572032 Bk Penderecki

Total Page:16

File Type:pdf, Size:1020Kb

572032 Bk Penderecki 572887 bk Ravel US_572887 bk Ravel US 03/05/2012 12:43 Page 5 Maurice Ravel (1875-1937) Habanera et Feria. La Habenera avait d'abord été écrite Société. L’Ouverture est un patchwork bigarré, preuve Œuvres musicales • 1 en 1895 pour deux pianos. Avec Entre cloches, composé des talents précoces de Ravel orchestrateur et de sa deux ans plus tard, elle constitue les Sites auriculaires, maîtrise inventive des ressources instrumentales. Du Maurice Ravel naquit en 1875 dans le petit village côtier Ravel acheva son recueil de pièces pour piano, créés de façon imparfaite en 1898 par Ricardo Viñes et point de vue mélodique, l’ouvrage évoque les origines de Ciboure, au Pays Basque français. Son père, qui Miroirs, en 1905, dédiant chacune d’elles à l’un des Marthe Dron sur un instrument nouvellement conçu, un perses de la source littéraire et les préoccupations venait du Jura, était ingénieur, et sa mère était basque, « Apaches », comme s’étaient baptisés le compositeur et piano à deux claviers, lors d’un concert de la Société orientales de l’époque. Lors de sa création, l’Ouverture ne RAVEL originaire de Ciboure. Maurice Ravel passa la majeure son cercle d’amis, marquant ainsi leur position nationale de musique, ce qui avait suscité la fut pas bien reçue par la critique. partie de son enfance et de son adolescence à Paris, où iconoclaste par rapport aux traditions artistiques établies. désapprobation des esprits conservateurs. Debussy se Le Menuet antique pour piano fut écrit en 1895 et sa famille s’était fixée peu après sa naissance. Il La quatrième pièce, Alborada del gracioso (Aubade du montra intéressé par la habanera et en emprunta la créé en 1898 par l’ami de Ravel Ricardo Viñes. Ravel commença le piano à sept ans, et à partir de quatorze bouffon), dédiée à Michel-Dimitri Calvocoressi, critique et partition, et de nombreuses personnes pensent que ce orchestra le morceau en 1929 et cette nouvelle version fut ans, il étudia cet instrument dans la classe préparatoire musicologue d’origine grecque né et élevé en France, morceau est à l’origine de la Soirée dans Grenade créée l’année suivante par l’Orchestre Lamoureux. Le du Conservatoire. En 1891, il devint l’élève de Charles de présente une vision éclatante de l’Espagne. Son titre est composée par Debussy quelques années plus tard. La Menuet antique se réfère à un autre thème très en vogue Bériot, mais au cours des années suivantes, il ne parvint difficile à traduire avec exactitude, mais fait référence à Rapsodie espagnole fut la première grande œuvre à l’époque, l’univers de Watteau, lié à une période Orchestral pas à décrocher les prix d’harmonie. Enfin, en 1895, il un personnage type du théâtre espagnol, le gracioso, orchestrale de Ravel, illustration de son originalité et de antérieure de l’histoire et de la culture françaises. Le quitta le Conservatoire, sans avoir obtenu tous les prix domestique ou écuyer qui commente souvent de manière ses dons d’orchestrateur. La musique démarre dans la langage musical employé par Ravel dans son approche nécessaires pour se diplômer, mais il y reprit des études satyrique les faits et gestes de ses maîtres. En 1918, quiétude nocturne, avec son motif de quatre notes de cette ancienne danse, avec le Trio qui lui apporte son trois ans plus tard sous la houlette de Gabriel Fauré. Ravel orchestra le morceau pour Diaghilev, qui l’utilisa descendant, que l’on entend à nouveau dans les second contraste, est typique du compositeur. Works • 1 Même lorsqu’il était déjà un compositeur bien établi, et en dans son ballet espagnol Les jardins d’Aranjuez, avec des et quatrième mouvements, passe par deux danses Le Boléro, que Ravel décrivait lui-même comme un dépit de tentatives répétées, il ne parvint pas à remporter pages qui comprenaient la Pavane de Fauré et espagnoles caractéristiques et se conclut sur les « crescendo orchestral », fut écrit en 1928, suite à une le prestigieux Prix de Rome, et sa disqualification après l’orchestration tirée par Ravel du Menuet pompeux de célébrations d’une « fiesta » espagnole. commande de Ida Rubinstein pour sa troupe de ballet. un cinquième essai en 1905 provoqua un scandale et des Chabrier. Le ballet, donné à San Sebastian et lors de la L’intérêt de Ravel pour l’Espagne et sa musique, Les décors et les costumes étaient d’Alexandre Benois, la bouleversements au sein du Conservatoire, dont Fauré saison 1919 des Ballets russes à Londres, était reflété dans sa Rapsodie espagnole et dans l’opéra chorégraphie de Bronislava Nijinska, et il était dansé par Rapsodie espagnole devint le directeur. chorégraphié par Léonide Massine, et sa trame s’inspirait L’heure espagnole, auquel il travaillait à cette époque, Ida