The most amazing thing about Ravel, to me, is his ability to invent themes (and harmonies woven thereupon) which, while not really straying far from the 'traditional' ways, exude some sort of 'wackiness', in that they do not follow the path you would expect, yet come to convince or even please you. This along with his diversified taste for music genres, is what I think to be a major inspiration to today's composers.
I agree with your point. It’s interesting that quite hardcore modernist figures like Pierre Boulez were happy to conduct Ma Mère l’Oye, say, whilst being ferociously critical of the classical tradition. I think that at a point in history when that tradition was quite abruptly fractured by the impact of the modern, Ravel somehow managed to bestride the abyss that opened up. Whether modernity was a catastrophe or a revelation, under the pressure of the extreme violence of his time he managed to transform it into some kind of ‘inner quivering’ as Boulez put it. Intensely personal and intimate, but global too. I love many different composers and music of all kinds, but none that I know of have a greater emotional impact.
This is the most 20th century sounding piece I've ever heard. It has the jazz influence, the impressionism, the terror of war, and all the strangeness of this era of music combined
It's dark and at times almost industrial in its might. The extremely majestic opening theme. The romantic and tender melody that withers into the imperious march. Often times, the music is ambiguous in its mood and feelings, perhaps to me, symbolizing the growing complexity and developement of not only the arts, but the entire world at the turn of the 20th century.
but the precisely the cadenza elicited Wittgenstein´s main complaint, "too much cadenza"! He also rejected every other Concerto for the left hand written for him, of Prokofiev´s he said he didn´t understand a single note, and of Strauss´s, "too much orchestra"
@@javierlameiro3539 Wittgenstein was a snobbish prick who made edits to commissioned works of other composers without their permission. This concerto is a famous example of Wittgenstein having done so, which infuriated Ravel and despite Wittgenstein eventually playing the composition as it was, it soured their relationship. The fact of Wittgenstein having done this to other composers was also why no one accepted his subsequent commissions. Furthermore, he owned exclusive performance rights to the pieces he commissioned. As a result of this, Paul Hindemith's Op. 29 was not discovered until 39 years after Wittgenstein died as the latter hid it from the public simply because he didn't like it. All in all, despite having commissioned the piece, Wittgenstein's remarks are worth absolutely nothing. He may have pioneered left-hand-only piano techniques, but he wasn't the one who spent time and effort on the pieces.
I read that Ravel composed this for a fellow soldier pianist with whom he fought in WWI, who had lost his right arm in combat. That coupled with the absolute genius of this music, I have never had so much admiration for any man living or dead.
Again, recordings which are superb and archival in their importance, coupled with what can only be an intense real labor to present With The Scores. Many thanks.
You might as well hear it from me as well - these videos really are absolutely superb, and I do hope you get some sort of reward for making them. One of the most useful channels on TH-cam for any musician; thanks very much for all your work
I find Ravel's understanding of musical structure to be extraordinary. The conversation between the piano and the orchestra in this piece is a work of genius, especially in the introduction. The orchestra introduces a dark, subdued theme in the very low register, and becomes increasingly manic. The piano soliloquy at first echoes the temperament but gradually becomes more tranquil, soothing the orchestra back to a state of calm. The orchestra then repeats the main theme introduced by the piano. Another effective use of structure by Ravel would be the Bolero, where he substitutes repition in place development. His ability to create scenes and tell stories through music is unparalleled.
That fortissimo d octave around 17:35, it's the little genius things like this that keeps me coming back to Ravel. It feels so special but looking at the piano score it doesn't stand out from the figures that come before it. Ravel has the orchestra subtly rejoin filling in the harmony just enough to sound like additional overtones of the Piano. It's just lovely. (The cadenza and the ending is one of my favorite musical moments in general).
God that sonority at 10:52 just gives me chills... That lydian melody in the upper register of the piano atop the quartal/quintal voicings in the strings. Ravel was not of this earth....
Speaking of lydian (and therefore modes) do you know of any pieces you could recommend in the elusive hypomixolydian mode? I ran across it about fifteen years ago but can’t find anything apart from a few scales and the allegation that examples include the theme to Star Trek: TNG and “Sweet Home Alabama”-not exactly much on which to hang an understanding of the mode.
Very first time I heard this concerto I thought this sounds really difficult (assuming it was two hands). Imagine my shock when the announcer said "...Ravel's concerto for one hand"! I've battled through this and it is tough. Apart from covering huge spans, the sound control and balance is really tough...and on top of that, one has to make it sound musical and poetic. Samson Francois plays wonderfully.
Same thing i thought when listening; apart from the technical difficulties, making the piano sound fluttery or bashing at the pianist’s will poses a much bigger difficulty.
I heard this in concert when I was still quite young in the 1950s. I have always been enthralled by it, but seeing the notes as it is being played gave me a completely new access to this astonishing work. How fascinating it really is, and what a challenge to a pianist! Thanks to everyone who made this possible.
As awesome as the piano part is, I never cease to be awestruck by Ravel's masterful orchestration, especially from 1:32 until the piano's entrance. Just indescribably magnificent!
