- published: 15 Jan 2008
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![Maurice Ravel-Bolero [FULL]](http://web.archive.org./web/20130411034540im_/http://i.ytimg.com/vi/LWcpw3GAAms/default.jpg "DISCLAIMER: (All images and music are copyrighted by their respective copyright owners.)")
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- André Gedalge
- Antoine Wiertz
- Anton Reicha
- Antoni Malczewski
- Arnold Bax
- Arnold Schoenberg
- Arturo Toscanini
- Basque people
- Bedřich Smetana
- Benjamin Ivry
- Bettina von Arnim
- Brothers Grimm
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- Franz Liszt
- Franz Schubert
- François Couperin
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- Friedrich Hölderlin
- Friedrich Schiller
- Fromental Halévy
- Frédéric Chopin
- Gabriel Fauré
- Gaetano Donizetti
- Gaspare Spontini
- Georg Wilhelm Pabst
- George Gershwin
- George Raft
- Germaine de Staël
- Giacomo Leopardi
- Giacomo Meyerbeer
- Gioachino Rossini
- Giuseppe Verdi
- Gonçalves Dias
- Gustav Mahler
- Gustav Schwab
- Gérard de Nerval
- Hans Gude
- Hector Berlioz
- Heinrich Heine
- Heinrich Marschner
- Heinrich von Kleist
- Henry Fuseli
- Ignaz Moscheles
- Igor Stravinsky
- Jacques Ibert
- Jan Potocki
- Jan Václav Voříšek
- Jean Paul
- Johan Christian Dahl
- Johannes Brahms
- John Clare
- John Constable
- John Keats
- Joseph Haydn
- José de Espronceda
- José Zorrilla
- Juliusz Słowacki
- Karel Hynek Mácha
- Karl Bryullov
- Les Six
- Lord Byron
- Louis Niedermeyer
- Louise Bertin
- Ludwig Feuerbach
- Ludwig Tieck
- Ludwig Uhland
- Ludwig van Beethoven
- Léon Bakst
- Manuel de Falla
- Manuel Rosenthal
- Marguerite Long
- Mary Shelley
- Maurice Delage
- Maurice Ravel
- Michel Fokine
- Miguel de Cervantes
- Mikhail Glinka
- Mikhail Lermontov
- Modest Mussorgsky
- Nathaniel Hawthorne
- Niccolò Paganini
- Nikolay Karamzin
- Novalis
- Olin Downes
- Paul Wittgenstein
- Percy Bysshe Shelley
- Philipp Otto Runge
- Philipp Veit
- Pierre Petit
- Piotr Michałowski
- Ralph Waldo Emerson
- Ricardo Viñes
- Richard Strauss
- Richard Wagner
- Robert Burns
- Robert Schumann
- Romani people
- Samuel Palmer
- Serge Koussevitzky
- Sergei Diaghilev
- Sergei Prokofiev
- Sigismond Thalberg
- Stendhal
- Stéphane Mallarmé
- Taras Shevchenko
- Théodore Dubois
- Théodore Géricault
- Théophile Gautier
- Tristan Klingsor
- Ugo Foscolo
- Varda Kotler
- Vasily Zhukovsky
- Vaslav Nijinsky
- Victor Hugo
- Vincenzo Bellini
- Virgil Thomson
- Vlado Perlemuter
- Walter Gieseking
- Walter Scott
- Washington Irving
- Wikipedia Persondata
- Wilhelm Hauff
- William Blake
- William Wordsworth
- Zygmunt Krasiński
- Émile Descombes
- Étienne Méhul
- Éva Gauthier
Ravel, Maurice Filmography
- Monotoni (2012)
- In Dreams, En Rêves, In Träumen (2012)
- 57th Annual Young Musicians Foundation Gala (2012)
- Low Definition Control - Malfunctions #0 (2011)
- Le journal d'une femme de chambre (2011)
- Equality (2010)
- Edge Play (2008)
- La passion boléro (2007)
- La paz de tus ojos tristes (2006)
- Comme des voleurs (à l'est) (2006)
- Wer war Kafka? (2006)
- Ballero (2005)
- Villy (2005)
- Ma mère l'oye (2004)
- Ícaro (1995)
- O viasmos tis Hlois (1995)
- A kert (1993)
- Lilly (1993)
- Bolero (1993)
- L'uomo diviso dall'ombra (1991)
- Matinee (1989)
- Numéro spécial (1987)
- Ravel (1987)
- A remény joga (1981)
- Die spanische Stunde (1967)
Famous quotes by Maurice Ravel:
"Another significant influence, other than Chabrier - is from Satie, who had a notable effect on Debussy, on myself, and, to tell the truth, on the majority of modern French composers."