Rubinstein, avec Anatole Vitzak. Dans une taverne Jusqu’en 1914, le parcours de Ravel continua d’être du tableau Les ménines (qui est aussi le titre original du était évident dès mars 1907 dans sa Vocalise-étude en espagnole, une danseuse commence timidement à jalonné de succès, avec une série d’œuvres originales, y ballet) de Velázquez. Les décors et les costumes étaient forme de Habanera, contribution à la collection de essayer ses pas sur une grande table, et à mesure qu’elle Pavane pour une compris d’importantes contributions au répertoire de signés José-Maria Sert. Très réussie, l’orchestration vocalises modernes en dix volumes compilée par le prend de l’assurance, les buveurs des tables voisines piano et au corpus de la mélodie française, et des transforme la pièce pour piano originale, avec une professeur de chant du Conservatoire A. L. Hettich avec l’environnent, se joignant à elle avec un enthousiasme qui commandes pour le ballet. Pendant la guerre, il fut utilisation enjouée et caractéristique des percussions la participation de nombreux compositeurs contemporains. va croissant. La musique s’appuie sur un seul thème, en infante défunte engagé volontaire, servant sous les drapeaux comme dans la danse, et des suggestions plus sombres dans le La Vocalise originale a été adaptée pour différents deux parties, et le rythme soutenu de la caisse claire, sur mécanicien à partir de 1915, et les années de conflit ne lui récitatif central du basson. instruments, et elle est ici confiée au violon. lequel les instruments entrent l’un après l’autre tandis que laissèrent pratiquement pas le loisir ou l’envie de La Pavane pour une infante défunte de Ravel était Dès 1895, Ravel envisageait la composition d’un la texture se fait plus dense et que le volume augmente. Boléro composer, surtout qu’il perdit sa mère en 1917. Toutefois, également conçue pour le piano à l’origine, et il l’écrivit en opéra. Il avait choisi comme sujet Shéhérazade, sans Ravel avait une idée très claire du tempo auquel on doit dès 1920, il avait commencé à se remettre et avait repris 1899. Son titre, choisi semble-t-il après l’achèvement de doute inspiré par Les mille et une nuits, connues depuis le jouer le Boléro, le rappelant sèchement à Toscanini, qui le travail, avec une série de compositions, dont son la composition, associe un élément ouvertement XVIIIe siècle dans la version traduite par Antoine Galland. avait prétendu « sauver l’ouvrage » en l’abordant plus poème chorégraphique La valse, rejeté par l’imprésario espagnol à une nostalgie du passé très caractéristique du Le projet finit par être abandonné, mais Ravel acheva une rapidement. Le Boléro connut une popularité instantanée, russe Diaghilev et cause de la rupture de leurs relations. Il tournant du XXe siècle. Ravel dédia le morceau à la Ouverture de féerie en 1898 dans une version pour piano qui ne s’est jamais démentie, et a inspiré toute une série accepta de donner ses propres œuvres en concert, au princesse de Polignac (Winnaretta Singer) et l’arrangea à quatre mains, qu’il orchestra l’année suivante en vue de chorégraphes et de danseurs, de Lifar à Béjart. piano ou au pupitre, en France et à l’étranger. Ses pour un orchestre relativement réduit en 1910. d’une exécution à la Société nationale de musique, activités furent interrompues par la longue maladie qui La Rapsodie espagnole fut achevée en 1908, après l’ouvrage se trouvant inclus sur l’insistance de Fauré et en Keith Anderson devait l’emporter, attribuée aux suites de l’accident de taxi la réalisation d’une version pour deux pianos de l’ouvrage dépit de la réticence de Chausson, secrétaire de la Traduction française de David Ylla-Somers dont il avait été victime en 1932. Il finit par s’éteindre en datant du mois d’octobre précédent. Elle comporte quatre 1937. mouvements, l’évocateur Prélude à la nuit, Malagueña, Orchestre National de Lyon • Leonard Slatkin 8.572887 5 6 8.572887 572887 bk Ravel US_572887 bk Ravel US 03/05/2012 12:43 Page 2 Maurice Ravel (1875-1937) Grenade a few years later. Rapsodie espagnole was The piano Menuet antique was written in 1895 and Orchestre National de Lyon Orchestral Works • 1 Ravel’s first major orchestral work, a demonstration of his first performed in 1898 by Ravel’s friend Ricardo Viñes. originality and of his gifts as an orchestrator. The music Ravel orchestrated the piece in 1929 and it was given its Photo: Sébastien Erome Offspring of the Société des Grands Concerts de Lyon, Maurice Ravel was born in 1875 in the small coastal Clown’s Aubade), dedicated to Michel-Dimitri moves from the stillness of night, with its four-note first performance the following year with the Orchestre founded in 1905, the Orchestre National de Lyon (ONL) village of Ciboure in the Basque region of France.