J'ai cliqué sur tant de vidéos liées, à travers tant de paysages insolites, incroyables et étranges. Je me sens comme dans un compartiment sur un chemin de fer, à admirer une succession de scènes folles jamais vues auparavant, des musiques importantes et étranges à travers la fenêtre du wagon.. il y a tant de choses à explorer, tellement d'endroits où se poser puis rester dans les ambiances proposées. Cet arrêt en particulier est brillant 💥
THIS masterpiece never fails to elicit the indescribable emotions in the deepest recesses of my soul. I will always remain in awe of it's majesty and it's forceful affirmation of the Human Spirit. ♥♥♥
imagine how badass it’d be if ravel and Wittgenstein were on bad terms, and ravel decided to write a concerto completely for the right hand and dedicate it to Wittgenstein, or if he wrote this entire concerto and then added a single note at the end that required the right hand
nico constantino, Ravel composed this concerto for the brother of Wittgenstein , the philosopher . not for the same philosopher. Ravel and Wittgenstein were friends, i presume.
@@antoniomartiradonna9498 They were not friends. They may have been friendly at one point, but Ravel became very aggressively offensive when hearing Wittgenstein rehearsing this very work, adding improvisations and changes that Ravel angrily forbade. "Performers are slaves," Ravel said to Wittgenstein. The disagreements between Ravel and Wittgenstein got quite hot, in front of many witnesses, which always makes the feelings one gets over angry arguments even worse. Ravel even told Wittgenstein bluntly that he was a bad pianist all along, and that losing his arm hadn't made him any better. Friends? If they ever were, it didn't last long!
I suppose struggles between composer and soloist are nothing new. But it's difficult to imagine what Wittgenstein objected to in this magnificent concerto. Grateful thanks for posting, olla-vogala.
+Mari Christian The truth is that Wittgenstein was a mediocre pianist. He totally rejected Hindimith's concerto, which gathered dust for decades, as it was beyond his limited abilities.
Michael Varell And somehow Prokofiev's word is law? I admit, the only reason he got famous was because he could play with only one hand, but that doesn't diminish the fact that most of us couldn't do it.
+Chinyere Obasi I wrote that quote because Prokofiev and indeed Ravel (who wasn't so fond of Wittgenstein himself) are examples of people who knew Wittgenstein and actually heard him play. From what I have heard here online, I don't really agree.
Mister Olla-Vogala, thank you for including extensive notes on the Piano Concerto. Aside from placing the music in its historical context, the notes give us a greater appreciation of the compositional and performance (Wittgenstein's disability) achievements. I also much like the descriptive analysis of the Concerto and the sheet music. Merci!
Absolument! I was in my early teens when I first heard Samson François' recording on vynil (early 60's) and listened again and again. The other side was the Concerto in G, which was also wonderful, but the Concerto for the Left Hand was spellbinding. One problem, however, with tying oneself to a single interpretation is that nothing else quite satisfies...
Recently, as a master's of music composition candidate at GSU, I discovered this piece as a historical artifact and a novel composition. But today, the reality of the love, research, and sacrifice that Ravel demonstrated in creating this work commissioned by the concert pianist, Paul Wittgenstein who lost his right arm during WWI, is remarkable, and quite difficult to play with one hand.
You can't help but smile the whole time while listening to this. I can't believe anyone could have less than a glowing reaction to Ravel. A simply magical composer, and a great recording of this piece. Thank you for uploading!
The first interpretation in which the habanera rhythm in the opening cadence is really present. Great work from the soloist and the orchestra as well. Ravels masterpiece in best hands
I was lucky enough to have heard this live, by the magnificent Utah Symphony. It is absolutely unreal when heard live. You feel the opening strings before you hear them.
Master composition by Ravel. Tells a story of the highness and lowness of a tragedy called war, where Rich and Old send the Young and Poor to fight their wars. . .
One wonders quite seriously whether anyone will ever achieve this level of invention today. I wonder if indeed there was a grand classical era which was uniquely so. The modern world seems removed from the depth of musical creativity and sensitivity of the Ravel and other great composers of that time.
it is amazing how far a composer goes in producing something like this! how does sound translate to anything else? why do we feel so good after a major 7th chord? love the mysteries of music...
