Maurice Ravel:a-moll Szonáta hegedűre és gordonkára 1.Allegro 00:00 2.Molto vivace 05:02 3.Lento 08:14 4.Vivace, con entusiasmo 13:24 Julia Fischer-hegedű Daniel Müller-Schott-gordonka
tTHis is probably one of the most difficult pieces of Ravel to assimilate; The disonant character which could be found in such piece as Miroirs for piano is concentrated into two contrapunctic lines and systematized. The link to tonality is often tiny, the counterpoint is dissonant almost all along the piece. And neverthele,, Ravel succeeds in building a score with a great internal coherence.
I have listened to this work once again and realized (by an exceptional effort of concentration) the great unity of the work, whose entire thematic material derives, when paying close attention, the theme exposed in ostinato at the beginning. Ravel said that this song was stripped to the bone, but its intense coherence is disguised by the composer's sense of color and his potentially infinite ability to extract varied material from a small thematic core. They have said that in Ravel sensualism and sonorous coloring obscure an obsession with formal concerns that can be overlooked precisely for the excellence of these qualities. In part this is related to a certain artisanal coldness and it seems to me that perhaps it is possible to explain the illness that struck the composer as an ominous consequence of his artistic personality.
From what I could understand it is a dementia disease, which in the end may well have been Alzheimer's disease. It is true that there are conflicting histories about the origin of the disease (a traffic accident is sometimes mentioned), but it seems to me that in Ravel there is some connection between the aesthetics of the formal mask and diseases of that kind. This is not very easy to explain, in any case, an artist from another area who could have been affected by the same problems had he survived enough would be Fernando Pessoa. For Ravel's case, I think it is important evidence of people's accounts of how he behaved socially, his "impersonality," and how this characteristic, in my reading, manifests itself very clearly in his music. But of course, I do not preach that this is more than mere speculation.
Ce n’est pas par le thème, c’est par le style et l’atmosphère de cette œuvre du peintre symboliste Odilon Redon que j’ai pensé qu’elle serait considérée comme une image adéquate pour cette chanson, qui appartient à la même préciosité parisienne belle époque.
Et Ravel n’était pas athée, il avait, comme Debussy et Barton, un sentiment profond de la Nature, certes non confessionnelle, mais ouverte sur l’Infini. Le pastel de Redon ne me gêne absolument pas, et la chasse au christianisme a fait son temps, sans rien apporter à cette musique tendue et polyphonique. Mystique.
Un oeuvre qui est si adorablement tranquille....De telles oeuvres donnent un sense profond a ma vie quotidienne...
Maurice Ravel:a-moll Szonáta hegedűre és gordonkára
1.Allegro 00:00
2.Molto vivace 05:02
3.Lento 08:14
4.Vivace, con entusiasmo 13:24
Julia Fischer-hegedű
Daniel Müller-Schott-gordonka
What a marvellous music !
tTHis is probably one of the most difficult pieces of Ravel to assimilate; The disonant character which could be found in such piece as Miroirs for piano is concentrated into two contrapunctic lines and systematized. The link to tonality is often tiny, the counterpoint is dissonant almost all along the piece. And neverthele,, Ravel succeeds in building a score with a great internal coherence.
I have listened to this work once again and realized (by an exceptional effort of concentration) the great unity of the work, whose entire thematic material derives, when paying close attention, the theme exposed in ostinato at the beginning. Ravel said that this song was stripped to the bone, but its intense coherence is disguised by the composer's sense of color and his potentially infinite ability to extract varied material from a small thematic core. They have said that in Ravel sensualism and sonorous coloring obscure an obsession with formal concerns that can be overlooked precisely for the excellence of these qualities. In part this is related to a certain artisanal coldness and it seems to me that perhaps it is possible to explain the illness that struck the composer as an ominous consequence of his artistic personality.
I fully agree with you, except perhaps for the explanation of the illness of the composer. We do not know exactly, in fact.
From what I could understand it is a dementia disease, which in the end may well have been Alzheimer's disease. It is true that there are conflicting histories about the origin of the disease (a traffic accident is sometimes mentioned), but it seems to me that in Ravel there is some connection between the aesthetics of the formal mask and diseases of that kind. This is not very easy to explain, in any case, an artist from another area who could have been affected by the same problems had he survived enough would be Fernando Pessoa. For Ravel's case, I think it is important evidence of people's accounts of how he behaved socially, his "impersonality," and how this characteristic, in my reading, manifests itself very clearly in his music. But of course, I do not preach that this is more than mere speculation.
Pourquoi cette image du christ ?
Ravel était athée !!!
Ce n’est pas par le thème, c’est par le style et l’atmosphère de cette œuvre du peintre symboliste Odilon Redon que j’ai pensé qu’elle serait considérée comme une image adéquate pour cette chanson, qui appartient à la même préciosité parisienne belle époque.
Et Ravel n’était pas athée, il avait, comme Debussy et Barton, un sentiment profond de la Nature, certes non confessionnelle, mais ouverte sur l’Infini. Le pastel de Redon ne me gêne absolument pas, et la chasse au christianisme a fait son temps, sans rien apporter à cette musique tendue et polyphonique. Mystique.