Recommended publications
  • 11 7 Thseason
    2016- 17 (117TH SEASON) Repertoire Bach Cantata No. 150, “Nach Dir, Herr, verlanget Feb. 23-25, 2017 mich”* Violin Concerto No. 1 Mar. 15-16, 2017 Bartók Bluebeard’s Castle Mar. 2-4, 2017 Bates Alternative Energy* Apr. 6-9, 2017 Beethoven Piano Concerto No. 4 Feb. 2-4, 2017 Selections from The Creatures of Prometheus Apr. 6-9, 2017 Symphony No. 2 Dec. 8-10, 2016 Symphony No. 3 (“Eroica”) Mar. 10-12, 2017 Symphony No. 6 (“Pastoral”) Nov. 25-27, 2016 Violin Concerto Nov. 3-5, 2016 Berg Violin Concerto Mar. 10-12, 2017 Berlioz Le Corsaire Overture Oct. 7-8, 2016 Harold in Italy Jan. 26-27, 2017 Symphonie fantastique Sep. 22-24, 2016; Oct. 7-8, 2016 Bernstein Prelude, Fugue, and Riffs Mar. 30-Apr. 1, 2017 Symphony No. 1 (“Jeremiah”) May 3-6, 2017 Brahms Symphony No. 1 Oct. 27-29, 2016 Symphony No. 2 Nov. 3-5, 2016 Symphony No. 3 Feb. 17-19, 2017 Symphony No. 4 Feb. 23-25, 2017 Brahms/transcr. Selections from Eleven Choral Preludes Feb. 23-25, 2017 Glanert (world premiere of transcriptions) Britten War Requiem Mar. 23-25, 2017 Canteloube Selections from Songs of the Auvergne Jan. 12-14, 2017 Chabrier Joyeuse Marche** Jan. 12-14, 2017 – more – January 2016—All programs and artists subject to change. PAGE 2 The Philadelphia Orchestra 2016-17 Season Repertoire Chopin Piano Concerto No. 1 Jan. 19-24, 2017 Piano Concerto No. 2 Sep. 22-24, 2016 Dutilleux Métaboles Oct. 27-29, 2016 Dvořák Symphony No. 8 Mar. 15-16, 2017 Symphony No.
    [Show full text]
  • Season 2016-2017
    23 Season 2016-2017 Thursday, January 26, at 8:00 The Philadelphia Orchestra Friday, January 27, at 2:00 City of Light and Music: The Paris Festival, Week 3 Yannick Nézet-Séguin Conductor Choong-Jin Chang Viola Berlioz Harold in Italy, Op. 16 I. Harold in the Mountains (Scenes of melancholy, happiness, and joy) II. Pilgrims’ March—Singing of the Evening Hymn III. Serenade of an Abruzzi Mountaineer to his Sweetheart IV. Brigands’ Orgy (Reminiscences of the preceding scenes) Intermission Ravel Alborada del gracioso Ravel Rapsodie espagnole I. Prelude to the Night— II. Malagueña III. Habanera IV. Feria Ravel Bolero This program runs approximately 1 hour, 55 minutes. The January 26 concert is sponsored in memory of Ruth W. Williams. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit WRTI.org to listen live or for more details. 24 Steven Spielberg’s filmE.T. the Extra-Terrestrial has always held a special place in my heart, and I personally think it’s his masterpiece. In looking at it today, it’s as fresh and new as when it was made in 1982. Cars may change, along with hairstyles and clothes … but the performances, particularly by the children and by E.T. himself, are so honest, timeless, and true, that the film absolutely qualifies to be ranked as a classic. What’s particularly special about today’s concert is that we’ll hear one of our great symphony orchestras, The Philadelphia Orchestra, performing the entire score live, along with the complete picture, sound effects, and dialogue.
