Maurice Ravel – Valses Nobles et Sentimentales – Giovani Umberto Battel

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Published on May 25, 2015

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1 Valses Nobles et Sentimentales: I Modére – Tres Franc 00:00
2 Valses Nobles et Sentimentales: II Assez Lent – Avec une expression intense 01:27
3 Valses Nobles et Sentimentales: III Modére 04:03
4 Valses Nobles et Sentimentales: IV Assenz Animé 05:38
5 Valses Nobles et Sentimentales: V Presqu Lent – Dans un Sentiment Intime 06:47
6 Valses Nobles et Sentimentale:VI Vif 08:15
7 Valses Nobles et Sentimentale:VII Moins Vif 08:57
8 Valses Nobles et Sentimentale:VIII Epilogue Lent 11:55

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great compositions/performances: Maurice Ravel – Sonatine pour piano: Gabriele Tomasello, piano.

Maurice Ravel – Sonatine pour piano

Gabriele Tomasello

Published on Jul 10, 2012

http://en.wikipedia.org/wiki/Sonatine…)

I. Modéré
II. Mouv de Menuet (starts at 4.04)
III. Animé (starts at 6.54)

Gabriele Tomasello, piano.
rec. 02.02.2012

モーリス·ラヴェル
ソナチネ

ガブリエル・トマセロ
ピアノ
カタニア
イタリア 2012

best classical music , Gustav Holst St.Paul’s Suite for String Orchestra Op.29, No.2, great compositions/performances

 

Published on Oct 18, 2014

Cross Chamber Orchestra(CCO)
Conductor : Jin Daniel Suh

Gustav Holst St.Paul’s Suite for String Orchestra Op.29, No.2

TheSiegfriedkim

 

Published on Oct 18, 2014

Cross Chamber Orchestra(CCO)
Conductor : Jin Daniel Suh

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St Paul’s Suite

From Wikipedia, the free encyclopedia

 

St Paul’s Suite (Op. 29, No. 2), originally titled Suite in C,^[1] is a composition for string orchestra by the English composer Gustav Holst. It was written in 1912, but due to revisions was not published until 1922. It is named after the St Paul’s Girls’ School in the United Kingdom, where Holst was Director of Music from 1905 to 1934. It was written in gratitude to the school which had built a soundproof studio for him. This suite is the most famous of the many pieces he wrote for students at St. Paul’s.^[2]

The suite has four movements:

• I. Jig: Vivace (alternating between 6/8 and 9/8 time)
• II. Ostinato: Presto
• III. Intermezzo: Andante con moto (labeled “Dance” in the manuscript)
• IV. Finale (The Dargason): Allegro (arranged from the “Fantasia on the Dargason” from his Second Suite in F for Military Band)

Notes

• http://www.bbc.co.uk/iplayer/episode/b010p530/Holst_In_the_Bleak_Midwinter/

Gustav Holst article” – Humanities Web database
 

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Alexander Glazunov: Symphony #7 “Pastoral” in F Op 77, great compositions/performances

The image of Russian conductor Gennady Rozhdestvensky Das Foto von russisch Dirigent Gennadi Nikolajewitsch Roschdestwenski (Photo credit: Wikipedia)

Alexandr Glazunov – Symphony No. 7 in F major, Op. 77

Wolfgang Amadé Mozart

Published on Sep 8, 2012

USSR Ministry Of Culture Symphony Orchestra – Gennadi Rozhdestvensky

Symphony No. 7 (Glazunov)

From Wikipedia, the free encyclopedia

The Symphony No. 7 in F major, Pastoral, Op. 77, was completed by Alexander Glazunov on July 4, 1902.^[1] It is dedicated to Mitrofan Belyayev.^[2]

It is in four movements:

• Allegro moderato
• Andante
• Scherzo: Allegro giocoso
• Finale: Allegro maestoso

 

 

 

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MAURICE RAVEL: LE TOMBEAU DE COUPERIN – PIERRE BOULEZ & BERLIN PHILARMONIC — 2003

ARCHIVOS BOESMI – ARTE Y CULTURA

From Wikipedia, the free encyclopedia

 

This article is about the Ravel piano composition.

 

Cover of the first printed edition designed by Ravel himself

Le tombeau de Couperin is a suite for solo piano by Maurice Ravel, composed between 1914 and 1917, in six movements based on those of a traditional Baroque suite. Each movement is dedicated to the memory of a friend of the composer (or in one case, two brothers) who had died fighting in World War I. Ravel also produced an orchestral version of the work in 1919, although this omitted two of the original movements.

Composition

The movements are as follows:

I	Prélude	Vif	12/16	= 92	E minor	in memory of First Lieutenant Jacques Charlot (transcriber of Ma mère l’oye for piano solo)
II	Fugue	Allegro moderato	4/4	= 84	E minor	in memory of Second Lieutenant Jean Cruppi (to whose mother Ravel had also dedicated L’heure espagnole)
III	Forlane	Allegretto	6/8	= 96	E minor	in memory of First Lieutenant Gabriel Deluc (a Basque painter from Saint-Jean-de-Luz)
IV	Rigaudon	Assez vif	2/4	n/a	C major	in memory of Pierre and Pascal Gaudin (two brothers and childhood friends of Ravel, killed by the same shell in November 1914)
V	Menuet	Allegro moderato	3/4	= 92	G major	in memory of Jean Dreyfus (at whose home Ravel recuperated after he was demobilized)
VI	Toccata	Vif	2/4	= 144	E major	in memory of Captain Joseph de Marliave (musicologist and husband of Marguerite Long)

The first performance of the original piano version was given on 11 April 1919 by Marguerite Long, Joseph de Marliave’s widow, in the Salle Gaveau in Paris.^[3][4]

Orchestrations and transcription

House where Ravel composed Le tombeau de Couperin

 In 1919 Ravel orchestrated four movements of the work (Prélude, Forlane, Menuet and Rigaudon);^[5] this version was premiered in February 1920 by Rhené-Baton and the Pasdeloup Orchestra, and has remained one of his more popular works. Ravel transcribed many of his piano pieces for orchestra, but here he reaches the height of his orchestration skills, turning a very pianistic piece into a superb orchestral suite with very few hints of its origins. The orchestral version clarifies the harmonic language of the suite and brings sharpness to its classical dance rhythms; among the demands it places on the orchestra is the requirement for an oboe soloist of virtuosic skill, as the oboist takes the melody in the Prélude and the Menuet as well as for the pastoral C minor section of the Rigaudon, where it is accompanied by guitar-like pizzicati.^[6]

The orchestrated version is scored for two flutes (one doubling piccolo), two oboes (one doubling cor anglais), two clarinets, two bassoons, two horns, trumpet, harp, and strings.