"I did my work slowly, drop by drop. I tore it out of me by pieces."
"I am not one of the great composers. All the great have produced enormously. There is everything in their work - the best and the worst, but there is always quantity. But I have written relatively little."
"It is beautiful; it is beautiful after all; I have said nothing; I leave nothing. I have not said what I wanted to say. I have so much more to say."
"I look like a moor."
"I begin by considering an effect."
"Music, I feel, must be emotional first and intellectual second."
"We should always remember that sensitiveness and emotion constitute the real content of a work of art."
"You might lose your spontaneity and, instead of composing first-rate Gershwin, end up with second rate Ravel."
"The only love affair I have ever had was with music."
"For Debussy the musician and the man I have had profound admiration, but by nature I'm different from him. I think I have always personally followed a direction opposed to that of the symbolism of Debussy."
"My intention here is to make it clear that not a single cell of my composition, here in regard to The Raven, is found by chance or intuition, that the composition moved towards perfection with the precision and inevitability of a mathematical equation."
"Remember that I wrote a pavane for a dead princess, and not a dead pavane for a princess!"
RELEASE
ALBUMS
- Gaspard de la nuit: I. Ondine
- Gaspard de la nuit: II. Le gibet
- Gaspard de la nuit: III. Scarbo
- Sonatine: I. Modéré
- Sonatine: II. Mouvement de menuet
- Sonatine: III. Animé
- Miroirs: I. Noctuelles
- Miroirs: II. Oiseaux tristes
- Miroirs: III. Une barque sur l'océan
- Miroirs: IV. Alborada del gracioso
- Miroirs: V. La vallée des cloches
- La valse
- Sonatine: Modéré
- Sonatine: Mouvement de menuet
- Sonatine: Animé
- Forlane (from Le tombeau de Couperin)
- Pavane pour une infante défunte
- Hommage à Haydn
- Menuet sur le nom d'Haydn
- D'un cahier d'esquisses
- Images oubliées: Lent (Mélancolique et Doux)
- Images oubliées: Souvenir du Louvre
- Images oubliées: Quelques aspects de nous n'irons plus au bois' parce qu'll fait un temps insupportable
- Etude retrouvée
- Nocturne
- À la manière de... Chabrier
- Ballade
- 3 Movements from Petrushka transcribed for piano: Danse russe. Allegro giusto
- 3 Movements from Petrushka transcribed for piano: Chez Pétrouchka
- 3 Movements from Petrushka transcribed for piano: La Semaine grasse. Con moto - Allegretto - Tempo giusto - Agitato
- Sonata for keyboard in E major, K. 380 "Cortège"
- Variations on a Theme by Paganini, for piano, in A minor, Op. 35: Book 1. Thema. Non troppo presto
- Variations on a Theme by Paganini, for piano, in A minor, Op. 35: Book 1. Variation 1
- Variations on a Theme by Paganini, for piano, in A minor, Op. 35: Book 1. Variation 2
- Variations on a Theme by Paganini, for piano, in A minor, Op. 35: Book 1. Variation 3
- Variations on a Theme by Paganini, for piano, in A minor, Op. 35: Book 1. Variation 4