    [Show full text]
  • A BIOGRAPHY of JOSEPH MAURICE RAVEL by Matthew Dechirico
    A BIOGRAPHY OF JOSEPH MAURICE RAVEL by Matthew DeChirico Joseph Maurice Ravel, who lived from March 1875 to December 1937 was a French composer born in the Basque region of France His mother of Basque-Spanish heritage from Madrid Spain had a strong influence on his life and his music. His father was a Swiss inventor and industrialist from France. Both parents provided a happy and stimulating life for Joseph and his younger brother. His parents encouraged his musical pursuits and sent him at age 14 to the Conservatoire de Paris first as a preparatory student and eventually as a piano major. Although intellectually bright and well read, he was not successful academically even as his musicianship matured. Considered “very gifted” he nevertheless was called “somewhat heedless” in his studies. He failed to meet the requirements of earning a competitive medal and was expelled. He returned three years later studying with Gabriel Faure focusing on composition rather than piano. He was again dismissed for having won neither the fugue nor the composition prize. He remained an auditor with Faure until he left the Conservatoire in 1903. During his years at the Conservatoire, Ravel tried numerous times to win the prestigious Prix de Rome but to no avail: he was probably considered too radical by the conservatives. Ravel’s “String Quartet in F” is now a standard work of chamber music, though at the time it was criticized and found lacking academically. His first significant work, “Habanera” for two pianos was later transcribed into the third movement of his “Rapsodie Espagnole”.
    [Show full text]
  • Discoveries from the Fleisher Collection Listen to WRTI 90.1 FM Philadelphia Or Online at Wrti.Org
    Next on Discoveries from the Fleisher Collection Listen to WRTI 90.1 FM Philadelphia or online at wrti.org. Encore presentations of the entire Discoveries series every Wednesday at 7:00 p.m. on WRTI-HD2 Saturday, August 4th, 2012, 5:00-6:00 p.m. Claude Debussy (1862-1918). Danse (Tarantelle styrienne) (1891, 1903). David Allen Wehr, piano. Connoiseur Soc 4219, Tr 4, 5:21 Debussy. Danse, orch. Ravel (1923). Philharmonia Orchestra, Geoffrey Simon. Cala 1024, Tr 9, 5:01 Maurice Ravel (1875-1937). Shéhérazade (1903). Anne Sofie von Otter, mezzo-soprano, Cleveland Orchestra, Pierre Boulez. DG 2121, Tr 1-3, 17:16 Ravel. Introduction and Allegro (1905). Rachel Masters, harp, Christopher King, clarinet, Ulster Orchestra, Yan Pascal Tortelier. Chandos 8972, Tr 7, 11:12 Debussy. Sarabande, from Pour le piano (1901). Larissa Dedova, piano. Centaur 3094, Disk 4, Tr 6, 4:21 Debussy. Sarabande, orch. Ravel (1923). Ulster Orchestra, Yan Pascal Tortelier. Chandos 9129, Tr 2, 4:29 This time, he’d show them. The Paris Conservatoire accepted Ravel as a piano student at age 16, and even though he won a piano competition, more than anything he wanted to compose. But the Conservatory was a hard place. He never won the fugue prize, never won the composition prize, never won anything for writing music and they sent him packing. Twice. He studied with the great Gabriel Fauré, in school and out, but he just couldn’t make any headway with the ruling musical authorities. If it wasn’t clunky parallelisms in his counterpoint, it was unresolved chords in his harmony, but whatever the reason, four times he tried for the ultimate prize in composition, the Prix de Rome, and four times he was refused.