Only a few years after Ravel’s own orchestration, Lucien Garban (working under the pseudonym of Roger Branga) produced a version of the piece for ‘small orchestra’ with a piano-conductor, consisting of the Prélude, Menuet and Rigaudon. He had previously transcribed the full suite for piano four hands in 1919.

Several other composers have since created orchestrations of those two movements which Ravel omitted, the Fugue and the Toccata. David Diamond has orchestrated the second movement Fugue, while the Hungarian pianist and conductor Zoltán Kocsis has produced his own version of both the Fugue and the Toccata. However, here, the Toccata, scored for a very large orchestra, goes far beyond the limits of Ravel’s own, small orchestra, and the Fugue is set for winds only. Another instrumentation of Fugue and Toccata by pianist Michael Round was recorded by Vladimir Ashkenazy (Exton, 2003): the score is published (as two separate titles, ‘Fugue’ and ‘Toccata’) by Edwin F. Kalmus. Round’s version of the Toccata adds percussion, requiring up to five players. Kalmus omitted the percussion parts from the published score so as to exactly match the orchestration of the rest of the suite, but these parts are available separately, directly from the orchestrator. In 2013 the British composer Kenneth Hesketh orchestrated the Fugue and Toccata for the exact orchestration of the original four-movement orchestral suite. The first performance was given by the Goettingen Symphony Orchestra conducted by Christoph Mathias Mueller. The scores are available from Schott Music, London.

Four movements (Prélude, Fugue, Menuet, and Rigaudon) have been arranged for wind quintet by American horn player Mason Jones (1919–2009).^[7] Danish composer Hans Abrahamsen has also transcribed four movements for wind quintet.,^[8] and further American composer Gunther Schuller has made a wind-quintet arrangement.^[9]

In 2013, Trevor P. Wagler re-arranged the orchestral version of four movements (Prélude, Forlane, Menuet, and Rigaudon) down to a quintet (ob/cl/vn/vcl/pft), played at Wilfrid Laurier University.^[10]

For oboe and piano, the four orchestral movements (Prélude, Fugue, Menuet and Rigaudon) have been arranged 2014 by Elena González Arias (Adliswil: Ed.Kunzelmann, 2014). ^[11] combines the essential features of both of the composer’s versions in one – the intimate character of the piano original and the tone-colour of the oboe in the orchestral transcription. A compromise was found between the two versions not only with respect to the compositional material, but also with regard to articulation and dynamics.

Maurice Ravel – Alborada del gracioso

neuIlaryRheinKlange

Published on Aug 20, 2012

“Alborada del gracioso” (“The Gracioso’s Aubade”) is the fourth movement of “Miroirs” (Reflections), a suite for solo piano written by French impressionist composer Maurice Ravel between 1904 and 1905. All the five movements are dedicated to a fellow member of the French impressionist group, Les Apaches: 1. “Noctuelles” (“Night Moths”) – Dedicated to Léon-Paul Fargue, Noctuelles is a highly chromatic work, maintaining a dark, nocturnal mood throughout. The middle section is calm with rich, chordal melodies, and the recapitulation takes place a fifth below the first entry. 2. “Oiseaux tristes” (“Sad Birds”) – Dedicated to Ricardo Viñes, this movement represents a lone bird whistling a sad tune, after which others join in. The rambunctious middle section is offset by a solemn cadenza which brings back the melancholy mood of the beginning. 3. “Une barque sur l’océan” (“A boat on the Ocean”) – Dedicated to Paul Sordes, the piece recounts a small boat as it sails upon the waves of the ocean. Arpeggiated sections and sweeping melodies imitate the flow of ocean currents. It is the longest piece of the set, and, with the exception of Alborada del Gracioso, the most technically difficult. 4. “Alborada del gracioso” (“The Gracioso’s Aubade”) – Dedicated to Michel-Dimitri Calvocoressi, Alborada is a technically challenging piece that incorporates Spanish musical themes into its complicated melodies. 5. “La vallée des cloches” (“The Valley of Bells”) – Dedicated to Maurice Delage, the piece evokes the sounds of various bells through its use of sonorous harmonies. “Alborada del gracioso” was orchestrated by Ravel himself in 1918. Conductor: Claudio Abbado & London Symphony Orchestra.

Historic musical bits: Martha Argerich, Ravel Jeux d’eau , great compositions/performances

Martha Argerich, Ravel Jeux d’eau

Ranan Chan

Uploaded on Jun 17, 2008

originally telecast july 31,1977

Historic musical bits, Mozart Violin Concerto N°4 in D major, K218. David Oistrakh, violin, great compositons/performances

Mozart Violin Concerto N°4 in D major, K 218. David Oistrakh, violin )

Alex cello

Mozart Violin Concerto N°4 in D major.
David Oistrakh, violin,  RAI Symphony Orchestra

Boléro – Maurice Ravel – Münchner Philharmoniker – Sergiu Celibidache (VHS) , great compositions/performances

Boléro – Maurice Ravel – Münchner Philharmoniker – Sergiu Celibidache (VHS)

asimon65

Sergiu Celibidache dirigiert die Münchner Philharmoniker; Maurice Ravel: Boléro

Inhaltsangabe der TV-Zeitschrift “Gong“:
Anläßlich des Geburtstages von Sergiu Celibidache am 28. Juni zeigt das ZDF eine Aufzeichnung des glanzvollen Interpretation von Maurice Ravels “Bolero” von 1983.

VHS-Mitschnitt, ZDF, 1987

Debussy Complete Preludes (Book 1 and 2)

BLOP888

 