- Variations on a Theme by Paganini, for piano, in A minor, Op. 35: Book 1. Variation 5
- Variations on a Theme by Paganini, for piano, in A minor, Op. 35: Book 1. Variation 6
- Variations on a Theme by Paganini, for piano, in A minor, Op. 35: Book 1. Variation 7
- Variations on a Theme by Paganini, for piano, in A minor, Op. 35: Book 1. Variation 8
- Variations on a Theme by Paganini, for piano, in A minor, Op. 35: Book 1. Variation 9
- Variations on a Theme by Paganini, for piano, in A minor, Op. 35: Book 1. Variation 10
- Variations on a Theme by Paganini, for piano, in A minor, Op. 35: Book 1. Variation 11
- Variations on a Theme by Paganini, for piano, in A minor, Op. 35: Book 1. Variation 12
- Variations on a Theme by Paganini, for piano, in A minor, Op. 35: Book 2. Variation 1
- Variations on a Theme by Paganini, for piano, in A minor, Op. 35: Book 2. Variation 2
- Variations on a Theme by Paganini, for piano, in A minor, Op. 35: Book 2. Variation 5
- Variations on a Theme by Paganini, for piano, in A minor, Op. 35: Book 2. Variation 6
- Variations on a Theme by Paganini, for piano, in A minor, Op. 35: Book 2. Variation 7
- Variations on a Theme by Paganini, for piano, in A minor, Op. 35: Book 2. Variation 8
- Variations on a Theme by Paganini, for piano, in A minor, Op. 35: Book 2. Variation 10
- Variations on a Theme by Paganini, for piano, in A minor, Op. 35: Book 2. Variation 11
- Variations on a Theme by Paganini, for piano, in A minor, Op. 35: Book 2. Variation 12
- Variations on a Theme by Paganini, for piano, in A minor, Op. 35: Book 2. Variation 13
- Variations on a Theme by Paganini, for piano, in A minor, Op. 35: Book 2. Variation 3
- Variations on a Theme by Paganini, for piano, in A minor, Op. 35: Book 2. Variation 4
- Variations on a Theme by Paganini, for piano, in A minor, Op. 35: Book 1. Variation 13
- Variations on a Theme by Paganini, for piano, in A minor, Op. 35: Book 1. Variation 14
- Sonata for keyboard in F minor, K. 466
- La Valse
The Piano Concertos / Miroirs (Cleveland Orchestra feat. conductor: Pierre Boulez, piano: Pierre-Laurent Aimard)
Released 2010
Released 2010
- Concerto for Piano and Orchestra for the Left Hand in D Major: Lento - Andante - Allegro - Tempo I
- Concerto for Piano and Orchestra in G Major: I. Allegramente - Andante - Tempo I
- Concerto for Piano and Orchestra in G Major: II. Adagio assai
- Concerto for Piano and Orchestra in G Major: III. Presto
- Miroirs for Piano solo: Noctuelles
- Miroirs for Piano solo: Oiseaux tristes
- Miroirs for Piano solo: Une barque sur l'océan
- Miroirs for Piano solo: Alborada del gracioso
- Miroirs for Piano solo: La Vallée des cloches
- Coppélia: Tableau III, No. 19. Marche de la cloche / No. 20. Fête de la cloche - Divertissement
- Coppélia: Tableau III, No. 20a. Valse des heures
- Coppélia: Tableau III, No. 20b. L'aurore
- Coppélia: Tableau III, No. 20c. La prière
- Coppélia: Tableau III, No. 20d. Le travail (La fileuse)
- Coppélia: Tableau III, No. 20e. L'hymen (Noce villageoise)