@@TheMikkis100 No! For God's sake don't put major 7ths in everything. It's the greatest meme in contemporary music. There are whole works written exclusively in major 7ths. Sure, it sounds pleasing because it contains all good intervals (unless you start dealing with open voicings of flat ninths which are arguably atonal), but once you've heard major 7ths for a few hours, you will want to go out and kill somebody. So don't do that. But since you express such interest, because of the harmonic series, technically all notes contain the major 7th. But then, all notes contain all other chords as well. Just some chords are so far into the harmonic series that they're virtually indiscriminable. The big difference lies then in how "available" these harmonics are, whose adjacent notes are members of the major 7th. You'll quickly realise that, except for the actual "7th" interval, the whole major chord falls within the fifth harmonic of the root note! Thus, from the series, all a major chord is, is the root note with its second and fourth harmonic amplified. Then you start considering that each new note in the chord has its own harmonic series, and so on and so forth. What this means is that as soon as you get to the dyad (root + major third), you have a very audible "major 7th" by the 2nd harmonic of each note. Congratulations. You could stop there, tell the orchestra good job, safe trip home and see you all next time. But nay. Let's (transpose) copy/paste the dyad onto the 2nd harmonic (fifth) and see what happens. Holy hell, at this point we're audibly amplifying each note at least three times. There aren't many stray harmonics, cause the fifth and major third keep turning up again and again, amplifying the octaves of all the other fundamentals. Some might argue that this is merely a loudness problem, same as with radio stations and dynamically retarded modern audio productions, of which there is some merit. It's well established that louder music is associated with greater pleasure (granted that the listener themself finds music pleasing). But that would mean not taking into account phasing or "saturation" that occurs because the major 7th we're used to hearing from a piano isn't the real (just) major 7th whose harmonics fall mathematically perfect onto all other notes within the harmonic cluster of the chord by low number ratios, emanating a lifeless, stable drone. Needless to say, I don't know why major 7ths sound the way they do. There are probably people doing PhD theses on it as we speak. All I know is that it grinds my gears when inexperienced composers go dancing on the major 7ths thinking they've revolutionised music. And all the inexperienced listeners go blasting major 7ths into peoples faces like "check this cute music out so much better than mozart" when it's literally just an FX box with prepackaged major 7ths for the helpless masses. Ok my rant is over. TL;DR: ya'll need Gsus
C'est un vrai plaisir d'écouter ce concerto en suivant la partition ! On mesure mieux à quel point Ravel était un génie. Et dire qu'il a composé le merveilleux concerto en Sol en même temps que celui-ci !
It's solid. But. This is my all time fav. Francois takes such a masculine, vibrant, no bs, approach to all of Ravel's works in a way that no one else does. It's refreshing.
With the background of this commission, the piece makes sense. It conjures up images of military scenes such as soldiers marching, grand parades, and the individual pensiveness and struggle that soldiers go through after the war. The sudden change back to military grandeur at the end is a grand finish I suppose.
Ravel birthed such ingenious rhythms and melodies that come together for the immaculate auditory illusion of making a single hand playing sound like two or even three sometimes.
Pianist Samson François was really UNIQUE when playing this concerto, which he was totally identified with. The piece is heroic, oniric, sinister, nostalgic and dramatic all at the same time. All misical works by Ravel are of outstanding quality, however this is one of his absolute masterworks.
This piece borrows from so much of Ravel's work, perfecting it in my mind. I hear undertones of the Pavane, Miroirs, and Mother Goose. Truly brilliant.
My musicology teacher, Jessie Fillerup just wrote a book called "Magician of Sound: Ravel and the Aesthetics of Illusion" One of the chapters is on this concerto and I'm blown away. For anybody who is at all interested in Ravel, take a look at Dr. Fillerup's book. It's wild.
This shows us what music really is about. So many people, so many bigots against the disabled refused to make this composition. Then Maurice turns up, and sees it as a source of inspiration. And just like that, us disabled people get to play the piano.
You do realize that Ravel is only one of many composers that Wittgenstein turned to for writing him works? Prokoviev, Strauss, Korngold, Hindemith, Britten they all wrote music for him. You shouldn't trust M.A.S.H. or any other screenplay when it comes to portraying historical facts right. Ravel was not the first to accept Wittgenstein's commissions. His concert just happens to be the best of all that were commissioned.
It's got nothing to do with 'the disabled'. It was commissioned by the Austrian pianist Paul Wittgenstein, who lost his right arm during World War I. Ravel don't go round trying to ingratiate himself with a pressure group.
The part that starts at 7:02. The piano goes down while the music goes up, and then they switch, and the music rises as the piano goes down. One of my favorite 20 seconds in music of all time. (The motif is repeated later in the work, but much less romantically.)
Quelle belle idée d'offrir une lecture de partition en simultanée ! Je découvre votre chaine par hasard et je m'abonne ! Merci pour votre travail très original. Et ce concerto je le redécouvre et perçoit d'une autre façon. Quel génie ce Ravel.
Thank you for including the score on this! Having the orchestral reduction was quite helpful, as I'm currently studying this as an orchestral musician for an upcoming performance.
"Bolero’s" partner in crime has arrived, but first it must prove their worth. What follows is a high-class rendition of "anything you can do, I can do better", our one-handed pianist tackling every orchestral challenge that's offered, infirmity be damned. Thankfully the tasks at hand are mercifully brief and at times even condescend to our soloist. Much like "Bolero", the work stays safely in the world of playful ambition, though it is bookended by a genuine tenderness and concern for our underdog. The genius of this small wonder is in how Ravel deploys classical structures and tropes to deepen the narrative. Take the conventional orchestral introduction followed by the soloist’s repeat of the material: the heraldic opening is not just a fanfare meant to convey grandeur, but also a challenge, one that can stir fear or apprehension simply by narrative implication. After all, we know our pianist can respond only with the left hand. Or the cadenza, which acts not just as a showpiece for the soloist, but as the hero’s final word, the moment in which they transcend their handicap and with astonishing grace prove their worth. The pianist passes the test and the orchestra rises up in newfound admiration. In the final phrase it is now the pianist that leads the orchestra; and rather than try to one-up one another, they finish each other’s sentences. lcturnermusic1.wordpress.com/
Yes, Miles Davis wrote in his autography that he and Bill Evens were very Inspired by Ravel's music, especially this piece. He said much of the music on their famous record "Kind of Blue" came out of Ravel's harmonic approach. The piano style of Bill Evens in general, was very influenced by ravel and Debussy.