Published on Jan 18, 2013/152,724 views

Piano: Theodore Paraskivesco
Book 1:
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00:00 – Danseuses de Delphes: Lent et grave (Dancers of Delphi)
03:00: – Voiles: Modéré (Veils / sails)
06:26 – Le vent dans la plaine: Animé (The Wind in the Plain)
08:27 Les sons et les parfums tournent dans l’air du soir»: Modéré
(“The sounds and fragrances swirl through the evening air”)
11:33 – Les collines d’Anacapri: Très modéré (The Hills of Anacapri)
14:22 – Des pas sur la neige: Triste et lent (Footsteps in the Snow)
18:00 – Ce qu’a vu le vent d’ouest: Animé et tumultueux (What the West Wind has seen)
21:20 – La fille aux cheveux de lin: Très calme et doucement expressif (The Girl with the Flaxen Hair)
23:42 – La sérénade interrompue: Modérément animé (Interrupted Serenade)
25:49 – ‘La cathédrale engloutie: Profondément calme (The Submerged Cathedral)
31:13 – La danse de Puck: Capricieux et léger (Puck’s Dance)
33:33 – Minstrels: Modéré
Book 2:
35:36 – Brouillards: Modéré (Mists)
38:21 – Feuilles mortes: Lent et mélancolique (Dead Leaves)
41:10 – La puerta del Vino: Mouvement de Habanera
44:09 – Les fées sont d’exquises danseuses»: Rapide et léger (“Fairies are exquisite dancers”)
47:12 Bruyères: Calme (Heather / town in Eastern France)
49:50 – Général Lavine – eccentric: Dans le style et le mouvement d’un Cakewalk
52:18 – La terrasse des audiences du clair de lune: Lent (The Terrace of Moonlit Audiences)
56:49 – Ondine: Scherzando
1:00:05 – Hommage à S. Pickwick Esq. P.P.M.P.C.: Grave (Homage to S. Pickwick)
1:02:34 – Canope: Très calme et doucement triste (Canopic jar)
1:05:27 – Les tierces alternées: Modérément animé (Alternating Thirds)
1:08:13 – Feux d’artifice: Modérément animé (Fireworks)

Chabrier – Fête polonaise, from the opera “Le Roi malgré lui” (Acte II), great compositions/performances

Chabrier – Fête polonaise, from the opera “Le Roi malgré lui” (Acte II)

musicanth

This is a thrilling excerpt from the beginning of Act II of the opera Le Roi malgré lui by Emmanuel Chabrier (1841-1894). The elegant, surging waltz rhythms of Chabrier’s music inspired Maurice Ravel‘s orchestral poem La valse.

Charles Dutoit conducts the Philharmonic Orchestra and Choir of Radio France.

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Johannes Brahms – Alto Rhapsody, Op. 53 & Tragic Overture, Op. 81 Chrissta Ludwig Otto Klamperer the philharmonic orchestra and Chorus, great compositions/performances

Johannes Brahms – Alto Rhapsody, Op. 53 & Tragic Overture, Op. 81

Classical Music

Alto Rhapsody for Alto, Male Chorus & Orchestra, Op. 53.
Christa Ludwig (mezzo soprano), Otto Klemperer/Philharmonia Orchestra & Chorus.

The Rhapsody is a setting of verses from Goethe’s Harzreise im Winter. It was written in 1869, one year after the German Requiem, with which the third part of the Rhapsody has similarities of vocal and choral style. The work is in three sections: the first two, in a chromatically dense and wandering C minor, are for the soloist and orchestra and describe the pain of the misanthropic wanderer. The second section is an aria in all but name. The third section, in a nominal C major, brings in the male chorus, which joins the soloist in a plea to a celestial spirit for an abatement of the wanderer’s pain.
The work typically takes between twelve and fifteen minutes in performance. See recordings, below, for indicative timings.
The work was first “tried out” on 6 October 1869, at the dress rehearsal for the Karlsruhe season’s first orchestral subscription concert. Amalia Boni sang the solo role; the conductor Hermann Levi was on hand, but there was no male voice chorus, and it is unclear whether Boni was accompanied by orchestra or simply on piano. Brahms and Clara Schumann were present, but there was certainly no other audience. It received its first public performance, and its first definitely known proper performance, on 3 March 1870, at Jena. The soloist at the first performance was Pauline Viardot and the conductor was Ernst Naumann.

The Tragic Overture (German: Tragische Ouvertüre), Op. 81, is a concert overture for orchestra written by Johannes Brahms during the summer of 1880. It premiered on December 26, 1880 in Vienna. Most performances last between twelve and fifteen minutes.
Brahms chose the title “Tragic” to emphasize the turbulent, tormented character of the piece, in essence a free-standing symphonic movement, in contrast to the mirthful ebullience of a companion piece he wrote the same year, the Academic Festival Overture. Despite its name, the Tragic Overture does not follow any specific dramatic program. Brahms was not very interested in musical storytelling and was more concerned with conveying and eliciting emotional impressions. He summed up the effective difference between the two overtures when he declared “one laughs while the other cries.” Brahms quotes some material from the last movement of the Second Symphony in this overture.
The Tragic Overture comprises three main sections, all in the key of D minor.

1.Allegro ma non troppo
2.Molto più moderato
3.Tempo primo ma tranquillo.

Respighi: Ancient Airs and Dances, Suite No. 3,: great compositions/performances

Respighi: Ancient Airs and Dances, Suite No. 3

peartree336

Published on Dec 23, 2012/20,067 views

Ottorino Respighi (1879 – 1936)
Ancient Airs and Dances / Antiche arie e danze per liuto
Suite No. 3 (1932)

I. Italiana (0:00)
II. Arie di corte (1:55)
III. Siciliana (8:39)
IV. Passacaglia (12:18)

***Sir Neville Marriner
***Los Angeles Chamber Orchestra

Maurice Ravel – Introduction & Allegro for Harp, Flute, Clarinet & String Quartet(1905) : Great compositions/performances|Art by Jean-Léon Gérôme

Maurice Ravel – Introduction & Allegro for Harp, Flute, Clarinet & String Quartet(1905)

    pelodelperro
******Stuttgart Chamber Music Ensemble******The Introduction and Allegro (1905) is one of the few pieces by Ravel that has remained more or less in the shadows — save in the minds of harpists — throughout the last century. While it is certainly not among the composer’s most striking works, it is nevertheless a pleasant enough showpiece that looks forward to the raw sensuality of Daphnis et Chloé while hearkening back with great affection to the music of Chabrier and, especially, Franck. The full title of the work is Introduction and Allegro for Harp, Accompanied by a Quartet of Strings, Flute, and Clarinet. Although it is often conveniently designated a septet, it is really a kind of miniature (10-minute) harp concerto, complete with virtuoso writing and an extended central cadenza for the instrument. Chamber performances of the work, in fact, are few and far between; it is far more frequently heard in the orchestra hall with a full complement of strings. The general simplicity of form and harmony have led some to conclude that the Introduction and Allegro might have originally been composed as a test piece for the Paris Conservatoire; certainly it did not stand out sufficiently in Ravel’s own memory for him to include it in his list of works.

The brief  Très lent introduction presents two themes, the first for the woodwinds in leaping parallel thirds, the second an inverted-arch-shaped gesture sung by the strings in octaves. Presently a shimmering texture of arpeggios and woodwind double-tonguing takes over, inviting the cello to explore another melody before the harp rejoins the lush musical fabric.