- Coppélia: Tableau III, No. 20f. La discorde et la guerre
- Coppélia: Tableau III, No. 20g. La paix
- Coppélia: Tableau III, No. 20h. Galop final
- Sylvia - Suite: I. Prélude - Les chasseresses
- Sylvia - Suite: II. Intermezzo et Valse lente
- Sylvia - Suite: III. Pizzicati
- Sylvia - Suite: IV. March - Cortège de Bacchus
- Daphnis et Chloé: Suite No. 2, I. Lever du jour
- Daphnis et Chloé: Suite No. 2, II. Pantomine
- Daphnis et Chloé: Suite No. 2, III. Danse générale
- Bolero
- Daphnis et Chloé, Suite No. 2: Lever du jour / Pantomime / Danse générale
- La Valse
- Ma mère l'oye: I. Pavane de la belle au bois dormant
- Ma mère l'oye: II. Petit Poucet
- Ma mère l'oye: III. Laideronnette, impératrice des pagodes
- Ma mère l'oye: IV. Les entretiens de la belle et de la bête
- Ma mère l'oye: V. Le jardin féerique
- Tzigane
- Daphnis et Chloé Suite No. 2: I. Lever du jour
- Daphnis et Chloé Suite No. 2: II. Pantomime
- Daphnis et Chloé Suite No. 2: III. Danse générale
- Valses nobles et sentimentales: I. Modéré
- Valses nobles et sentimentales: II. Assez lent
- Valses nobles et sentimentales: III. Modéré
- Valses nobles et sentimentales: IV. Assez animé
- Valses nobles et sentimentales: V. Presque lent
- Valses nobles et sentimentales: VI. Vif
- Valses nobles et sentimentales: VII. Moins vif
- Valses nobles et sentimentales: VIII. Épilogue. Lent
- La Valse
- Ma mère l'Oye: I. Pavane de la Belle au bois dormant
- Ma mère l'Oye: II. Les entretiens de la Belle et de la Bête
- Ma mère l'Oye: III. Petit Poucet
- Ma mère l'Oye: IV. Laideronnette, Impératrice des Pagodes
- Ma mère l'Oye: V. Apothéose. Le Jardin féerique
BBC Music, Volume 16, Number 13: Gershwin: Piano Concerto in F / Ravel: Piano Concerto in G
Released 2008
Released 2008
- Piano Concerto in F major: I. Allegro
- Piano Concerto in F major: II. Adagio - Andante con moto
- Piano Concerto in F major: III. Allegro agitato
- Piano Concerto in G major: I. Allegramente
- Piano Concerto in G major: II. Adagio assai
- Piano Concerto in G major: III. Presto
- Pohádka, Op. 16: I. The True Love of Radúz and Mahulena
- Pohádka, Op. 16: II. Playing Swans and Peacocks
- Pohádka, Op. 16: III. Funeral Music
- Pohádka, Op. 16: IV. Love Lifts the Runa's Curse
- The Love for Three Oranges Suite, Op. 33bis: I. Ridiculous Fellows
- The Love for Three Oranges Suite, Op. 33bis: II. Magician Celio and Fata Morgan play cards
- The Love for Three Oranges Suite, Op. 33bis: III. March
- The Love for Three Oranges Suite, Op. 33bis: IV. Scherzo
- The Love for Three Oranges Suite, Op. 33bis: V. The Prince and the Princess
- The Love for Three Oranges Suite, Op. 33bis: VI. Flight
- Ma mère l'oye, Op. 62: I. Pavane of the Sleeping Beauty
- Ma mère l'oye, Op. 62: II. Tom Thumb
- Ma mère l'oye, Op. 62: III. Laideronnette, Empress of the Pagodas
- Ma mère l'oye, Op. 62: IV. Conversation of Beauty and the Beast
- Ma mère l'oye, Op. 62: V. The Fairy Garden
- Boléro
- Miroirs: III. Une barque sur l'océan
- Ma Mère l'Oye: I. Prélude (Très lent)
