Ravel Tzigane Imslp
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Ravel tzigane imslp Continue Joseph Maurice Ravel ʒozɛf mɔʁis ʁavɛl is a French composer, pianist and conductor. He is often associated with Impressionism with his elder contemporary Claude Debussy, although both composers rejected the term. In the 1920s and 1930s, Ravel was considered France's greatest living composer. Born into a musical-loving family, Ravel studied at the Royal College of Music of France, the Paris Conservatory; he was not well regarded by his conservative establishment, whose bias against him caused a scandal. After leaving the conservatory, Ravel found his own way as a composer, developing a style of great clarity that included elements of baroque, neoclassicism and, in his later works, jazz. He liked to experiment with the musical form, as in his most famous work, Bolero (1928), in which repetition takes the place of development. He made several orchestral arrangements of music by other composers, of which his version of Mussorgsky's 1922 paintings on the exhibition is the most famous. As a slow and painstaking worker, Ravel composed fewer works than many of his contemporaries. His works included piano pieces, chamber music, two piano concerts, ballet music, two operas (each less than an hour) and eight song cycles; he wrote no symphonies and only one religious work (Kaddish). Many of his works exist in two versions: first the piano score and then the orchestration. Some of his piano music, such as Gaspar de la Nuit (1908), are exceptionally difficult to play, and his intricate orchestral works such as Daphnis and Chloe (1912) require a skilful balance in performance. Ravel was one of the first composers to recognize the potential of recording to bring his music to the general public. Since the 1920s, despite his limited technique as a pianist or conductor, he has been involved in recording several of his works; others were made under his supervision. Early in his life and career, Ravel was born in the Basque city of Sibur, France, near Biarritz, 18 kilometers from the Spanish border. His father, Pierre-Josef Ravel, was an educated and successful engineer, inventor and manufacturer, born in Versoix near the Franco-Swiss border. (n 1) His mother, Marie, who is at Deloart, was Basque. In the 19th century Joseph married below his status - Marie was illegitimate and barely literate - but the marriage was happy. Some of Joseph's inventions were successful, including an early internal combustion engine and the notorious circus car, Whirlwind of Death, a car loop loop that was a big draw before the deadly accident at Barnum and the Bailey Circus in 1903. Both of Ravel's parents were Catholics; Marie was also a sort of free thinker, a trait inherited by her eldest son, who was politically and socially socially worldview in adulthood. He was baptized in the parish church of Sibur six days after his birth. The family moved to Paris three months later, and there was a younger son, Edouard. (He was close to his father, whom he eventually followed in the engineering profession.) Maurice was particularly devoted to his mother; its Basque heritage greatly influenced his life and music. Among his earliest memories were folk songs she sang to him. The family was not rich, but the family was comfortable and the two boys had a happy childhood. Ravel Sr. gladly took his sons to factories to see the latest mechanical devices, but he was also very interested in music and culture in general. In later life, Ravel recalled, Throughout my childhood I was sensitive to music. My father, much better educated in this art than most amateurs, knew how to develop his taste and stimulate my enthusiasm at an early age. There is no record of Ravel receiving any formal general education in the early years of his life; his biographer Roger Nichols suggests that the boy may have been mostly educated by his father, although free compulsory secular education became law in 1882. When he was seven years old, Ravel began piano lessons with Henry Guillaume, a friend of Emmanuel Chabrier; five years later, in 1887, he began to study harmony, counterpoint and composition with Charles-Rene, a disciple of Leo Delibes. Not being a prodigy, he was a very musical boy. Charles-Rene discovered that the concept of Ravel's music was natural to him, rather than, as in many others, the result of effort. Ravel's earliest known compositions date back to this period: variations on Schumann's chorale, variations on the Grieg theme and one movement of the piano sonata. They survive only in fragmented form. In 1888, Ravel met the young pianist Ricardo Vines, who became not only a lifelong friend, but also one of the main interpreters of his works, and an important link between Ravel and Spanish music. They praised Wagner, Russian