    [Show full text]
  • A Study of Ravel's Le Tombeau De Couperin
    SYNTHESIS OF TRADITION AND INNOVATION: A STUDY OF RAVEL’S LE TOMBEAU DE COUPERIN BY CHIH-YI CHEN Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University MAY, 2013 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music ______________________________________________ Luba-Edlina Dubinsky, Research Director and Chair ____________________________________________ Jean-Louis Haguenauer ____________________________________________ Karen Shaw ii ACKNOWLEDGEMENTS I would like to express my tremendous gratitude to several individuals without whose support I would not have been able to complete this essay and conclude my long pursuit of the Doctor of Music degree. Firstly, I would like to thank my committee chair, Professor Luba Edlina-Dubinsky, for her musical inspirations, artistry, and devotion in teaching. Her passion for music and her belief in me are what motivated me to begin this journey. I would like to thank my committee members, Professor Jean-Louis Haguenauer and Dr. Karen Shaw, for their continuous supervision and never-ending encouragement that helped me along the way. I also would like to thank Professor Evelyne Brancart, who was on my committee in the earlier part of my study, for her unceasing support and wisdom. I have learned so much from each one of you. Additionally, I would like to thank Professor Mimi Zweig and the entire Indiana University String Academy, for their unconditional friendship and love. They have become my family and home away from home, and without them I would not have been where I am today.
    [Show full text]
  • Michael Davison, Trumpet, and Russell Wilson, Piano Department of Music, University of Richmond
    University of Richmond UR Scholarship Repository Music Department Concert Programs Music 2-21-1988 Michael Davison, trumpet, and Russell Wilson, piano Department of Music, University of Richmond Follow this and additional works at: https://scholarship.richmond.edu/all-music-programs Part of the Music Performance Commons Recommended Citation Department of Music, University of Richmond, "Michael Davison, trumpet, and Russell Wilson, piano" (1988). Music Department Concert Programs. 800. https://scholarship.richmond.edu/all-music-programs/800 This Program is brought to you for free and open access by the Music at UR Scholarship Repository. It has been accepted for inclusion in Music Department Concert Programs by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. UNIVERSITY OF RICHMOND Department of Music Michael Davison, trumpet Russell Wilson, piano February 21, 1988 North Court Recital Hall 3:00PM Next: Richard Becker, Plano March 13, 1988, 3:00 PM North Court Recital Hall Concerto for Trumpet and Piano Henri Tomasi (1901-1971) Allegro et Cadence Nocturne: Andantino Final: Giocoso allegro Menuet Antique, for Piano Maurice Ravel (1875-1937) Solus for Unaccompanied Trumpet Stan Friedman (b. 1951) ***Intermission*** Jazzberries, for Trumpet, Piano, and Cello William Schmidt (b. 1926) Raspberry Riffs Blackberry Blues Boysenberry Boogie Strawberry Jam with: Charlotte Lucy, cello God Bless The Child Billie Holiday (1915-1959) and Arthur Herzog Leap Frog Michael A. Davison (b. 1957) Ain't Misbehavin' Thomas Waller (1904-1943) and Harry Brooks (1895-1970) arranged by Paul Severson Additional Personnel for God Bless The Child and Leapfrog: Al Waters, tenor saxophone David Boggs, bass Skip Urrnson, drums for Ain't Misbehavin': Al Waters, clarinet Tom Anderson, trombone David Boggs, bass Skip Urrnson, drums ********** Reception Immediately following the recital In the lounge on the first floor of the Modlin Fine Arts Building.
    [Show full text]
  • (MTO 21.1: Stankis, Ravel's ficolor
    Volume 21, Number 1, March 2015 Copyright © 2015 Society for Music Theory Maurice Ravel’s “Color Counterpoint” through the Perspective of Japonisme * Jessica E. Stankis NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.15.21.1/mto.15.21.1.stankis.php KEYWORDS: Ravel, texture, color, counterpoint, Japonisme, style japonais, ornament, miniaturism, primary nature, secondary nature ABSTRACT: This article establishes a link between Ravel’s musical textures and the phenomenon of Japonisme. Since the pairing of Ravel and Japonisme is far from obvious, I develop a series of analytical tools that conceptualize an aesthetic orientation called “color counterpoint,” inspired by Ravel’s fascination with Chinese and Japanese art and calligraphy. These tools are then applied to selected textures in Ravel’s “Habanera,” and “Le grillon” (from Histoires naturelles ), and are related to the opening measures of Jeux d’eau and the Sonata for Violin and Cello . Visual and literary Japonisme in France serve as a graphical and historical foundation to illuminate how Ravel’s color counterpoint may have been shaped by East Asian visual imagery. Received August 2014 1. Introduction It’s been given to [Ravel] to bring color back into French music. At first he was taken for an impressionist. For a while he encountered opposition. Not a lot, and not for long. And once he got started, what production! —Léon-Paul Fargue, 1920s (quoted in Beucler 1954 , 53) Don’t you think that it slightly resembles the gardens of Versailles, as well as a Japanese garden? —Ravel describing his Le Belvédère, 1931 (quoted in Orenstein 1990 , 475) In “Japanizing” his garden, Ravel made unusual choices, like his harmonies.