- Ma Mère l'Oye: II. 1re tableau, Danse du Rouet et scène
- Ma Mère l'Oye: III. 2ème tableau, Pavane de la Belle au bois dormant
- Ma Mère l'Oye: IV. Interlude
- Ma Mère l'Oye: V. 3ème tableau, Les entretiens de la Belle et de la Bête
- Ma Mère l'Oye: VI. Interlude
- Ma Mère l'Oye: VII. 4ème tableau, Petit Poucet
- Ma Mère l'Oye: VIII. Interlude
- Ma Mère l'Oye: IX. 5ème tableau, Laideronnette, Impératrice des Pagodes
- Ma Mère l'Oye: X. Interlude
- Ma Mère l'Oye: XI. 6ème tableau, Le jardin féerique
- Miroirs: IV. Alborada del gracioso
- Rapsodie espagnole: I. Prélude à la nuit
- Rapsodie espagnole: II. Malagueña
- Rapsodie espagnole: III. Habanera
- Rapsodie espagnole: IV. Feria
- Gaspard de la Nuit: I. Ondine
- Gaspard de la Nuit: II. Le Gibet
- Gaspard de la Nuit: III. Scarbo
- Pavane Pour une Infante Défunte
- Valses Nobles et Sentimentales
- Jeux d'Eau
- Miroirs: I. Noctuelles
- Miroirs: II. Oiseaux Tristes
- Miroirs: III. Une Barque Sur l'Ocean
- Miroirs: IV. Alborado del Gracioso
- Miroirs: V. La Vallée des Clothes
- Don quichotte à dulcinee: I. Chanson romanesque
- Don quichotte à dulcinee: II. Chanson épique
- Don quichotte à dulcinee: III. Chanson à boire
- Le livre de baudelaire: I. Le balcon
- Le livre de baudelaire: II. Harmonie du soir
- Le livre de baudelaire: III.Le jet D'eau
- Le livre de baudelaire: IV. Recueillement
- Songs of travel: I. The vagabond
- Songs of travel: II. Let beauty awake
- Songs of travel: III. The roadside fire
- Songs of travel: IV. Youth and love
- Songs of travel: V. In dreams
- Songs of travel: VI. The infinite shining heavens
- Songs of travel: VII. Whither must: i. wander?
- Songs of travel: VIII. Bright is the ring of words
- Songs of travel: IX.: I. have trod the upward and the downward slope
- Valses nobles et sentimentales: I. Modéré
- Valses nobles et sentementales: II. Assez lent
- Valses nobles et sentimentales: III. Modéré
- Valses nobles et sentimentales: IV. Assez animé
- Valses nobles et sentimentales: V.Presque lent
- Valses nobles et sentimentales: VI. Assez vif
- Valses nobles et sentimentales: VII. Moins vif
- Valse nobles et sentimentales: VIII. Epilogue: Lent
- Sérénade grotesque
- Menuet antique
- Pavane pour une infante défunte
- Jeux d'eau
- Sonatine: I. Modéré
- Sonatine: II. Mouvement de Menuet
- Sonatine: III. Animé
- Miroirs: I. Noctuelles
- Miroirs: II. Oiseaux tristes
- Miroirs: III. Une barque sur l'océan
- Miroirs: IV. Alborada del gracioso
- Miroirs: V. La Vallée des cloches
- Le Tombeau de Couperin: VI. Toccata
- Miroirs: II. Oiseaux Tristes
- Pavane pour une Infante Défunte
- Sonatine: I. Modéré
- Sonatine: II. Mouvement de Menuet
- Ma mère l'oye: III. Laideronnette, impératrice des pagodes / IV. Les entretiens de la belle et de la bête (feat. piano: Walter Damrosch & Polly Damrosch)
- Jeux d'Eau (feat. piano: Robert Schmitz)
- Miroirs: V. La Vallée des Cloches
- Gaspard de la Nuit: II. Le Gibet
- Gaspard de la Nuit: I. Ondine (feat. piano: Katherine Bacon)
- Valses Nobles et Sentimentales