Twenty-six bars into the piece the Allegro commences. Now, as the harp makes an extended solo exploration of the melody presented earlier by the strings, a sonata form begins to take shape. A second, hemiola-ridden theme arrives in the woodwinds, accompanied pizzicato by the strings. The development of this material takes place in the usual fragmentary manner, building to an excited fff climax that breaks away abruptly as the harp assumes center stage with a cadenza. The recapitulation is quite straightforward, and the work ends without extensive fireworks or bombast of any kind. The Introduction and Allegro was first performed in late February 1907. [allmusic.com]

******Art by Jean-Léon Gérôme*****

Google Art Project works by Jean-Léon Gérôme

Google Art Project works by Jean-Léon Gérôme Google Art Project works by Jean-Léon Gérôme From Wikimedia Commons, the free media repository (click to access and view the Art collection, or take a virtual museums tour! All available here at euzicasa!)

From Wikimedia Commons, the free media repository

Media in category “Google Art Project works by Jean-Léon Gérôme”

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Ravel – Daphnis et Chloé, Suite n°2 (Seiji Ozawa),: GREAT COMPOSITIONS/PERFORMANCES

Ravel – Daphnis et Chloé, Suite n°2 (Seiji Ozawa)

Wyndorel

***************************************************************

From Wikipedia, the free encyclopedia

 

This article is about the Fokine ballet to Ravel’s music. For the original story, see Daphnis and Chloe. For the operetta by Jacques Offenbach, see Daphnis et Chloé (Offenbach).

Set design by Léon Bakst for the world premiere of the ballet Daphnis et Chloé (music by Maurice Ravel), Paris 1912.

Daphnis et Chloé is a ballet with music by Maurice Ravel. Ravel described it as a “symphonie choréographique” (choreographic symphony). The scenario was adapted by Michel Fokine from an eponymous romance by the Greek writer Longus thought to date from around the 2nd century AD. Scott Goddard published a contemporary commentary that discussed the changes to the story that Fokine made to prepare a workable ballet scenario.^[1] The story concerns the love between the goatherd Daphnis and the shepherdess Chloé. The ballet is in one act and three scenes.

Ravel began work on the score in 1909 after a commission from Sergei Diaghilev. It was premiered at the Théâtre du Châtelet in Paris by his Ballets Russes on June 8, 1912. The orchestra was conducted by Pierre Monteux, the choreography was by Michel Fokine, and Vaslav Nijinsky and Tamara Karsavina danced the parts of Daphnis and Chloe. Léon Bakst designed the original sets.

At almost an hour long, Daphnis et Chloé is Ravel’s longest work. In spite of the ballet’s duration, four discernable leitmotifs give musical unity to the score.^[1][2] The music, some of the composer’s most passionate, is widely regarded as some of Ravel’s best, with extraordinarily lush harmonies typical of the impressionist movement in music. Even during the composer’s lifetime, contemporary commentators described this ballet as his masterpiece for orchestra.^[3] Ravel extracted music from the ballet to make two orchestral suites, which can be performed with or without the chorus. The second of the suites, which includes much of the last part of the ballet and concludes with the “Danse générale”, is particularly popular. When the complete work is itself performed live, it is more often in concerts than in staged productions.

Structure

Part I

• Introduction et Danse religieuse
• Danse générale
• Danse grotesque de Dorcon
• Danse légère et gracieuse de Daphnis
• Danse de Lycéion
• Danse lente et mystérieuse des Nymphes

Part II

• Introduction
• Danse guerrière
• Danse suppliante de Chloé

Part III

• Lever du jour
• Pantomime (Les amours de Pan et Syrinx)
• Danse générale (Bacchanale)

In popular culture

Music

Trumpeter Harry James, in his 1942 arrangement of Eric Coates‘s By the Sleepy Lagoon, made use of the “Lever du jour” from Daphnis et Chloé for its opening theme.^[4]

The title song (“You can see forever”) from the musical On a clear day is based on the “Dawn” passage in the second Suite from Daphnis et Chloé.^{[citation needed]}

Sports

In 2002 American figure skater Sarah Hughes won an Olympic gold medal skating to selections from Daphnis et Chloé at the XIX Olympic Winter Games in Salt Lake City.

Camille Saint-Saëns – Africa, Op. 89, in G minor – Fantasy for Piano and Orchestra: great composirtions/performances

Saint-Saëns Camille
[Charles Camille]
1835-1921

Camille Saint-Saëns – Africa, Op. 89, in G minor – Fantasy for Piano and Orchestra

  Wolfgang Amadé Mozart

Gabriel Tacchino, piano. Luxemburg Radio Symphony Orchestra, Louis de Froment
***************************************************************************

Maurice Ravel – Valses nobles et sentimentales (Fritz Reiner, Chicago Symphony Orchestra): make music part of your life series

Maurice Ravel – Valses nobles et sentimentales [Fritz Reiner, Chicago Symphony Orchestra]

KeMin88

Legendary conductor Fritz Reiner established his legacy when he assumed his directorship of the Chicago Symphony Orchestra. Reiner raised the status of the CSO that of one of the finest in the world. Although not often associated with the works of the French Impressionist composers, these performances from 1958 are considered among the finest from the Reiner/CSO era! Recorded on March 4, April 13 and April 15, 1957 at Orchestra Hall, Chicago. Musicians: Chicago Symphony Orchestra Fritz Reiner, conductor

Sergei Rachmaninoff -Symphonic Dances, Op. 45: great compositions/performances

Sergei Rachmaninoff –Symphonic Dances, Op. 45

  Wolfgang Amadé Mozart

V. Polyansky – Russian State SO

Sergei Rachmaninoff -Symphonic Dances, Op. 45
I. Non allegro
II. Andante con moto (Tempo di valse)
III. Lento assai – Allegro vivace – Lento assai – Come prima – Allegro vivace

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Modest Mussorgsky “Pictures at an Exhibition” Celibidache London Symphony Orchestra, conductor: Sergiu Celibidache: great compositions/performances

Modest Mussorgsky “Pictures at an Exhibition” Celibidache London Symphony Orchestra,  conductor: Sergiu Celibidache

  La Casa di Davide

Modest Mussorgsky Pictures at an Exhibition orchestrated by Maurice Ravel
Sergiu Celibidache conducts London Symphony Orchestra

Movements:

No. 1 “Gnomus” 2:24
No. 2 “Il vecchio castello” (The Old Castle) 7:10
No. 3 “Tuileries” (Dispute d’enfants après jeux) 12:44
No. 4 “Bydło”(Polish, Cattle) 14:01
No. 5 “Ballet of the Unhatched Chicks” 18:29
No. 6 “Samuel” Goldenberg und “Schmuÿle” 19:52
No. 7 “Limoges”, le marché (La grande nouvelle) 22:53
No. 8 “Catacombæ” (Sepulcrum romanum) and “Con mortuis in lingua mortua” 24:22
No. 9 “The Hut on Fowl’s Legs (Baba-Yagá)” 29:43
No. 10 “The Bogatyr Gates (in the Capital in Kiev)” 33:41

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Wilhelm Furtwängler “Rapsodie espagnole” Ravel: unique musical moments

FROM:

Addiobelpassato

Wilhelm Furtwängler “Rapsodie espagnole” Ravel

Rapsodie espagnole by Maurice Ravel
1. Prélude à la nuit: Très modéré
2. Malaguena: Assez vif
3. Habanera: Assez lent et d`un rythme las
4. Feria:Assez animé
Wiener Philharmoniker
Wilhelm Furtwängler, conductor
Stuttgart, 22.XI.1951

 

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Bedřich Smetana – Piano Trio in G minor, Op. 15: make music part of your life series

FROM:  kardamom5

Bedřich Smetana – Piano Trio in G minor, Op. 15

Bedřich Smetana – Piano Trio in G minor, Op. 15
by Roma Piano Trio
00.00 I. Moderato assai
11.50 II. Allegro, ma non agitato
19.58 III. Finale: Presto

Roma Piano Trio:
Angela Pardo, Piano
Alessandro D’Andrea, Violin
Marco Damiani, Cello

2004
GENUIN Musikproduktion

To buy it:
CD http://www.amazon.com/Smetana-B-Piano…
Digital https://itunes.apple.com/us/album/sme…

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Emmanuel Chabrier: Le Roi malgré lui – Danse slave [Choeur et scène] (Acte III): make music part of your life series

Emmanuel Chabrier: Le Roi malgré lui – Danse slave [Choeur et scène] (Acte III)

FROM

musicanth

The “Danse slave” at the beginning of Act III from the comic opera “Le Roi malgré lui” (King in spite of himself) by French composer Emmanuel Chabrier (1841-1894).

The libretto of this opera is a real mess, as it was written by in collaboration by two mediocre playwrights Emile de Najac and Paul Burani, partially revised by the poet Jean Richepin and later by Chabrier himself after Richepin gave up the work, disgusted. Chabrier called the libretto a “a bouillabaisse of Najac and Burani, cooked by Richepin, into which I throw the spices.” A synopsis of this convoluted opera can be found here:
http://en.wikipedia.org/wiki/Le_roi_m…

Nonetheless, the music of “Le roi malgré lui” is truly wonderful. Maurice Ravel wrote that when the opening bars of the Prelude were first played, harmony in French music completely changed course. In this series of videos, I will present selections from the opera. The famous Fête polonaise from the beginning of Act II was already posted on this channel and can be found here:
http://www.youtube.com/watch?v=TbNhug…

You can follow along with a vocal score here:
http://imslp.org/wiki/Le_Roi_malgr%C3…

Minka: Barbara Hendricks
Alexina: Isabel Garcisanz
Henri: Gino Quilico
Comte de Nangis: Peter Jeffes
Conductor: Charles Dutoit
Nouvel Orchestre Philharmonique de Radio France
Chœurs de Radio France

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make muisc part of your life series: Erik Satie – Gnossienne, 5. Modéré (08)

[youtube.com/watch?v=VqTe1-7JATA]

Erik Satie – Gnossienne, 5. Modéré (08)

Erik Satie – Gnossienne, 5. Modéré (08)

Daniel Varsano, Philippe Entremont – Erik Satie: Piano Works

• Buy “Cinquième Gnossienne: Modéré” on
  
  

  Google PlayAmazonMP3

• Artist
  Philippe Entremont, Daniel Varsano

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Flashmob – Bolero de Ravel na Pinacoteca de São Paulo, Brasil, Conservatoire de Paris, GURI & EMESP

[youtube.com/watch?v=fTd3ZsvqDiQ]

Project of Marine Gandon, Ghislain Roffat & Pierre-Olivier Schmitt

During three weeks, between August and September of 2013, musicians of the Conservatoire de Paris (CNSMDP) were in Sao Paulo for pedagogical activities with teachers and students of Tom Jobim EMESP and Guri. The exchange is the result of a partnership between the Santa Marcelina Cultura and the prestigious french Institution. One of the results of the project was the execution of Ravel’s Bolero in the shape of a flashmob, at the Pinacoteca do Estado, on 14th September.

Durante três semanas, entre agosto e setembro de 2013, músicos do Conservatório de Paris estiveram em São Paulo para atividades pedagógicas com professores e alunos da EMESP Tom Jobim e do Guri. O intercâmbio é fruto de parceria entre a Santa Marcelina Cultura e a prestigiada instituição francesa. Como um dos resultados deste intercâmbio, surgiu o flashmob Bolero de Ravel na Pinacoteca do Estado de São Paulo.

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great compositions/performances: S. Ozawa Conucts Pavane pour une Infante Defunte (Ravel)

[youtube.com/watch?v=OqAlMItkV44]

S. Ozawa Conucts Pavane pour une Infante Defunte (Ravel)

Maurice Ravel:

Pavane Pour Une Infante Defunte,
(Pavane for a Dead Princess), Orchestral Version composed by Ravel in 1910.

Conductor: Seiji Ozawa
Orchestra: Boston Symphony Orchestra

great compositions/performances: Mussorgsky: Pictures at an exhibition ( Full ) – BPO / Karajan*

[youtube.com/watch?v=kkC3chi_ysw]

Mussorgsky: Pictures at an exhibition ( Full ) – BPO / Karajan*

Herbert Von Karajan for PIFAL (Photo credit: Arturo Espinosa)

With the original survived pictures of Hartmann and others

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make music part of your life series: Maurice Ravel – Ma Mère l’Oye (Mother Goose)

[youtube.com/watch?v=5U7osEigQZM]

Maurice Ravel – Ma Mère l’Oye (Mother Goose)

A picture by Gustave Doré of Mother Goose reading written (literary) fairy tales (Photo credit: Wikipedia)

The Symphony Orchestra of the Liszt School Of Music, conducted by Prof. Nicolás Pasquet, plays Maurice Ravel’s “Ma Mère l’Oye” (Mother Goose), originally composed as a piano duet for 2 children, later transformed into a solo piano piece, then orchestrated and finally transformed into a ballet. Our Symphony Orchestra plays the Orchestra Version, which consists of 5 parts:

I. Pavane de la belle au bois dormant
Pavane of Sleeping Beauty

II. Petit Poucet
Little Tom Thumb / Hop o’ My Thumb

III. Laideronnette, impératrice des pagodes
Little Ugly Girl, Empress of the Pagodas

IV. Les entretiens de la belle et de la bête
Conversation of Beauty and the Beast

V. Le jardin féerique
The Fairy Garden

The Concert took place at the Neue Weimarhalle on December 8th, 2011

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make music part of your life series: Jules Massenet – Le Cid – Ouverture

[youtube.com/watch?v=5yHC4CRTuUQ]

Jules Massenet – Le Cid – Ouverture
Work: Le Cid, opéra in four acts, first performance 30 November 1885, Opéra, Paris.
***Libretto: Adolphe Philippe d’Ennery/Louis***

***Gallet/Edouard Blau after Pierre Corneille***
Ouverture
***Orchestra: Opera Orchestra of New York***
***Conductor: Eve Queler***

 

 

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make music part of your life series: Antonin Dvorak “Prague waltzes”

[youtube.com/watch?v=Clkp4o4xbpM]

Antonin Dvorak “Prague waltzes“

make music part of your life series -_-Antonin Dvorak -_ -Prague waltzes

 

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historic musical momants: Ravel plays Ravel – Valses Nobles et Sentimentales (1913 Welte Mignon Recording)

[youtube.com/watch?v=tcS5W-9BwZA]

Ravel plays Ravel – Valses Nobles et Sentimentales (1913 Welte Mignon Recording)

An excellent reproduction of Ravel’s 1913 Welte Mignon reproducing piano recording. This recording is free of the tempo hiccups and pedaling errors which hackneyed previous releases. The mechanism of the Welte Mignon reproducing piano system is not fully understood, as the inner workings of the units were a heavily guarded secret. There are no known Welte Mignon recording units still in existence. There were very few to begin with, and all were either dismantled or destroyed during World War II.

Special thanks to Professor Anatole Leikin of the University of California, Santa Cruz for recommending this fantastic recording and taking time to answer my questions about reproducing pianos. Be sure to pick up Professor Leikin’s fantastic new book, “The Performing Style of Alexander Scriabin” in which he explores the nuances of this unique composer’s performing style in the broader context of Romantic performance practice. Follow the link below to purchase this wonderful book!

Link to book:
http://www.amazon.com/The-Performing-…

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make music part of your life series: Philippe Gaubert : Divertissement Grec pour Deux Flûtes avec Accompagnement de Piano

[youtube.com/watch?v=hxoOzO9WrJY]

Philippe Gaubert : Divertissement Grec pour Deux Flûtes avec Accompagnement de Piano

Philippe Gaubert(1879-1941) : Divertissement Grec pour Deux Flûtes avec Accompagnement de Piano. / Keiji Katsumata, Fl.1st ; Tetsuo Kugai, Fl.2nd ; Mariko Kaneda, Piano
“Concert Salon de musique des raisins secs”
12 Aug. 2011, The Luteran Ichigaya Center, Tokyo
「第4回レーズン派の音楽館演奏会」～フィリップ・ゴーベール : 2本のフルートとピアノの為のギリシャ風嬉遊曲 /
勝俣敬二(fl)、陸井鉄男(fl)、金田真理子(Pf)
2011年8月12日、ルーテル市ヶ谷センター(東京)

Cover of Philippe Gaubert

From Wikipedia, the free encyclopedia

Philippe Gaubert (5 July 1879 – 8 July 1941) was a French musician who was a distinguished performer on the flute, a respected conductor, and a composer, primarily for the flute.

Gaubert was born in Cahors in Southwest France. He became one of the most prominent French musicians between the two World Wars. After a prominent career as a flautist with the Paris Opéra, he was appointed in 1919, at the age of forty, to three positions that placed him at the very center of French musical life:

• Professor of flute at the Conservatoire de Paris (professor of Marcel Moyse),
• Principal conductor of the Paris Opéra
• Principal conductor of the Orchestre de la Société des Concerts du Conservatoire.

In 1907 he participated in the first performance of Maurice Ravel‘s Introduction and Allegro for harp, flute, clarinet and string quartet. Among his recordings as conductor, one that he made of Franck‘s Symphony in D Minor (with the Conservatoire forces) is particularly notable.

Gaubert’s compositions are by no means especially innovative, but his work benefited from the examples of Franck, Ravel, and Debussy. Naïla, his opera in three acts, premiered at the Paris Opéra on 7 April 1927. Three of his ballets had their first performances at that venue, as well.

During 1941, Gaubert died of a stroke while in the French capital. His friend, the journalist Jean Bouzerand, convinced the town of Cahors to create a public garden named in his honor near the river Lot in the late 1930s. When Gaubert was still alive, Albert Roussel dedicated the movement ‘Monsieur de la Péjaudie’ in his piece ‘Joueurs de Flûte‘ to him.

Selected works

Chamber music

• 3 Aquarelles, for flute, cello and piano
• Ballade, for flute and piano
• Ballade for viola and piano (1938)
• Berceuse, for flute and piano
• Cantabile et Scherzetto, for cornet and piano (1909)
• Divertissement Grec, for 2 flutes and harp
• 2 Esquisses, for flute and piano
• Fantaisie for clarinet & piano
• Fantaisie, for flute and piano
• Gavotte en rondeau (after Lully’s Les ballets du roi), for flute and piano
• Madrigal, for flute and piano
• Morceau Symphonique, for trombone and piano
• Médailles antiques, for flute, violin and piano
• Nocturne et Allegro Scherzando, for flute and piano
• Pièce Romantique, for flute, cello, and piano
• Romance, for flute and piano (1905)
• Romance, for flute and piano (1908)
• Siciliene, for flute and piano
• Sonata for Flute and Piano, No.1
• Sonata for Flute and Piano, No.2
• Sonata for Flute and Piano, No.3
• Sonatine, for flute and piano
• Suite, for flute and piano
• Sur l’eau, for flute and piano
• Tarantelle, for flute, oboe and piano
• Nocturne et Allegro Scherzando for flute & piano

Vocal

• Soir paien, for voice, flute and piano
• Vocalise in form of Barcarolle, for voice and piano

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GREAT COMPOSITIONS/PERFORMANCES: Boléro – Maurice Ravel – Münchner Philharmoniker – Sergiu Celibidache

[youtube.com/watch?v=rGy2BB87gug]

Boléro – Maurice Ravel – Münchner Philharmoniker – Sergiu Celibidache

Sergiu Celibidache dirigiert die Münchner Philharmoniker; Maurice Ravel: Boléro

Inhaltsangabe der TV-Zeitschrift “Gong“:
Anläßlich des Geburtstages von Sergiu Celibidache am 28. Juni zeigt das ZDF eine Aufzeichnung des glanzvollen Interpretation von Maurice Ravels “Bolero” von 1983.