    [Show full text]
  • Ravel, Maurice (1875-1937) by John Louis Digaetani
    Ravel, Maurice (1875-1937) by John Louis DiGaetani Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright ©2002, glbtq, inc. Reprinted from http://www.glbtq.com Maurice Ravel in 1915. Courtesy Library of Congress Prints and One of France's most distinguished composers, Maurice Ravel was a prolific and Photographs Division. versatile artist who worked in several musical genres, creating stage music (two operas and several ballets), orchestral music, vocal music, chamber music, and piano music. His unique musical language, employing harmonies that are at once ravishing and subtle, made him one of the most influential composers of the twentieth century. Ravel's sexuality has been the subject of intense speculation. Although it is not certain that he was gay, he was rumored to be so. Fiercely protective of his privacy, his most significant emotional relationship seems to have been with his mother. At the same time, however, he embraced a public identity as a cultured dandy, a dapper man-about-town of refined taste and sensibility. A life-long bachelor, Ravel had several significant relationships with men, including one with pianist Ricardo Viñes, a fellow dandy and bachelor, but it is not certain whether these friendships were sexual. He was born Joseph Maurice Ravel on March 7, 1875 at Ciboure, France, near St. Jean de Luz, Basses- Pyrénées, a village close to the French-Spanish border, to a Swiss father and a Basque mother. Ravel's father, who was talented musically, was an engineer. The composer may have inherited from his father the devotion to craftsmanship and meticulous detail that led Igor Stravinsky to describe him as the "Swiss watch-maker of music." Although he was raised in Paris, Ravel was very conscious of his Basque heritage.
    [Show full text]
  • And the World Dances: Pieces by Maurice Ravel: a Music-Theatre Collaboration
    i ii and the world dances: Pieces by Maurice Ravel A Music-Theatre Collaboration A thesis submitted to the Miami University Honors Program in partial fulfillment of the requirements for University Honors by Nicole Dieker May, 2004 Oxford, OH iii ABSTRACT AND THE WORLD DANCES: PIECES BY MAURICE RAVEL A MUSIC-THEATRE COLLABORATION BY NICOLE DIEKER This thesis describes the year-long process of research and rehearsal that culminated in the group-created performance and the world dances: Pieces by Maurice Ravel. Created in response to the United States’ military involvement in Iraq and inspired by the anti-war music of early twentieth-century composer Maurice Ravel, this process allowed me to direct a group of seven actors and one production designer through a group collaboration that resulted in an original full-length performance. The performance, which was entirely scripted and staged by the group, used music, theatre, and dance to provide a perspective both on Ravel’s experiences during WWI and on a contemporary retracing of our current political situation. iv v and the world dances: Pieces by Maurice Ravel: A Music-Theatre Collaboration by Nicole Dieker Approved by: _________________________, Adviser Dr. Jimmy Bickerstaff _________________________, Reader Julia Guichard _________________________, Reader Dr. Eftychia Papanikolaou Accepted by: __________________________, Director, University Honors Program vi vii Acknowledgements I would like to thank Dr. Jimmy Bickerstaff for his help and support as adviser to the thesis process, and Julia Guichard and Dr. Eftychia Papanikolaou for serving as thesis readers. I would also like to thank the departments of Music and Theatre as well as the Western College Program for providing support and rehearsal/performance spaces, and the Honors Program for providing project funding.