- Boléro (feat. piano: Rudolph Ganz)
- Sonate posthume pour violon et piano (1897): Allegro moderato (très doux) (feat. violin: Josef Suk, piano: Josef Hála)
- Pièce en forme de habanera, transcription pour violon et piano (feat. violin: Josef Suk, piano: Josef Hála)
- Sonate pour violon and violoncelle (1919-21): I. Allegro (feat. violin: Josef Suk, cello: André Navarra)
- Sonate pour violon and violoncelle (1919-21): II. Très vif (feat. violin: Josef Suk, cello: André Navarra)
- Sonate pour violon and violoncelle (1919-21): III. Allegro (feat. violin: Josef Suk, cello: André Navarra)
- Sonate pour violon and violoncelle (1919-21): IV. Vif, avec entrain (feat. violin: Josef Suk, cello: André Navarra)
- Sonate pour violon et piano (1923-27): I. Allegretto (feat. violin: David Oistrach, piano: Frida Bauer)
- Sonate pour violon et piano (1923-27): II. Blues (feat. violin: David Oistrach, piano: Frida Bauer)
- Sonate pour violon et piano (1923-27): III. Perpetuum mobile (feat. violin: David Oistrach, piano: Frida Bauer)
- Tzigane, rhapsodie de concert pour violon et piano (1924): Lento - Moderato - Allegro (feat. violin: David Oistrach, piano: Vladimir Yampolsky)
Daphnis et Chloé Suite no. 2 / Pavane pour une infante défunte / La valse / Ma mère l'oye / Boléro
Released 2004
Released 2004
- Daphnis et Chloé Suite No. 2: I. Lever du jour
- Daphnis et Chloé Suite No. 2: II. Pantomime
- Daphnis et Chloé Suite No. 2: III. Danse générale
- Pavane pour une infante défunte
- La valse
- Ma mère l'oye: I. Pavane de la Belle au bois dormant
- Ma mère l'oye: II. Petit Poucet
- Ma mère l'oye: III. Laideronnette, Impératice des Pagodes
- Ma mère l'oye: IV. Les entretiens de la Belle et de la Bête
- Ma mère l'oye: V. Le jardin féerique
- Boléro
- Sonate posthume (1897)
- Impressions d'enfance, op. 28
- Violin Sonata No. 3, op. 25: I. Moderato malinconico
- Violin Sonata No. 3, op. 25: II. Andante sostenuto e misterioso
- Violin Sonata No. 3, op. 25: III. Allegro con brio, ma non troppo mosso
- Tzigane - Rapsodie de concert
- String Quartet in F Major: I. Allegro Moderato
- String Quartet in F Major: II. Assez vif - Tres rythme
- String Quartet in F Major: III. Tres lent
- String Quartet in F Major: IV. Vif et agite
- Introduction et Allegro
- Trio for piano, violin and cello: I. Modere
- Trio for piano, violin and cello: II. Pantom
- Trio for piano, violin and cello: III. Passacaille
- Trio for piano, violin and cello: IV. Final
- Piano Trio In A Minor - 1. Modéré
- Piano Trio In A Minor - 2. Pantoum
- Piano Trio In A Minor - 3. Passacaille
- Piano Trio In A Minor - 4. Finale: Animé
- Violin Sonata #2 In G - 1. Allegretto
- Violin Sonata #2 In G - 2. Blues
- Violin Sonata #2 In G - 3. Perpetuum Mobile
- Sonata For Violin & Cello - 1. Allegro
- Sonata For Violin & Cello - 2. Très Vif
- Sonata For Violin & Cello, Lent
- Sonata For Violin & Cello - 3. Vif, Avec Entrain
- Sonata For Violin & Piano, "Sonate Posthume"
- Bolero
- La Valse
- Rapsodie espagnole - Prelude a la nuit
