Maurice Ravel - Piano Concerto for the left hand [With Orchestral Score]
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- เผยแพร่เมื่อ 8 ม.ค. 2019
- Concerto pour la main gauche
- Composer: Joseph-Maurice Ravel (7.3.1875 ~ 28.12.1937)
- Performers: Orchestre de la Société des Concerts du Conservatoire (Pianist : Samson François, Conductor : André Cluytens)
Between 1929 and 1931, Ravel, despite his failing health, worked feverishly, his imagination as powerful as ever. Among the works completed during this period are the two piano concertos: this extraordinary work and the scintillating Piano Concerto in G major. This concerto was commissioned by the prominent Austrian pianist Paul Wittgenstein, brother of the celebrated philosopher Ludwig Wittgenstein, who had lost his right arm due to a wound sustained in World War I. It is indeed a tragic irony that Ravel, who also served his country in World War I, and Wittgenstein were enemies in this terrible conflict. Nevertheless, Ravel, fascinated by the technical challenge of composing a concerto for the left hand, approached the project with immense interest and enthusiasm. In addition, Ravel admired Wittgenstein's determination to continue his career as a concert pianist. Piano works for the left hand were certainly not a novelty, as compositions by Scriabin, Alkan, and Liapunov attest, but Ravel wanted to create a unique work which would not merely demonstrate how a pianist can compensate for a physical handicap. He wished to compose a work which would stand out as a unique piano concerto. The outcome of Ravel's efforts is one of the great piano concertos of the twentieth century. However, the Concerto, completed in October or November of 1931, failed to please Wittgenstein, who only gradually developed an appreciation for Ravel's work. Furthermore, when the Austrian pianist premiered the work in Vienna, in 1932, he took certain liberties with the score, to the composer's extreme consternation. Despite Ravel's frustration, he conducted the orchestra in Wittgenstein's Paris premiere of the Concerto in 1933. Because Wittgenstein had sole rights on the work for six years, Ravel had to wait until 1937 to hear a performance (by Jacques Février), which satisfied him. The work, which is really in one movement, begins deep in the bass register, with the contrabassoon, along with the basses, presenting a subdued theme, which elicits a mournful response from the horns. The initial mournful mood is gradually, almost imperceptibly, transformed into an insistent, somewhat manic, musical idea. The piano enters with a simple statement, creating pentatonic resonances, which disappear, but remain in the background. As the initial somber atmosphere lifts, the piano gradually establishes a mood of exquisite lyricism, which pervades the middle section. Ravel's writing is so subtle and technically ingenious that the listener hears a gentle melody with a hypnotically diaphanous, but seemingly elaborate, accompaniment; it is easy to forget that one hand does all the playing. The energy behind the third section, in which the piano engages the orchestra, often mimicking particular instrumental sonorities, profoundly differs from the wave-like, fluid, ascending motion of the Concerto in G major; here, the energy is discontinuous, manifesting itself in obstinate, repetitive figurations and phrases which, if only for brief moments, conjure up the spirit of Boléro. At the same time, Ravel devotes truly marvelous pages to the piano, particularly in the cadenza-like part of the final section, in which the left hand leads an engaging and richly developed melody into a glowing orchestral finale.
www.allmusic.com/composition/...
* Hommage à Paul Wittgenstein - เพลง
Molto damono 8:13
As awesome as the piano part is, I never cease to be awestruck by Ravel's masterful orchestration, especially from 1:36 until the piano's entrance. Just indescribably magnificent!
I have listened to a lot of performances and read many attempts to curate this this unique composition. Perhaps it means something special to me as a pianist for whom Ravel's work struck me at an early age, perhaps as someone who met as a child a French relative who survived the horror of WW1 in a nearly vegetative state, perhaps because I'm drawn to the art and music that emerges in the transitions between ages and styles, those fertile moments when every mode of expression Is in flux.
In sum, I have watched charismatic performers put their best into this difficult work, and the pleasure of watching a talented performance of any work can be seductive, and I love that.
But I think tonight that even without the visual stimulation of the performer's struggle, even with the not-sexy ( but intriguing to a pianist) mere display of the score, this will be the version I will return to many many times. Here is clarity, reflection, passion, caution, prowess, and a visceral respect for the author, the time, the meaning, not at all slavishly, but with a beating heart.
4:43 love LOVE Those harmonies
The first recording I ever heard of this, and still my favourite, perhaps not the absolute best performance, but wonderfully over-engineered, with the piano (when it finally comes in at 2:05) 20 feet wide, bass-heavy as a pipe organ, and louder than the full orchestra! Turn up the volume and stick your head between the speakers! Can you spell e-a-r-g-a-s-m? (Does anyone know if the piano was a Bösendorfer?
5:20 is it Ravel concerto in G?
He did compose them concurrently.
1:25 Violas are playing in Unison w/ the English Horn/F Alto Oboe
This is my favorite orchestral song with a piano. Ever. 2nd and 3rd are probably Hungarian Fantasy and Rhapsody In Blue.
sorry but it’s a piece
. Ravel, left hand concerto
. Rach, third piano concerto
. Rach, Paganini Rhapsody
. Liszt, Totentanz
. Tchaikovsky, first piano concerto
. Schnittke, Piano Concerto
my personal preference currently
song
2:10
How can you even play a 3/2 polyrhythm in one hand
Magic
14.40 ❤
10:53
M*A*S*H brought me here
french bassoon