Hélène Jourdan-Morhange Vídeos
violinista, escenógrafo, diseñador de vestuario, crítico musical, musicólogo
- violín
- Francia
Última actualización
2024-05-03
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Bach Maurice Maréchal Maréchal Eugène Bigot Bigot Lamoureux Loeb Davidov Chest Perkins Maurice Ravel Marechal Jourdan Morhange Morhange Debussy Caplet Leopold Stokowski Hekking Walewska Concerts Lamoureux Philadelphia Orchestra 1940 1948 1950
Soruce: From "The Artistry of Maurice Maréchal" issued by Toshiba-EMI. Maurice Maréchal; Eugène Bigot: Orchestre de L'Association des Concerts Lamoureux Maréchal started cello lessons as a young child and made his public debut at ten. He studied at the Paris Conservatoire under Jules Leopold-Loeb, and won first prize at the age of 15 with the Davidov Second Concerto. He graduated at the age of 19. He joined the Lamoureux Orchestra as the deputy principal cellist and, before long, as the principal. A benefit of this employment was that well-known conductors frequently appeared as guests with it, and Maréchal had a chance to observe their different podium styles and interpretations. He entered military service when World War I broke out. Naturally, he did not take his cello along. But when he discovered that two of his comrades were carpenters and woodworkers he got them to make a primitive cello from the wood of a gunpowder chest. It was serviceable, and with it Maréchal entertained his fellow soldiers throughout the war. He was demobilized after the war. He settled in Paris, marrying an American, Louise Perkins. From that base, he started an international touring career. He became especially well-known for championing contemporary French music. He worked closely with composer Maurice Ravel while the latter was composing one of his least-known masterworks, the Sonata for Violin and Cello. Marechal premiered the work with violinist Helene Jourdan-Morhange. He premiered Epiphanie, an exceptionally difficult and highly unappreciated masterpiece by Debussy's former associate Andre Caplet. Leopold Stokowski invited him to come to America and premiere it with the Philadelphia Orchestra. Maréchal is credited with having helped establish today's view of French music as beautiful, refined in tone, and making its point by emphasis of shading. This is especially notable in subsequent French cello playing. His career was again interrupted by war. When the Germans occupied France in 1940, Maréchal supported the Resistance. He also steadfastly refused all offers to play in Germany, or even on the German-dominated French radio program concerts. He concentrated on teaching, succeeding as cello professor at the Paris Conservatoire on the death of cellist Gerard Hekking. The interruption to his career was especially regrettable in his case because by the time he resumed his career he was stricken with a progressive muscular disease that took the strength from his bowing arm. He gave his last concerts in 1950, and spent the rest of his life teaching and appearing on international juries. His student Christine Walewska recalls that he stressed musical intuition, even over the express markings in the score. "Play surrendering yourself wholly to the music you are performing, and with much liberty," he advised her.