- Rapsodie espagnole - Malaguena / Habanera
- Rapsodie Espagnole - Feria
- Valses Nobles et Sentimentals
- Adagio assai
- Symphony No. 7 F major I: Allegro moderato
- Symphony No. 7 F major II: Adagio. Sehr feierlich und langsam
- Symphony No. 7 F major III: Scherzo. Sehr schnell
- Symphony No. 7 F major IV: Finale. Bewegt, doch nicht zu schnell
- Suite Bergamasque: I. Prélude. Moderato (tempo rubato)
- Suite Bergamasque: II. Menuet. Andantino
- Suite Bergamasque: III. Clair de lune. Andante très expressif
- Suite Bergamasque: IV. Passepied. Allegretto ma non troppo
- Estampes: Pagodes. Modérément animé
- Estampes: La Soirée dans Grenade. Mouvement de Habanera
- Images: Reflets dans l'eau. Andantino molto
- L'Isle joyeuse
- Sonatine: I. Modéré
- Sonatine: II. Mouvement de menuet
- Sonatine: III. Animé
- Miroirs: La Vallée des cloches. Très lent
- Kreisleriana Op. 16: I. Äußerst bewegt
- Kreisleriana Op. 16: II. Sehr innig und nicht zu rasch
- Kreisleriana Op. 16: III. Sehr aufgeregt
- Kreisleriana Op. 16: IV. Sehr langsam
- Kreisleriana Op. 16: V. Sehr lebhaft
- Kreisleriana Op. 16: VI. Sehr langsam
- Kreisleriana Op. 16: VII. Sehr rasch
- Kreisleriana Op. 16: VIII. Schnell und spielend
Debussy: String quartet in G minor / Ravel: String quartet in F major / Berg: String quartet
Released 1999
Released 1999
- String Quartet in G minor, Op. 10: I. Animé et très décidé
- String Quartet in G minor, Op. 10: II. Assez vif et bien rythmé
- String Quartet in G minor, Op. 10: III. Andantino, doucement expressif
- String Quartet in G minor, Op. 10: IV. Très modéré - Très mouvementé et avec passion
- String Quartet in F major: I. Allegro moderato
- String Quartet in F major: II. Assez vif - Trés rythmé
- String Quartet in F major: III. Très lent
- String Quartet in F major: IV. Vif et agité
- String Quartet, Op. 3: I. Langsam
- String Quartet, Op. 3: II. Mässige Viertel
L'Enfant et les Sortilèges / Ma Mère l'Oye (London Symphony Orchestra feat. André Previn)
Released 1999
Released 1999
- L'Enfant et les Sortilèges: J'ai pas envie de faire ma page
- L'Enfant et les Sortilèges: Bébé a été sage ?
- L'Enfant et les Sortilèges: Ça m'est égal !
- L'Enfant et les Sortilèges: Votre serviteur humble, Bergère
- L'Enfant et les Sortilèges: Ding, ding, ding, ding
- L'Enfant et les Sortilèges: How's Your Mug?
- L'Enfant et les Sortilèges: Keng-ca-fou, Mah-jong
- L'Enfant et les Sortilèges: Oh ! Ma belle tasse chinoise !
- L'Enfant et les Sortilèges: Arrière ! Je réchauffe les bons
- L'Enfant et les Sortilèges: Adieu, pastourelles !
- L'Enfant et les Sortilèges: Ah ! C'est Elle ! C'est Elle !
- L'Enfant et les Sortilèges: Toi, le coeur de la rose
- L'Enfant et les Sortilèges: Deux robinets coulent dans un réservoir !
- L'Enfant et les Sortilèges: Oh ! ma tête !
- L'Enfant et les Sortilèges: Duo miaulé
- L'Enfant et les Sortilèges: Musique d'insectes, de rainettes, etc.
- L'Enfant et les Sortilèges: Ah ! Quelle joie de te retrouver, Jardin !
- L'Enfant et les Sortilèges: Où es-tu ? Je te cherche...