(VHS-Mitschnitt, ZDF, 1987)

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MAKE MUSIC PART OF YOUR LIFE SERIES: Maurice Ravel – Suite Ma mère l’Oye / Mother Goose Suite

[youtube.com/watch?v=z3YGf7_8RWA]

Maurice Ravel – Suite Ma mère l’Oye / Mother Goose Suite

Maurice Ravel (1875-1937), France

– Suite Ma mère l’Oye / Mother Goose Suite

I. Pavane de la Belle au bois dormant / Pavane of Sleeping Beauty [1:44]
II. Petit Poucet / Little Tom Thumb [3:24]
III. Laideronnette, Impératrice des Pagodes / Laideronnette, Empress of the Pagodas [3:41]
IV. Les Entretiens de la Belle et de la Bête / The Conversation of Beauty and the Beast [4:27]
V. Le Jardin féerique / The Fairy Garden [4:07]

London Philharmonic Orchestra
Sian Edwards

 

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Make Music Part of Your Life Series: Maurice Ravel – Valses Nobles et Sentimentales, I-V

Valses nobles et sentimentales, for piano (or orchestra) (1911)

I. Modéré
II. Assez lent
III. Modéré
IV. Assez animé
V. Presque lent
VI. Assez vif
VII. Moins vif
VIII. Epilogue: Lent

Philharmonia Slavonica
H. Adolph

Maurice Ravel could be slightly obsessive in the way he allowed certain musical interests to reappear throughout his compositions. Two such interests were dance and the past, and in Valses nobles et sentimentales one can hear how Ravel was able to effectively fuse these two curiosities together. While Le Tombeau de Couperin was inspired by the eighteenth century, the Valses was oriented toward the nineteenth century. Written out of homage to Schubert’s piano piece of the same name, the composer declared that the work’s title, “indicates clearly enough my intention of composing a chain of waltzes following the example of Schubert. The virtuoso element that was the basis of Gaspard de la nuit is here replaced by a writing of greater clarity, which has the effect of sharpening the harmony as well as the outline of the music.” Ravel achieved his goal of clarity, as the waltzes were written using intense precision, sophistication, and technical flawlessness. 

Valses nobles et sentimentales contains eight waltzes presented in the following order: Modéré, Assez lent, Modéré, Assez animé, Presque lent, Assez vif, Moins vif, and the Epilogue. Originally written for solo piano, the waltzes stimulate but do not disturb, while displaying different aspects of Ravel’s imagination including pride, tenderness, and sentiment. The work was dedicated to Louis Aubert and it was he who gave the first performance on May 9, 1911, at a concert held by the Société Musicale Indépendante, where Schubert’s piece of the same name was also premiered. As a little game, the composers’ names were withheld, leaving the audience to guess who had written each piece. Audience suggestions included Eric Satie, Zoltán Kodály, and even a correct answer from Debussy, whose ears could not be fooled by the identifiable quality he appreciated. Even though several of Ravel’s friends confessed their dislike, others claimed to be strongly drawn to the piece. Tristan Klingsor commented that he was one among several who, “were immediately seduced by the music, and yet he had taken a lot of risks, at least for the period….He had taken the use of unresolved dissonances to its furthest point. What we now find very piquant was extremely daring at the time. The first bars of the Valses seemed quite extraordinary. Then, since there was nothing there that was not well thought-out, the ear quickly grew to enjoy these pseudo-‘wrong notes,’ and a glance at the score revealed that they had a proper harmonic justification.” 

As with Ma mère l’oye Ravel allowed only himself to alter Valses nobles et sentimentales through orchestration. He adapted the waltzes for the ballet Adélaïde ou Le langage des fleurs, for a performance by the troupe of Natasha Trouhanova, and it was premiered as an orchestral work on April 22, 1912, at the Théâtre du Châtelet. Some say that the ironic overtones of the Valses foreshadow the superb choreographic poem La Valse while confirming to audiences that dissonance was indeed an essential element of his musical style. [Allmusic.com]

Art by Antoine Blanchard

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Great Compositions/Performances: Pogorelich plays Ravel: Gaspard de la nuit (Ondine – Le Gibet – Scarbo)

Gaspard de la nuit: Trois poèmes pour piano d’après Aloysius Bertrand (1908)

I. Ondine [0:00]
II. Le Gibet [7:36]
III. Scarbo [14:28]

A work for solo piano by French composer Maurice Ravel (1875-1937), based on poetry by the French proto-Symbolist Aloysius Bertrand (1807-1841). The first movement “Ondine” evokes the ethereal realm of the title water-fairy who lures hapless men into her magical lake. The second movement (“Le Gibet”) depicts a different vision: “It is a bell tinting at the walls of a city under the horizon and the carcass of a hanged man reddened by the setting sun.” The third movement “Scarbo” depicts a fiendish creature – perhaps a scarab beetle-like imp – scampering and twirling underneath the bed of the frightened observer. This movement is notorious for its incredible difficulty, since Ravel intended it to surpass Balakirev’s Islamey in technical terms.

The piece is performed by the famous Croatian pianist Ivo Pogorelich.

The text of Bertrand’s poems with English translation is available here:
https://sites.google.com/site/musican…

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Brilliant Compositions: Ravel’s Empress of the Pagodas – Christopher Parkening

This is Ravel‘s “Empress of the Pagodas” played by Christopher Parkening from the great CD: “The Artistry of Christopher Parkening”. Many thanks to ‘Music Publishing Rights Collecting Society‘ for graciously allowing this amazing recording to be shared world wide!

From wikipedia:

 

 

“Ravel originally wrote Ma mère l’oye as a piano duet for the Godebski children, Mimi and Jean, ages 6 and 7. Ravel dedicated this work for four hands to the children (just as he had dedicated an earlier work, Sonatine to their parents). Jeanne Leleu and Geneviève Durony premiered the work.”

“The Green Serpent (a green dragon, known as

 

 

Serpentin Vert in French), is a French fairy tale written by Marie Catherine d’Aulnoy, popular in its day and representative of European folklore, that was published in her book New Tales, or Fairies in Fashion (Contes Nouveaux ou Les Fées à la Mode), in 1698. The serpent is representative of a European dragon. His description is: “he has green wings, a many-coloured body, ivory jaws, fiery eyes, and long, bristling hair.”