Erik Satie Hélène Jourdan Morhange Morhange Isabelle Faust Alexandre Tharaud 1717 1914 1917
Piece for violin and piano inspired by Watteau's painting (1717), displayed at the Musée du Louvre. This work is mentionned in letters to the violonist Hélène Jourdan-Morhange (march 1917) and may have been intended as a companion piece to the "Choses vues à droite et à gauche (sans lunettes)" (1914). As I do not own the score of this work, it is the Watteau's painting which appears in the video. violin: Isabelle Faust pf: Alexandre Tharaud
Maurice Ravel Alvarez Liszt Debussy Hélène Jourdan Morhange Morhange 1905 1906 2017
Year of Composition: 1905 Pianist: Daniel Alvarez Veizaga Recorded at "Teatro Municipal Modesta Sanjinés", La Paz, Bolivia. Audio Engineer: Andrés Martínez. (Elektra Estudios) October 2017 Existe una convención musical del siglo XIX que enlaza el movimiento del agua con el recurso de figuraciones rápidas y arpegiadas. Dentro de esta premisa general se encuentran: Les jeux d'eau a la Villa d'este de los Années de Pèlégrinaje de Liszt; Reflets dans l'eau y Jardins sous la pluie de Debussy; Jeux d'eau y Ondine de Ravel. Une barque sur l'océan es la realización máxima de éste recurso, como si se tratase de un hermano mayor de los Jeux d'eau. Ravel pudo haberse inspirado en uno de sus juguetes, lo cual coincidiría con el movimiento mecánico de la mano izquierda en los primeros compases. Hélène Jourdan-Morhange describe el velero de juguete en la casa de Ravel, éste contaba con una manivela oculta que lo hacía mecerse entre unas olas pintadas sobre papel. Pero también es probable que Liszt haya sido la fuente de inspiración con Les jeux d'eau a la Villa d'este. Paul Roberts sugiere que Ravel pudo haber asimilado el imaginario de agua dentro de la música de Clair de Lune de Debussy, ya que esta última fue publicada en el mismo año que Ravel se encontraba componiendo su suite. Otra posible inspiración es un viaje que realizó entre junio y julio de 1905 a bordo del yate Aimée, de cuya bandera Ravel tomo prestada la idea para el logotipo “MR” que se encuentra en la portada de sus partituras. La dedicatoria a Paul Sordes, puede ayudar a entender el carácter impresionista de ésta música, ya que Sordes era pintor y era conocido como “le Ravel de la palette”. Ravel orquestó Une Barque en 1906, sin embargo quedó decepcionado con el resultado y prohibió cualquier presentación de la misma (orden que no fue cumplida). Pese al resultado, es muy evidente la intención orquestal de Une Barque, facilitando su comprensión. Pianist: Daniel Alvarez Veizaga Recorded at "Teatro Municipal Modesta Sanjinés", La Paz, Bolivia. Audio Engineer: Andrés Martínez. (Elektra Estudios) October 2017
Maurice Ravel Gabriel Fauré Zino Francescatti Robert Casadesus Dreyfus Lyons Roland Manuel Hélène Jourdan Morhange Morhange Charpentier Enesco Louis Aubert Florent Schmitt Charles Koechlin Paul Ladmirault Roger Ducasse Ducasse Haydn 1875 1899 1902 1922 1937 1946 1972 1991
Maurice Ravel +••.••(...)): Berceuse sur le nom de Gabriel Fauré (1922) Zino Francescatti +••.••(...)), violin Robert Casadesus +••.••(...)), piano Rec. 1946 In September 1922, the Revue musicale published a special number dedicated to the 77 year old Gabriel Fauré. Ravel was one of several composers who were asked to compose a piece of music as an accompanying tribute, and he obliged (just in time) with the Berceuse sur le nom de Gabriel Fauré for violin and piano; it was composed in September 1922, "en une seule journée" [ms.]. Ravel was staying at the time at the Dreyfus family home at Lyons-la-Forêt, and as well as its official purpose, the Berceuse carries an additional dedication to Claude Roland-Manuel, the baby son who had just been born to his friend Roland-Manuel. It was one of the few pieces that Ravel was able to complete at that period when he was still trying to come to terms with the death of his mother and the ill-health which followed. The work's first performance took place in Milan, at the end of October or beginning of November 1922, in a concert of Ravel's music organised by the journal Il Convegno; Ravel played the piano part himself. The complete set of pieces composed for Fauré was played at a concert in Paris on 13 December 1922; the Berceuse was played by Hélène Jourdan-Morhange and Mme Raymond Charpentier. [The other composers represented in the tribute were George Enesco, Louis Aubert, Florent Schmitt, Charles Koechlin, Paul Ladmirault, and Roger-Ducasse.] The theme of the Berceuse is formed by adapting the letters of Fauré's name to form the sequence GABDBEE FAGDE (with the same system that Ravel had previously used for the Menuet sur le nom d'Haydn). If the piece's duration seems a meagre tribute to his most significant mentor, it may confirm the emotional and creative difficulties that Ravel was experiencing at the time. (Source: www.maurice-ravel.net)
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