Thanks heaps for uploading the score! It's still an extraordinary work after decades of being performed and recorded! I was fortunate to see it live with Alicia de Laroccha - never to be forgotten! Further to Ullrich Herz's comment below, there's a wonderful book about the Wittgensteins, "The House of Wittgenstein: A Family at War' by Alexander Waugh - highly recommended if anyone wants more detail about Paul's life, the pieces he commissioned and his relationships with the composers.
The piano entrance (cadenza) is unlike anything I've ever heard in the repertoire. It's one of the few works where I feel like it was etched in my memory from the first hearing.
![Maurice Ravel - Piano Concerto for the left hand [With Orchestral Score]](http://i.ytimg.com/vi/flNyZuI1NrY/mqdefault.jpg)
The most amazing thing about Ravel, to me, is his ability to invent themes (and harmonies woven thereupon) which, while not really straying far from the 'traditional' ways, exude some sort of 'wackiness', in that they do not follow the path you would expect, yet come to convince or even please you. This along with his diversified taste for music genres, is what I think to be a major inspiration to today's composers.
I agree with your point. It’s interesting that quite hardcore modernist figures like Pierre Boulez were happy to conduct Ma Mère l’Oye, say, whilst being ferociously critical of the classical tradition.
I think that at a point in history when that tradition was quite abruptly fractured by the impact of the modern, Ravel somehow managed to bestride the abyss that opened up. Whether modernity was a catastrophe or a revelation, under the pressure of the extreme violence of his time he managed to transform it into some kind of ‘inner quivering’ as Boulez put it. Intensely personal and intimate, but global too. I love many different composers and music of all kinds, but none that I know of have a greater emotional impact.
@@stevef9530Wow, what a great reply. Thanks for that
This is the most 20th century sounding piece I've ever heard. It has the jazz influence, the impressionism, the terror of war, and all the strangeness of this era of music combined
It's dark and at times almost industrial in its might. The extremely majestic opening theme. The romantic and tender melody that withers into the imperious march. Often times, the music is ambiguous in its mood and feelings, perhaps to me, symbolizing the growing complexity and developement of not only the arts, but the entire world at the turn of the 20th century.
overly underrated comment
This Cadenza has to be one of the best passages ever writen in the music story.
but the precisely the cadenza elicited Wittgenstein´s main complaint, "too much cadenza"! He also rejected every other Concerto for the left hand written for him, of Prokofiev´s he said he didn´t understand a single note, and of Strauss´s, "too much orchestra"
@@javierlameiro3539 Typical behaviour from the Wittgensteins
@@javierlameiro3539 Wittgenstein was a snobbish prick who made edits to commissioned works of other composers without their permission. This concerto is a famous example of Wittgenstein having done so, which infuriated Ravel and despite Wittgenstein eventually playing the composition as it was, it soured their relationship. The fact of Wittgenstein having done this to other composers was also why no one accepted his subsequent commissions.
Furthermore, he owned exclusive performance rights to the pieces he commissioned. As a result of this, Paul Hindemith's Op. 29 was not discovered until 39 years after Wittgenstein died as the latter hid it from the public simply because he didn't like it.
All in all, despite having commissioned the piece, Wittgenstein's remarks are worth absolutely nothing. He may have pioneered left-hand-only piano techniques, but he wasn't the one who spent time and effort on the pieces.
@@javierlameiro3539 Sorabji and Corigliano: *Sweats nervously.*
I read that Ravel composed this for a fellow soldier pianist with whom he fought in WWI, who had lost his right arm in combat. That coupled with the absolute genius of this music, I have never had so much admiration for any man living or dead.
Yes, for Paul Wittgenstein (Ludwig's brother).
False, Ravel couldn’t fight in WWI ; and Wittgenstein has been less than friendly with this concerto by cutting parts by himself.
@@averagemusicenjoyer He did many things which you did not, fool.
Lairere Bailorous no one has asked you anything, Wittgenstein has been a moron with Ravel
But apparently, you did not read the description.
12:18 - 14:00 is majestically beautiful..
My God the cadenza is fantastic!
2:10 is one of the greatest piano intros, if not the best!
Sorry. Wich is the best fir you??
I always knew comrade Castro had a good taste in music.
6:30 please
The intro sounds like those japanese villain introductions
@@ofilosofoouumfumante5655 lol what
Again, recordings which are superb and archival in their importance, coupled with what can only be an intense real labor to present With The Scores. Many thanks.
