Roland-Manuel Video
compositore francese
- opera
- Francia
- compositore, coreografo, musicologo, professore universitario, critico musicale
Ultimo aggiornamento
2024-05-13
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Maurice Ravel François Couperin Jacques Charlot Durand Dreyfus Roland Manuel Marguerite Long Fauré 1914 1917 1919
No.1: Prelude 00:04 No.2: Fugue 02:09 No.3: Forlane 06:08 No.4: Rigaudon 10:32 No.5: Menuet 13:11 No.6: Toccata 16:40 Pf. Samson Francois In this extraordinary work, which is conceived as a Baroque suite, Ravel pays homage to the rich tradition of French Baroque music for the harpsichord, as exemplified by the works of François Couperin. It was certainly not Ravel's intention to imitate Couperin, or any other Baroque composer; instead, he included elements of Baroque style without altering his own unique style. While Ravel's pianism is unmistakably modern, his refined, meticulous approach to the keyboard clearly shows an affinity with the French Baroque masters. However, the word "tomb" in the title also had a deeper personal significance for Ravel, who dedicated each movement of the suite to a friend who died World War I. The manuscript is dated 1914-1917, so it is difficult to determine if any significant portions of the work were written before the war. At any rate, Ravel intended the composition as a memorial to his friends; while there are moments of lightness and humor in this music, which prompted some to criticize the composer's supposedly irreverent attitude toward death, beneath the flashes of wit one hears profound melancholy tones in the returning soldier's tribute to his fallen comrades. Dedicated to Lieutenant Jacques Charlot, who worked for Ravel's publisher Durand, the Prélude is a veritable whirlpool of sound, the sensation of fluidity created by elegantly executed triplet figurations. A triplet figure also appears in the noble, marmoreal Fugue, dedicated to Lieutenant Jean Cruppi, whose mother had played an important role in the production of L'Heure espagnole. Deceptively simple, this movement is a demanding polyphonic construction which Ravel executes with his characteristically brilliant nonchalance. The Forlane, the French variant of an old Italian dance, bears a dedication to Lieutenant Gabriel Deluc, a friend from St-Jean-de-Luz, in Ravel's native Basque region. As Vladimir Jankélévitch remarked, this noble and melancholy movement is like a lullaby. However, there is something slightly jarring and manic in this lullaby, and the manic energy turns into a nervous / but infinitely charming / narrative, the Rigaudon. Dedicated to Ravel's St-Jean-de-Luz friends Pierre and Pascal Gaudin, two brothers who were killed by the same shell on their first day of combat, the Rigaudon is named after an ancient Provençal dance. This movement opens with a poignant figuration, which, recurring with the power of an irresistible fixation, defines the identity of the entire piece. Ravel dedicated the Menuet to Jean Dreyfus, step-brother of the composer and critic Roland-Manuel. Unfolding with the calm pace of an unassuming narrative, this movement, despite its apparently peaceful simplicity, unveils, if only for a moment, feelings of mournful foreboding. The final movement, Toccata is dedicated to Captain Joseph de Marliave, husband of Marguerite Long and devoted admirer of Fauré's music. In this movement, the half-hidden disquietude of the entire composition finally comes to the fore. While the percussive, obsessively recurring figurations may define this movement as a composition dominated by technical demands, there are, trapped in a carapace of busy, hammering gestures, enchanting moments of quiet lyricism. Marguerite Long gave the first performance of Le Tombeau de Couperin in 1919; that year, Ravel completed his brilliant orchestration of the Prelude, Forlane, Minuet, and Rigaudon, adding splendid orchestral color to these exquisite musical creations.
