Maurice Ravel - Chansons madécasses [With score]

-Composer: Joseph Maurice Ravel (7 March 1875 - 28 December 1937)
-Performers: Dietrich Fischer-Dieskau (Baritone), Wolfgang Sawallisch (Piano), Karheinz Zoller (Flute), Wolfgang Boettcher (Cello)
Chansons madécasses, song cycle for voice, flute, cello and piano, written in 1925-26
00:04 - I. Nahandove
05:24 - II. Aoua
09:18 - III. Il est doux de se coucher
During the final phase of Maurice Ravel's career, he experienced hampered creativity and a confused emotional state -- which in the years that followed evolved into a preoccupation with economy of means and ensemble combinations. For example, the Chansons madécasses (Madagascar Songs), with their unique chamber ensemble, was, as Ravel indicated, "a kind of quartet in which the voice plays the part of the main instrument." The vocal line is uncharacteristic of Ravel's detached and objective style; instead the song sensuously and frightfully declares its message. The texts, taken from the eighteenth century Creole poet Evariste-Desire de Parny, are a cry for liberation from colonialism, exploitation, and slavery as they occurred in Madagascar. "Nahandove" depicts the erotic seduction of a native woman, in which Ravel uses the cello in counterpoint to the flute and piano. "Aoua!" is the frightful warning of the deceiving and dangerous white men; it opens with shrieks of the song's title, made on descending minor thirds. The vocal line is supported by dissonant piano crunches, while a tam-tam effect is made by the resonances of the piano and low notes of the flute. "Aoua!" was probably the most discussed of the three songs. When it was sung by Jane Bathori in 1925, at a concert in the Paris Salle Majestic, it was well received, except by a few members of the audience, who found the song's message especially disturbing because fighting was occurring in Morocco. The song comes to a bitter ending where the singer again proclaims "mefiez-vous des blancs" ("Don't trust the whites"). "Il est doux," featuring exotic timbres, returns to the earlier sexual lure. The first complete performance of the three songs was in 1926. Elizabeth Sprague Coolidge, an American patroness of chamber music, made only one suggestion when she commissioned the songs, in regards to the instrumentation of the accompaniment; the choice of text reveals Ravel's interest in the exotic.
Ravel stated that he viewed the years shortly before and during which the Chansons madécasses were written as a turning point in his career. In that time he turned from harmonic techniques to "the spirit of melody." The composer revealed in a late interview that these three songs were his favorites.
[allmusic.com]

[@nickvolkert858]

I love F-D's rendition of this. Thanks so much for adding the score....fascinating to watch it as the magic unfurls.

[@michaelcreamer9934]

I've been searching for a copy of Gerard's performance since the early '80s. Originally I found this while working in a music library at CWU, Washington State. Thank you for sharing!

[@ottokarvonschnallenburg2572]

Pizzicato on harmonics sounds like small drums.!

[@PentameronSV]

0:05 - I. Nahandove
5:25 - II. Aoua
9:18 - III. Il est doux de se coucher
(also in description)

[@dimitrizaugg6905]

Wow I was always fascinated by Ravel, of course introduced by Bolero but today decided to dive deeper and found this brilliant piece andd superb commentary by Damon JHK thank you for the historical and political comments I had no idea how revolutionary Ravel is.

[@Mimi12350]

C’est l’oeuvre de RAVEL qu’il aimait le plus 🤍🤍🤍

[@davidrehak3539]

Maurice Ravel:Madagaszkári dalok
1. Nahandove 00:05
2. Aoua 05:25
3. Il est doux (Nagyon kedves) 09:18
Dietrich Fischer-Dieskau-bariton
Wolfgang Sawallisch-zongora
Karlheinz Zoller-fuvola
Wolfgang Boettcher-gordonka

[@佐々木保-h9n]

ラヴェルの陰の名作。

[@fredvacher3998]

On dit le Prince des barytons! C'est vrai!!!! C'est magnifique. Quelle diction! Quelle precision! Brillant des aigus. Moelleux des graves. Force evocatrice alliee au genie de Ravel! Les instrumentistes sont en delicatesse, comme marchant sur des oeufs! Bravo bravo et merci Ravel😍

[@musikant-d2x]

8:44 Sord. on the flute? how's that going?

[@joshscores3360]

Idk

[@NovicebutPassionate]

Occasionally composers such as Stravinsky, Britten, Strauss, Ligeti, and in this case, Ravel (knowing the impossibility of their demand) have instructed their woodwind players to use a mute without providing any instructions on how on earth the poor player is to achieve the desired effect! (For more information, see "Anatomy of the Orchestra," Norman Del Mar, University of California Press, 1987, pp. 198-99.)

[@xanaduduo741]

The closest Ravel ever got to true modernity at the time. I have to say that although I adore Ravel usually I am not too fond of this. Compare the gorgeous Mallarme songs, let alone the superb, exquisite L' Enfant et les sortileges. Still, composers have to try things and push boundaries, it keeps them fresh. This is definitely interesting.

[@shuhengazhang]

you should check out frontispice

[@miguelvaliente1475]

Ravel stated once he did not like them too much.

[@mrtchaikovsky]

If so, that would have been very late in his life; he stated in 1932:
"De tout ce que j'ai composé jusqu'à présent, ce qui me satisfait le plus, ce sont sans doute mes 'Chansons madécasses'."

[@Iumine]

7:15

[@arielorthmann4061]

M. Fischer-Dieskau parle mieux français que moi...

[@douwemusic]

10:27 lyrics describe the baritone's "approach" to what notes Ravel wrote the most...

[@PentameronSV]

Exquisite! As always, thanks for sharing.

[@Magnet12]

5:40 9:18

[@zelyo2847]

5:40

[@zelyo2847]

9:55