It is an intense labour to make these videos. Thanks for recognising that :)
You might as well hear it from me as well - these videos really are absolutely superb, and I do hope you get some sort of reward for making them. One of the most useful channels on TH-cam for any musician; thanks very much for all your work
I find Ravel's understanding of musical structure to be extraordinary. The conversation between the piano and the orchestra in this piece is a work of genius, especially in the introduction. The orchestra introduces a dark, subdued theme in the very low register, and becomes increasingly manic. The piano soliloquy at first echoes the temperament but gradually becomes more tranquil, soothing the orchestra back to a state of calm. The orchestra then repeats the main theme introduced by the piano. Another effective use of structure by Ravel would be the Bolero, where he substitutes repition in place development. His ability to create scenes and tell stories through music is unparalleled.
ГП: 1 раздел - 0:06; 2 раздел (каденция солиста №1) - 2:10; 3 раздел - 4:39
ПП - 6:12
Эпизод Allegro (разработка) - 8:12
Реприза - 13:04
Кульминация (каденция солиста №2) - 14:05
Кода - 18:05
Did anyone else seek this out after watching the season 8 episode of M.A.S.H.? Beautiful final scene between the wounded pianist and rhe doctor.
Just came here from watching that episode.
That fortissimo d octave around 17:35, it's the little genius things like this that keeps me coming back to Ravel. It feels so special but looking at the piano score it doesn't stand out from the figures that come before it. Ravel has the orchestra subtly rejoin filling in the harmony just enough to sound like additional overtones of the Piano. It's just lovely. (The cadenza and the ending is one of my favorite musical moments in general).
Soldier friend: Loses right hand in WWI
Ravel: composes concerto for just the left hand
Because that's what hero's do
Soldier friend: doesn’t like the concerto and plays all wrong notes :/
Wittgenstein actually lost his entire arm.
He was sponsored
@@peabrane8067 This masterpiece is sponsored by Wittgenstein! Find out how to destroy your reputation multiple times!
Also Ravel: makes it too hard for him to play
Ravel takes a "disability" to a new and wonderful level..!!
Real body positive.
After years of listening to this piece, the cadenza has finally brought me to tears.
God that sonority at 10:52 just gives me chills... That lydian melody in the upper register of the piano atop the quartal/quintal voicings in the strings. Ravel was not of this earth....
Has a similar rhythm to Prokofiev Sonata 7, but more French and less warlike
Speaking of lydian (and therefore modes) do you know of any pieces you could recommend in the elusive hypomixolydian mode? I ran across it about fifteen years ago but can’t find anything apart from a few scales and the allegation that examples include the theme to Star Trek: TNG and “Sweet Home Alabama”-not exactly much on which to hang an understanding of the mode.
Very first time I heard this concerto I thought this sounds really difficult (assuming it was two hands). Imagine my shock when the announcer said "...Ravel's concerto for one hand"! I've battled through this and it is tough. Apart from covering huge spans, the sound control and balance is really tough...and on top of that, one has to make it sound musical and poetic. Samson Francois plays wonderfully.
Same thing i thought when listening; apart from the technical difficulties, making the piano sound fluttery or bashing at the pianist’s will poses a much bigger difficulty.
It's kind of like LiL PP energy. When you know ur small so you overcompensate.
@@thekeyoflifepiano lmao what? This was written for a friend who lost his right arm in WW1
I heard this in concert when I was still quite young in the 1950s. I have always been enthralled by it, but seeing the notes as it is being played gave me a completely new access to this astonishing work. How fascinating it really is, and what a challenge to a pianist! Thanks to everyone who made this possible.
As awesome as the piano part is, I never cease to be awestruck by Ravel's masterful orchestration, especially from 1:32 until the piano's entrance. Just indescribably magnificent!
Love the Cadenza in this concerto. Sounds like Ondine from Gaspard. Love the Bassoon and oboe in this work too.
J'ai cliqué sur tant de vidéos liées, à travers tant de paysages insolites, incroyables et étranges. Je me sens comme dans un compartiment sur un chemin de fer, à admirer une succession de scènes folles jamais vues auparavant, des musiques importantes et étranges à travers la fenêtre du wagon.. il y a tant de choses à explorer, tellement d'endroits où se poser puis rester dans les ambiances proposées. Cet arrêt en particulier est brillant 💥
10:00 is soooo beautiful like jesus christ i dont think i'll able to hear a better thing than that wow
CML PoP it reminds me Ravels arr. of one part of Mussorgsky s Pictures of exhibition
12:32 right here sounds pretty similar
YES.
Le Tombeau de Couperin, prelude
by Ravel!
Symphony no.2, 3rd movement - Scriabin
Beautiful melody. Btw why does it remind me of Petrushka or some folk Russian motive
THIS masterpiece never fails to elicit the indescribable emotions in the deepest recesses of my soul. I will always remain in awe of it's majesty and it's forceful affirmation of the Human Spirit. ♥♥♥
Masterful composition. I can almost just make out the scene of war. I tingle every time i hear that orchestral intro. . . Very introspective
Francois is such a beloved French artist... Absolutely flawless
This is a worthy YT channel, thank you!
+Barbapippo You're welcome!
imagine how badass it’d be if ravel and Wittgenstein were on bad terms, and ravel decided to write a concerto completely for the right hand and dedicate it to Wittgenstein, or if he wrote this entire concerto and then added a single note at the end that required the right hand
Now that's something to imagine!