    [Show full text]
  • Ravel's Sound
    Ravel’s Sound: Timbre and Orchestration in His Late Works Jennifer P. Beavers NOTE: The examples for the (text-only) PDF version of this item are available online at: hps://www.mtosmt.org/issues/mto.21.27.1/mto.21.27.1.beavers.php KEYWORDS: Ravel, timbre, contour, magical effect, illusory instruments, timbrally marked form, sound object, auditory scene analysis, Pictures at an Exhibition, Boléro, Menuet antique, Piano Concerto for the Left Hand, Piano Concerto in G Major ABSTRACT: Ravel’s interwar compositions and transcriptions reveal a sophisticated engagement with timbre and orchestration. Of interest is the way he uses timbre to connect and conceal passages in his music. In this article, I look at the way Ravel manipulates instrumental timbre to create sonic illusions that transform expectations, mark the form, and create meaning. I examine how he uses instrumental groupings to create distinct or blended auditory events, which I relate to musical structure. Using an aurally based analytical approach, I develop these descriptions of timbre and auditory scenes to interpret ways in which different timbre-spaces function. Through techniques such as timbral transformations, magical effects, and timbre and contour fusion, I examine the ways in which Ravel conjures sound objects in his music that are imaginary, transformative, or illusory. DOI: 10.30535/mto.27.1.0 Received January 2020 Volume 27, Number 1, March 2021 Copyright © 2021 Society for Music Theory 1. Introduction [1.1] Throughout his career, Ravel’s sound often defied harmonic and formal expectations. While most analytic scholarship has treated Ravel’s use of timbre as secondary to the parameters of harmony and form, particularly in early- and middle-period compositions, recent scholarship has made timbre a central concern of Ravel’s style.
    [Show full text]
  • Baur 831792.Pdf (5.768Mb)
    Ravel's "Russian" Period: Octatonicism in His Early Works, 1893-1908 Author(s): Steven Baur Source: Journal of the American Musicological Society, Vol. 52, No. 3 (Autumn, 1999), pp. 531-592 Published by: University of California Press on behalf of the American Musicological Society Stable URL: http://www.jstor.org/stable/831792 Accessed: 05-05-2016 18:10 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of California Press, American Musicological Society are collaborating with JSTOR to digitize, preserve and extend access to Journal of the American Musicological Society This content downloaded from 129.173.74.49 on Thu, 05 May 2016 18:10:01 UTC All use subject to http://about.jstor.org/terms Ravel's "Russian" Period: Octatonicism in His Early Works, 1893-1908 STEVEN BAUR The most significant writing on the octatonic scale in Western music has taken as a starting point the music of Igor Stravinsky. Arthur Berger introduced the term octatonic in his landmark 1963 article in which he identified the scale as a useful framework for analyzing much of Stravinsky's music. Following Berger, Pieter van den Toorn discussed in greater depth the nature of Stravinsky's octatonic practice, describing the composer's manipula- tions of the harmonic and melodic resources provided by the scale.
    [Show full text]
  • The Genre of the Minuet in the Works of Maurice Ravel
    Journal of Siberian Federal University. Humanities & Social Sciences 1 (2016 9) 41-54 ~ ~ ~ УДК 78.085 The Genre of the Minuet in the Works of Maurice Ravel Valentina V. Bass* Krasnoyarsk State Institute of Art 22 Lenin Str., Krasnoyarsk, 660049, Russia Received 19.07.2015, received in revised form 21.08.2015, accepted 30.08.2015 The article deals with the key issue of modern musicology, the issue of a certain genre that prevails in the works of a music composer, an ability of a genre to become a factor that determines stylistic specificity. In the works of Maurice Ravel this style-forming factor is dance. On the example of the minuet that occupies a special place in the works of the composer, the article explores the principles of mediation of choreographic and musical features of the dance prototype at the semantic and structural levels in the thematism and form generation of Ravel’s works. The aesthetic perfection and delicate elegance of gestures, graphical precision of choreographic pattern and dialogueness typical for the minuet have been reflected in the motive-composition character of the thematism, the periodicity of the syntax, the relative stability of the meter, the active use of various methods of polyphonization of the musical texture, the exclusive role of the principle of symmetry on the compositional, melodic and textural levels of the musical form. Individual features of the minuet in various works of Ravel are related to their stylistic origins and genre fusion creating certain imagery. Keywords: minuet, dance prototype, choreographic pattern of dance, genre semantics, counter rhythm, figurative polyphony, stylistic multilayers.
    [Show full text]