Éric Alfred Leslie Satie France Clidat John Cage Georges Prêtre Pantagruel 1866 1925 1979 1984
Éric Alfred Leslie Satie / Erik Satie +••.••(...)) - Complete piano works / L’oeuvre pour piano. Qobuz (http•••) Tidal (http•••) Spotify (http•••) Youtube Music (http•••) Apple Music (http•••) Amazon Music (http•••) Deezer (http•••) Soundcloud (http•••) Napster (http•••) Awa日本 (http•••) LineMusic日本 (http•••) QQ音乐 (http•••) *Click to activate the English subtitles for the presentation* (00:00-05:42) Gymnopédies (00:07) Nocturnes (07:47) Gnossiennes (14:36) Avant-dernières pensées (21:55) ‘’Je te veux’’ valse (25:10) Prélude de la porte héroïque du ciel (30:09) Les trois valses distinguées du précieux dégoûté (34:15) Poudre d’or (37:14) Sonneries de la rose croix (41:39) Descriptions automatiques (53:05) Heures séculaires et instantanées (57:23) Pièces froides (1:00:41) Pièces froides (1:07:44) Nouvelles pièces froides (1:11:23) 4e Gnosienne (1:17:49) 5e Gnosienne (1:20:49) 6e Gnosienne (1:23:25) Embryons desséchés (1:25:04) Caresse (1:31:39) Préludes flasques (1:33:02) Véritables préludes flasques (1:36:27) Les fils des étoiles (1:39:06) Croquis et agaceries (1:51:10) Vieux séquins et vieilles cuirasses (1:55:27) 1er Sarabande (1:59:58) 2e Sarabande (2:04:35) 3e Sarabande (2:08:57) Chapitres tournes en tous sens (2:13:06) 4e Nocturne (2:19:53) 5e Nocturne (2:22:04) 2 Reveries nocturnes (2:24:12) Reverie de l’enfance de pantagruel (2:27:08) Songe creux (2:29:13) 1er Pensee rose et croix (2:31:01) 12 Petits chorals (2:32:18) Menus propos enfantins (2:40:26) Enfantillages pittoresques (2:43:37) Peccadille importune (2:46:55) Sports et divertissements (2:49:36) Valse - ballet (3:01:53) Fantaisie - valse (3:03:38) Sonatine bureaucratique (3:05:53) 1er Menuet (3:09:19) Petite aventure a danser (3:12:27) Prelude en tapisserie (3:14:02) Les pantins dansent (3:16:05) Passacaille (3:17:54) Le piccadilly (3:20:44) Piano : France Clidat Recorded in 1979 FOLLOW US on SPOTIFY (Profil: CMRR) : (http•••) Download CMRR's recordings in High fidelity audio (QOBUZ) : (http•••) *COMMENTAIRE COMPLET : VOIR PREMIER COMMENTAIRE ÉPINGLÉ.* En 1905, alors qu'il a presque quarante ans, il décide d'étudier la musique "sérieusement" et se rend à la Schola Cantorum pour étudier avec les professeurs Vincent d'Indy et Albert Roussel. Il en sort quelques années plus tard avec un diplôme qu'il passe avec distinction. Dès la fin de sa formation académique, il se lance dans une voie d'avant-garde. Lors d'un concert de la Société internationale de musique, en 1911, Ravel met lui-même en avant quelques œuvres du musicien qu'il qualifie, deux ans plus tard, de "brillant précurseur". Ravel a également orchestré la musique de théâtre "Fils des étoiles". Puis Roland-Manuel orchestre le "Prélude des portes du ciel héroïques" et Debussy orchestre et dirige ses 1ère et 3ème Gymnopédies. À cette époque, Satie écrit à son frère : "À ce propos, c'est aux "jeunes" d'organiser un mouvement anti-indien et de faire exécuter les "Sarabandes", "Fils des étoiles", etc., des œuvres qui, dans le passé, étaient considérées comme le résultat d'une grande ignorance, à tort, selon ces "jeunes". C'est la vie, mon vieux. Impossible à comprendre". Maintenant il était à jour, "avec elle". En trois ans, il a écrit une soixantaine de pièces pour piano, des pièces qui, par leurs titres ou leurs formes, continuent à exploiter la parodie, la moquerie et la farce. Viennent ensuite l'attrait pour le théâtre, l'association avec Jean Cocteau, les ballets "Parade", "Relâche" et "Mercure", le drame symphonique "Socrate", "Musique d'ameublement", la musique du film "Entr'acte" de René Clair. . . Erik Satie meurt en 1925 à l'hôpital Saint-Joseph de Paris d'un excès de boisson ou d'une pneumonie. Satie - The Gymnopédies / Orchestra (reference recording : Georges Prêtre) (http•••)
Maurice Thiriet Roger Bourdin Charles Koechlin Alexis Roland Manuel Maurice Jaubert Francis Poulenc Jean Françaix 1906 1925 1931 1942 1960 1972
Maurice Thiriet +••.••(...)) Concerto for Flute and Strings I. Allegretto giocoso II. Adagio espressivo 5:40 III. Allegretto scherzando 13:50 Roger Bourdin, flute Orchestre de Chambre de l'O.R.T.F Jean Doussard, conductor Maurice Thiriet (2 April 1906 / 28 September 1972) was a French composer of classical and film music. Born in Meulan, Yvelines, he entered the Paris conservatory in 1925 to study counterpoint and fugue with Charles Koechlin and orchestration and arrangement under Alexis Roland-Manuel. He graduated in 1931. During the forties Thiriet carved his career within film music, inspired by fellow composer Maurice Jaubert (who died in World War II), and wrote something like twenty scores from 1942 to 1960. Apart from his film work, Thiriet also composed several concert works, including a Flute concerto, ten ballets and two operas. His style, which was influenced by Jaubert and Roland-Manuel, is characterized by taught construction and modest, nearly impressionistic harmonization and often bears a classical grace not unlike that of Francis Poulenc and Jean Françaix
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