music and the works of Po, Baudelaire and Mallarme. At the exhibition The Universe in Paris in 1889, Ravel was very impressed with the new Russian works of Nikolai Roman-Korsakov. This music had a lasting influence on both Ravel and his older contemporary Claude Debussy, as well as the exotic sound of the Javanese gamer, also heard during the exhibition. Emile Decombe took the place of Ravel's piano teacher in 1889; in the same year, Ravel made his earliest public appearance. At the age of fourteen, he took part in a concert at Salle Gerard along with other Decombes students including Reynaldo Khan and Alfred Corto. Paris Conservatory with the support of parents, Ravel applied to join the most important musical in France Paris Conservatoire. In November 1889, playing Chopin's music, he passed the exam for admission to the preparatory piano class under Eugene Angiome. Ravel won the first prize at the conservatory's piano competition in 1891, but otherwise he does not stand out as a student. However, these years were a time of significant progress in his development as a composer. Musicologist Arbi Orenstein writes that for Ravel the 1890s was a period of huge growth... from adolescence to adulthood. In 1891, Ravel moved into the classes of Charles-Wilfried de Berio, for piano, and Emile Pessar, for harmony. He made solid, unimpressive progress, with special support from Beriot, but, according to music scientist Barbara L. Kelly, he was trained only on his own terms. His later teacher Gabriel Faure understood this, but it was unacceptable for the conservative faculty of the conservatory of the 1890s. (n 2) His early works to survive in full from these student days: Serade grotesque, for piano, and Ballad de la Reine morte d'aimer n 3 , melodies of the installation poem by Roland de Maris (both 1893). Ravel has never been such a plodding piano student as his colleagues such as Vines and Corto. (n 4) It was clear that as a pianist he would never match them, and his main ambition was to be a composer. From that moment on, he focused on composition. His works from that period include the songs Un Grand Sommeil noir and D'Anne jouant de l'espinette by Paul Verlaine and Clement Maro, as well as piano pieces menuet antique and Habanera (for four hands), the latter eventually included in the Rapsodie espagnole. Around the same time, Joseph Ravel introduced his son to Eric Satie, who made a living as a cafe pianist. Ravel was one of the first musicians - Debussy was another - who recognized the originality and talent of Satie. Sati's constant experiments in musical form inspired Ravel, who considered them an invaluable value. In 1897, Ravel was re-admitted to the conservatory, studying composition with Faure and taking private lessons at counterpoint with Andre Gedalge. Both teachers, especially Faure, praised him and had a key influence on his development as a composer. As the course progressed, Ravel Faure reported a clear maturity... attracting the wealth of imagination. Nevertheless, Ravel's position in the conservatory was undermined by the hostility of director Theodore Dubois, who expressed regret over the young man's musical and politically progressive worldview. Consequently, according to fellow student Michel-Dimitri Calvokorssi, he was a notable man against whom all guns were He wrote several significant works while studying with Faure, including Schuherazade's overture and violin sonata, but he did not win any prizes and was therefore banished again in 1900. As a former student, he was allowed to attend Faure's classes as an unapproved auditor until the conservatory was finally abandoned in 1903. In 1899, Ravel composed his first play, which became widely known, although initially it had little impact: Pavane pour une infante d'funte (Pavane for the Dead Princess). Originally it was a solo piano work commissioned by Princess de Polignac. In the same year, he conducted the first performance of Schucherade's overture, which had a mixed reception, with boos, mingling with applause from the audience, and unflattering reviews from critics. Henri Gette-Villars (Willie) described the play as a shock debut: the clumsy plagiarism of the Russian school and called Ravel a mediocre debutant ... who might become something, if not someone in about ten years if he worked hard. Another critic, Pierre Lalo, believed that Ravel had shown talent but was too indebted to Debussy and should imitate Beethoven instead. Over the following decades, Lalo became Ravel's most implacable critic. From the very beginning of his career, Ravel seemed quietly indifferent to guilt or praise. Those who knew him well believed that it was not a pose, but a completely authentic one. The only opinion about his music, which he really appreciated, was his own, perfectionist and highly self-critical.