He might use his nose for that single note
@@harukaeruch.295 as he should
nico constantino, Ravel composed this concerto for the brother of Wittgenstein , the philosopher . not for the same philosopher. Ravel and Wittgenstein were friends, i presume.
@@antoniomartiradonna9498 They were not friends. They may have been friendly at one point, but Ravel became very aggressively offensive when hearing Wittgenstein rehearsing this very work, adding improvisations and changes that Ravel angrily forbade. "Performers are slaves," Ravel said to Wittgenstein. The disagreements between Ravel and Wittgenstein got quite hot, in front of many witnesses, which always makes the feelings one gets over angry arguments even worse. Ravel even told Wittgenstein bluntly that he was a bad pianist all along, and that losing his arm hadn't made him any better. Friends? If they ever were, it didn't last long!
From an entire orchestra of sound to one left hand....that's insane!
Logan tipaza I can do the same. Just click the "play" button with my left thumb XD
この協奏曲をこんなにも華麗に美しく魂に訴えられるかのように演奏してくれるのはフランソワしか聞いたことがありません。テンポも多分ラヴェルが気に入ってくれていると思います。表現力のすばらしさは他に類をみません。しかもフランソワはレコード録音の際も取り直しなど一切なく、演奏会のように一発取りと聞いています。とても素晴らしいですね
I suppose struggles between composer and soloist are nothing new. But it's difficult to imagine what Wittgenstein objected to in this magnificent concerto. Grateful thanks for posting, olla-vogala.
+Mari Christian The truth is that Wittgenstein was a mediocre pianist. He totally rejected Hindimith's concerto, which gathered dust for decades, as it was beyond his limited abilities.
+Harry Andruschak He only had one hand, what did you expect. I wouldn't exactly call him mediocre, though his abilities were limited.
+Chinyere Obasi "With both hands he would not have stood out from a crowd of mediocre pianists." said Prokofiev
Michael Varell And somehow Prokofiev's word is law? I admit, the only reason he got famous was because he could play with only one hand, but that doesn't diminish the fact that most of us couldn't do it.
+Chinyere Obasi I wrote that quote because Prokofiev and indeed Ravel (who wasn't so fond of Wittgenstein himself) are examples of people who knew Wittgenstein and actually heard him play. From what I have heard here online, I don't really agree.
The effort you put into these videos, hours and hours of work... I can not thank you enough.
6:01 The piano writing in the Più lento is amazing
10:00 The orchestration
Mister Olla-Vogala, thank you for including extensive notes on the Piano Concerto. Aside from placing the music in its historical context, the notes give us a greater appreciation of the compositional and performance (Wittgenstein's disability) achievements. I also much like the descriptive analysis of the Concerto and the sheet music. Merci!
Just a really brilliant concerto. So beautiful in so many sections! Ravel was a most definite genius composer!
Une des plus belles réalisations musicales de la main de l'homme... Merci. ❤
When I listen to this masterpiece, I have the feeling of making a journey to France, Spain, Egypt and China in the same day...
And it feels awesome !
Ma version préférée !
Samson François était un coloriste de génie 🙏
Absolument! I was in my early teens when I first heard Samson François' recording on vynil (early 60's) and listened again and again. The other side was the Concerto in G, which was also wonderful, but the Concerto for the Left Hand was spellbinding. One problem, however, with tying oneself to a single interpretation is that nothing else quite satisfies...
10:53 is so magical.
I believe this is the best performance I have ever heard of this magnificent work.
Recently, as a master's of music composition candidate at GSU, I discovered this piece as a historical artifact and a novel composition. But today, the reality of the love, research, and sacrifice that Ravel demonstrated in creating this work commissioned by the concert pianist, Paul Wittgenstein who lost his right arm during WWI, is remarkable, and quite difficult to play with one hand.
You can't help but smile the whole time while listening to this. I can't believe anyone could have less than a glowing reaction to Ravel. A simply magical composer, and a great recording of this piece. Thank you for uploading!
this cadenza is crazy！！！
My thanks as I am much older don;t get to the library much and to have the scores with the music is a blessing. Peace.
This is a masterpiece. A stunning and deeply emotional work.
The first interpretation in which the habanera rhythm in the opening cadence is really present.
Great work from the soloist and the orchestra as well.
Ravels masterpiece in best hands
hand*
I was lucky enough to have heard this live, by the magnificent Utah Symphony. It is absolutely unreal when heard live. You feel the opening strings before you hear them.
4:40 one of the most beautiful passagens in classical music imo (this concerto has the prettiest themes i ever seen)
Love this piece with all my heart!
Master composition by Ravel. Tells a story of the highness and lowness of a tragedy called war, where Rich and Old send the Young and Poor to fight their wars. . .
2:13 to 2:22 Mmmm parallel fifths galore
(Although there are some fourths thrown in there too, for good measure - and to keep it in pentatonic)
My harmony teacher is quacking😂
@@catherineb.7461 If only I had a duck as a teacher.
So astoundingly beautiful; an absolute masterpiece from Ravel!