The Green Dragon is really a handsome king placed under a spell for seven years by Magotine a wicked fairy. In many ways the tale is based on the story of Eros and Psyche, to which the narration pays conscious homage when referring to the “discovery” of the Green Dragon.”

 

Music composed by Joseph-Maurice Ravel. Charles Dutoit; Montreal Symphony Orchestra.

Music composed by Joseph-Maurice Ravel. Charles Dutoit; Montreal Symphony Orchestra.
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Great Compositions/Performances: Leonard Bernstein interprets Maurice Ravel’s Piano Concerto in G

[youtube.com/watch?v=4jYVnNHo3S8]
Great Compositions/Performances: Leonard Bernstein interprets Maurice Ravel‘s Piano Concerto in G

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GREAT PERFORMANCES: Enrica Ciccarelli : Chopin Ballade G minor

Enrica Ciccarelli : Chopin Ballade G minor

 

Fabulous Composers/Compositions: Aram Khachaturian:Masquerade Suite

Khachaturina:Masquerade Suite(Waltz/Nocturne/Mazurka/Romance/Gal­op)
The Japan Sinfonia cond.by Hisayoshi Inoue
2010/05/09/Daiichi-Seimei Hall,Tokyo

 

Maurice Ravel – Introduction & Allegro for Harp, Flute, Clarinet & String Quartet

Introduction & Allegro for harp, flute, clarinet & string quartet (1905)

Stuttgart Chamber Music Ensemble

The Introduction and Allegro (1905) is one of the few pieces by Ravel that has remained more or less in the shadows — save in the minds of harpists — throughout the last century. While it is certainly not among the composer’s most striking works, it is nevertheless a pleasant enough showpiece that looks forward to the raw sensuality of Daphnis et Chloé while hearkening back with great affection to the music of Chabrier and, especially, Franck. The full title of the work is Introduction and Allegro for Harp, Accompanied by a Quartet of Strings, Flute, and Clarinet. Although it is often conveniently designated a septet, it is really a kind of miniature (10-minute) harp concerto, complete with virtuoso writing and an extended central cadenza for the instrument. Chamber performances of the work, in fact, are few and far between; it is far more frequently heard in the orchestra hall with a full complement of strings. The general simplicity of form and harmony have led some to conclude that the Introduction and Allegro might have originally been composed as a test piece for the Paris Conservatoire; certainly it did not stand out sufficiently in Ravel’s own memory for him to include it in his list of works. 

The brief Très lent introduction presents two themes, the first for the woodwinds in leaping parallel thirds, the second an inverted-arch-shaped gesture sung by the strings in octaves. Presently a shimmering texture of arpeggios and woodwind double-tonguing takes over, inviting the cello to explore another melody before the harp rejoins the lush musical fabric. 

Twenty-six bars into the piece the Allegro commences. Now, as the harp makes an extended solo exploration of the melody presented earlier by the strings, a sonata form begins to take shape. A second, hemiola-ridden theme arrives in the woodwinds, accompanied pizzicato by the strings. The development of this material takes place in the usual fragmentary manner, building to an excited fff climax that breaks away abruptly as the harp assumes center stage with a cadenza. The recapitulation is quite straightforward, and the work ends without extensive fireworks or bombast of any kind. The Introduction and Allegro was first performed in late February 1907. [allmusic.com]

Art by Jean-Léon Gérôme

 

Fabulous Composers/Compositions: Maurice Ravel – Shéhérazade, ouverture de féerie

Maurice Ravel – Shéhérazade, ouverture de féerie:

“Shéhérazade, ouverture de féerie”, written in 1898 but unpublished, is a work for orchestra by the french composer Maurice Ravel, intended as the overture for an opera of the same name. It was first performed at a concert of the Société Nationale on 27 May 1899, conducted by the composer.

Conductor: Claudio Abbado & London Symphony Orchestra.

 

Fabulous Composers/ compositionsMaurice Ravel / Pavane for a Dead Princess

Inspired by the tragic shooting of nine year old Christina-Taylor Green on January 8, 2011, who was killed among six others during the assassination attempt on Congresswoman Gabrielle Giffords. This Spadecaller video presents observations on the subject of grief featuring the art and photography of Matthew Schwartz with composer – Maurice Ravel‘s musical composition, Pavane for a Dead Princess.

 

Ravel: Miroirs III. Une Barque sur L’Ocean (André Laplante)

Definitely the best version of this piece I’ve ever heard. Canadian pianist André Laplante is an amazing artist, and his Ravel is phenomenal.

Fabulous Performances: George Szell conducts Ravel’s Daphnis and Chloe: Suite No. 2

George Szell conducts the Cleveland Orchestra

 

Maurice Ravel – Shéhérazade, ouverture de féerie

“Shéhérazade, ouverture de féerie”, written in 1898 but unpublished, is a work for orchestra by the french composer Maurice Ravel, intended as the overture for an opera of the same name. It was first performed at a concert of the Société Nationale on 27 May 1899, conducted by the composer.

Conductor: Claudio Abbado & London Symphony Orchestra.

 

Maurice Ravel Piano Concerto in G (Leonard Bernstein)

Maurice Ravel Piano Concerto in G (Leonard Bernstein)

 

Daphnis et Chloé – Ravel – Dutoit

Maurice Ravel (1875 – 1937)

Daphnis et Chloé (1909 – 1912)
Ballet in three parts

Montreál Symphony Orchestra and Chorus
Charles Dutoit

From Wikipedia: 

Daphnis et Chloé is a ballet with music by Maurice Ravel. Ravel described it as a “symphonie choréographique” (choreographic symphony). The scenario was adapted by Michel Fokine from an eponymous romance by the Greek writer Longus thought to date from around the 2nd century AD. Scott Goddard published a contemporary commentary that discussed the changes to the story that Fokine made to prepare a workable ballet scenario.^[1] The story concerns the love between the goatherd Daphnis and the shepherdess Chloé. The ballet is in one act and three scenes.

Ravel began work on the score in 1909 after a commission from Sergei Diaghilev. It was premiered at the Théâtre du Châtelet in Paris by his Ballets Russes on June 8, 1912. The orchestra was conducted by Pierre Monteux, thechoreography was by Michel Fokine, and Vaslav Nijinsky and Tamara Karsavina danced the parts of Daphnis and Chloe. Léon Bakst designed the original sets.

Maurice Ravel Piano Concerto in G (Leonard Bernstein)

Maurice Ravel Piano Concerto in G (Leonard Bernstein)