It never feels overly subjective or dramatic in that Faustian 19th century way. In "poetry of the earth" lecture 6 from Bernstein's "unanswered question Bernstein postulates that it all started with Stravinsky's rejection of romanticism and subsequent embrace of everything but sentimentality; to include humor, intentionally mismatched semantic components, rhythmic complexity, polytonality,neo classicism and irony. In poetry you find it famously in T.S. Elliot's opening lines of J. Alfred Prufrock "etherised on a table" after beginning the poem like a romantic poet. So to hear this level of harmonic sophistication in our language or the contemporary esthetic check out Kenny Wheeler or Bill Evans or Wayne Shorter Ballads try "Infant Eyes"
Stravinsky? He was still writing old-fashioned music when Satie had already been stretching harmony way past romantic traditions. Stravinsky's 'new music' was only a year after the death of Debussy. In short, he's a bit overrated.
nakedmambo Stravinsky's polytonality and polyrhythms in History of a solder and The Rite aren't subjective in the romantic tradition they aren't Igor saying "this is what I am feeling" there's an almost journalistic distance a refrigerated distance and in "The History" there's humor.
Also Satiety was also busy making his rebuttal to the super romanticism of Wagner etc in his own way like crafting exquisite little objects that didn't swoon demand and implore eg Gymnopides .
nakedmambo of course it's after Debussy I mean his death and Mahler's death left a void in whose light it became clear that notions of tonality needed revamping So the 20th century crisis is defined by the divide between Stravinsky and Schoenberg. PS you really don't want to stand by your statement that Stravinsky is overrated because, if he only ever wrote the "Rite of Spring" he would still be a giant.
L'Histoire du soldat is from 1918, Parade had already been staged by this time a year earlier. and Satie's La Piege de Meduse pre-dates it by five years. I'm sorry, but Stravinsky wasn't presenting a new concept.
Strange that the pianist played the last notes of the first movement as if they were on F clef... Anyway, beautiful performance.
So does Rubinstein and others. This misreading is justified because E and G are part of the C Major harmony. I do believe the G clef reading with C and E makes more sense because it highlights the Major third, just like the cello pizz. does.
In his recording with Heifetz and Piatigorsky, Rubinstein played the chord in bass clef by accident (a misread) and other pianists figured that he had some “inside information” and copied him. (I studied with Piatigorsky.) The right hand of the piano is supposed to take over the notes of the violin and cello.
Pianist has been lucky enough to have a chamber music teacher, Jean Hubeau, wonderful musician
who could have access to the manuscript .....Anyway, thank you for the compliment.
Sorry ,except that it's in a minor key and you're staring down a Cliff into an abyss, on a bleak winter scene: Ravel has NO appeal to the Hoping Soul, whatsoever, but rather to the Existential agony of those with No Solutions and No human intention to Discover one. merely Mourning and impotence