One wonders quite seriously whether anyone will ever achieve this level of invention today. I wonder if indeed there was a grand classical era which was uniquely so. The modern world seems removed from the depth of musical creativity and sensitivity of the Ravel and other great composers of that time.
it is amazing how far a composer goes in producing something like this! how does sound translate to anything else? why do we feel so good after a major 7th chord? love the mysteries of music...
charles koder I like to think that maybe god made us that way
That's exactly what i'm always wondering when i listen to music. Amazing indeed
I've always been wondering how perfect a major 7th chord is. All music should have them!
@@TheMikkis100 No! For God's sake don't put major 7ths in everything. It's the greatest meme in contemporary music. There are whole works written exclusively in major 7ths. Sure, it sounds pleasing because it contains all good intervals (unless you start dealing with open voicings of flat ninths which are arguably atonal), but once you've heard major 7ths for a few hours, you will want to go out and kill somebody. So don't do that.
But since you express such interest, because of the harmonic series, technically all notes contain the major 7th. But then, all notes contain all other chords as well. Just some chords are so far into the harmonic series that they're virtually indiscriminable. The big difference lies then in how "available" these harmonics are, whose adjacent notes are members of the major 7th. You'll quickly realise that, except for the actual "7th" interval, the whole major chord falls within the fifth harmonic of the root note! Thus, from the series, all a major chord is, is the root note with its second and fourth harmonic amplified.
Then you start considering that each new note in the chord has its own harmonic series, and so on and so forth. What this means is that as soon as you get to the dyad (root + major third), you have a very audible "major 7th" by the 2nd harmonic of each note. Congratulations. You could stop there, tell the orchestra good job, safe trip home and see you all next time. But nay. Let's (transpose) copy/paste the dyad onto the 2nd harmonic (fifth) and see what happens. Holy hell, at this point we're audibly amplifying each note at least three times. There aren't many stray harmonics, cause the fifth and major third keep turning up again and again, amplifying the octaves of all the other fundamentals.
Some might argue that this is merely a loudness problem, same as with radio stations and dynamically retarded modern audio productions, of which there is some merit. It's well established that louder music is associated with greater pleasure (granted that the listener themself finds music pleasing). But that would mean not taking into account phasing or "saturation" that occurs because the major 7th we're used to hearing from a piano isn't the real (just) major 7th whose harmonics fall mathematically perfect onto all other notes within the harmonic cluster of the chord by low number ratios, emanating a lifeless, stable drone.
Needless to say, I don't know why major 7ths sound the way they do. There are probably people doing PhD theses on it as we speak. All I know is that it grinds my gears when inexperienced composers go dancing on the major 7ths thinking they've revolutionised music. And all the inexperienced listeners go blasting major 7ths into peoples faces like "check this cute music out so much better than mozart" when it's literally just an FX box with prepackaged major 7ths for the helpless masses.
Ok my rant is over. TL;DR: ya'll need Gsus
@@___xyz___ You should probably spend your time on something else
C'est un vrai plaisir d'écouter ce concerto en suivant la partition ! On mesure mieux à quel point Ravel était un génie. Et dire qu'il a composé le merveilleux concerto en Sol en même temps que celui-ci !
I like M.A.H's rendition of this. it is so blended with the orchestra! this piece is one of my favorites
It's solid. But. This is my all time fav. Francois takes such a masculine, vibrant, no bs, approach to all of Ravel's works in a way that no one else does. It's refreshing.
With the background of this commission, the piece makes sense. It conjures up images of military scenes such as soldiers marching, grand parades, and the individual pensiveness and struggle that soldiers go through after the war. The sudden change back to military grandeur at the end is a grand finish I suppose.
Ravel birthed such ingenious rhythms and melodies that come together for the immaculate auditory illusion of making a single hand playing sound like two or even three sometimes.
Incredible Ravel with this masterpiece- sends chills as does all his works- thank God for music those before and after
Pianist Samson François was really UNIQUE when playing this concerto, which he was totally identified with. The piece is heroic, oniric, sinister, nostalgic and dramatic all at the same time. All misical works by Ravel are of outstanding quality, however this is one of his absolute masterworks.
Probably one of the best recordings!!!
I really want to thank you olla-vogala, for all your videos :) really a beautiful experience!
Thank you! One of Ravel’s greatest pieces. Superbly performed!
5:20 reminds me of the g major concerto
Liugio h it does sounds like towards the end of the first movement in G Major. Ravel wrote how concertos simultaneously!
I think bolero
Me too
This piece borrows from so much of Ravel's work, perfecting it in my mind. I hear undertones of the Pavane, Miroirs, and Mother Goose. Truly brilliant.
@@guyno_one293 And Rite of Spring by Stravinsky!
The printed notes are as beautiful as the music itself. Bravo to Samson François for his magnificent performance. Thank you.
I can't play a note on any instrument and I love music and I know great music when I hear it............and this is great music!
My musicology teacher, Jessie Fillerup just wrote a book called "Magician of Sound: Ravel and the Aesthetics of Illusion" One of the chapters is on this concerto and I'm blown away. For anybody who is at all interested in Ravel, take a look at Dr. Fillerup's book. It's wild.
This shows us what music really is about.
So many people, so many bigots against the disabled refused to make this composition. Then Maurice turns up, and sees it as a source of inspiration.
And just like that, us disabled people get to play the piano.
You do realize that Ravel is only one of many composers that Wittgenstein turned to for writing him works? Prokoviev, Strauss, Korngold, Hindemith, Britten they all wrote music for him.
You shouldn't trust M.A.S.H. or any other screenplay when it comes to portraying historical facts right. Ravel was not the first to accept Wittgenstein's commissions. His concert just happens to be the best of all that were commissioned.
It's got nothing to do with 'the disabled'. It was commissioned by the Austrian pianist Paul Wittgenstein, who lost his right arm during World War I. Ravel don't go round trying to ingratiate himself with a pressure group.
Alkan wrote great left-hand music long before Ravel.
So cool to see this up in TH-cam!
Wow this piece is gold
What a superb introduction!
If you play this piece from 8:13 to 9:56 at *1.25 speed it's sounds like jazz.
Thanks to your comment, I can't unhear now some similarities between that part and theme from the pink panther :D
The cadenza is really beautiful. Haunting and ethereal and then growing more agitated.
I saw this performed recently in Manchester, UK. Incredible to watch it played with one hand!
+5Cheery7 Yes I saw it once too, a great piece to see in a live performance!
Just heard this work inspired miles Davis’ kind of blue. You can really hear parts of it in this. Wow.
Amazing execution- this piece bleeds with style and emotion
The part that starts at 7:02. The piano goes down while the music goes up, and then they switch, and the music rises as the piano goes down. One of my favorite 20 seconds in music of all time. (The motif is repeated later in the work, but much less romantically.)
Lovely performance. Nice clarity. Enjoyed.
Fav piece of music ever.
Very good performance.
Quelle belle idée d'offrir une lecture de partition en simultanée ! Je découvre votre chaine par hasard et je m'abonne ! Merci pour votre travail très original. Et ce concerto je le redécouvre et perçoit d'une autre façon. Quel génie ce Ravel.
Un concierto, sencillamente, propio de un genio.
This music goes from dark and menacing, to peaceful, full on marching to war and finally drama.
8:14
8:54
Great performance ! Thank you for posting !
Thanks for going to the effort of producing these vids, especially the extensive descriptions at the bottom of your videos. Your channel is excellent.
Another favorite of mine. Love your channel.
About time! ;)
Great video as always -- hope to see more soon!
Thank you for including the score on this! Having the orchestral reduction was quite helpful, as I'm currently studying this as an orchestral musician for an upcoming performance.
Amazingly beautiful concerto. Bravissimo!
"Bolero’s" partner in crime has arrived, but first it must prove their worth. What follows is a high-class rendition of "anything you can do, I can do better", our one-handed pianist tackling every orchestral challenge that's offered, infirmity be damned.
Thankfully the tasks at hand are mercifully brief and at times even condescend to our soloist. Much like "Bolero", the work stays safely in the world of playful ambition, though it is bookended by a genuine tenderness and concern for our underdog.
The genius of this small wonder is in how Ravel deploys classical structures and tropes to deepen the narrative. Take the conventional orchestral introduction followed by the soloist’s repeat of the material: the heraldic opening is not just a fanfare meant to convey grandeur, but also a challenge, one that can stir fear or apprehension simply by narrative implication. After all, we know our pianist can respond only with the left hand.
Or the cadenza, which acts not just as a showpiece for the soloist, but as the hero’s final word, the moment in which they transcend their handicap and with astonishing grace prove their worth. The pianist passes the test and the orchestra rises up in newfound admiration. In the final phrase it is now the pianist that leads the orchestra; and rather than try to one-up one another, they finish each other’s sentences.
lcturnermusic1.wordpress.com/
4:43 I KEEP REPLAYING THR ORCHESTRA HERE ITS SO GOOD
Fantasia on Themes from "Into the Woods," as I once heard a conductor call it.
For ever in my heart 🍃🔆🍃
I LOVE this concerto.
simply fantasic!
Wonderful!!
The best version - at least to my soul. A delight to follow on the score. Thanks!
A magnificent concerto and a magnificent performance ❤
One of the greatest pieces of music of the 20th c. A masterpiece!
Yes, Miles Davis wrote in his autography that he and Bill Evens were very Inspired by Ravel's music, especially this piece. He said much of the music on their famous record "Kind of Blue" came out of Ravel's harmonic approach. The piano style of Bill Evens in general, was very influenced by ravel and Debussy.
This was in MASH
Jon Long this is what brought me here, and has rekindled my love for such music, which has long been stowed away.
Yes; it was a very moving story.
Thanks heaps for uploading the score! It's still an extraordinary work after decades of being performed and recorded! I was fortunate to see it live with Alicia de Laroccha - never to be forgotten! Further to Ullrich Herz's comment below, there's a wonderful book about the Wittgensteins, "The House of Wittgenstein: A Family at War' by Alexander Waugh - highly recommended if anyone wants more detail about Paul's life, the pieces he commissioned and his relationships with the composers.
Its amazing
The piano entrance (cadenza) is unlike anything I've ever heard in the repertoire. It's one of the few works where I feel like it was etched in my memory from the first hearing.