- L'Enfant et les Sortilèges: (Ronde des chauves-souris) Rends-la moi !... Tsk, tsk...
- L'Enfant et les Sortilèges: Danse des rainettes
- L'Enfant et les Sortilèges: Sauve-toi, sotte ! Et la cage ? La cage ?
- L'Enfant et les Sortilèges: La cage, c'était pour mieux voir ta prestesse
- L'Enfant et les Sortilèges: Ah ! C'est l'Enfant au couteau !
- L'Enfant et les Sortilèges: Il a pansé la plaie...
- L'Enfant et les Sortilèges: Il est bon, l'Enfant, il est sage
- Ma Mère l'Oye: Prelude: Très lent
- Ma Mère l'Oye: I. Danse du rouet et Scène: Allegro
- Ma Mère l'Oye: II. Pavane de la Belle au bois dormant: Lent - Allegro - Mouvement de valse modéré
- Ma Mère l'Oye: III. Les Entretiens de la Belle et de la Bete: Mouvement de valse modéré
- Ma Mère l'Oye: IV. Petit Poucet: Très modéré
- Ma Mère l'Oye: V. Laideronnette, Impératrice des pagodes: Mouvement de marche - Allegro - Tres modéré
- Ma Mère l'Oye: VI. Apotheose - Le Jardin féerique: Lent et grave
- Boléro: Tempo di Boléro, moderato assai
- Alborada del gracioso: Assez vif - Plus lent - Au movument
- La Valse: Mouvement de Valse viennoise - Un peu plus modéré - Premier mouvement - Assez animé
- Daphnis et Chloé, Suite No. 2: I. Lever du jour
- Daphnis et Chloé, Suite No. 2: II. Pantomime
- Daphnis et Chloé, Suite No. 2: III. Danse generale
- Rapsodie espagnole: I. Prélude à la nuit. Très modéré
- Rapsodie espagnole: II. Malagueña: Assez vif
- Rapsodie espagnole: III. Habanera: Assez lent et d'un rythme las
- Rapsodie espagnole: IV. Feria: Assez animé
Debussy: La Mer / Ravel: Daphnis & Chloe Suite 2 (London Symphony Orchestra feat. conductor: Leopold Stokowski)
Released 1997
Released 1997
- La Mer - From Dawn Till Noon on the Sea
- La Mer - Play of the Waves
- La Mer - Dialog of The Wind and Sea
- Prelude to the Afternoon of a Faun
- The Engulfed Cathedral
- Daphnis & Chloé Suite No.2 - Lever du Jour
- Daphnis & Chloé Suite No.2 - Pantomime
- Daphnis & Chloé Suite No.2 - Danse Générale
- Boléro (Radiosymphonieorchester Ljubljana feat. conductor: Anton Nanut)
- Valses nobles et sentimentales: Modéré - Très franc (ORG-Symphonieorchester feat. conductor: Milan Horvat)
- Valses nobles et sentimentales: Assez lent - avec une expression intense (ORG-Symphonieorchester feat. conductor: Milan Horvat)
- Valses nobles et sentimentales: Modéré / Assez animé / Presque lent - dans un sentiment intime / Assez vif (ORG-Symphonieorchester feat. conductor: Milan Horvat)
- Valses nobles et sentimentales: Moins vif (ORG-Symphonieorchester feat. conductor: Milan Horvat)
- Valses nobles et sentimentales: Epilogue (ORG-Symphonieorchester feat. conductor: Milan Horvat)
- Pavane pour une infante defunte (feat. violin: Oliver Colbentson, piano: Erich Appel)
- Klavierkonzert in G-Dur: Allegramente (Radiosymphonieorchester Ljubljana feat. conductor: Anton Nanut, piano: Mee Chou Lee)
- Klavierkonzert in G-Dur: Adagio assai (Radiosymphonieorchester Ljubljana feat. conductor: Anton Nanut, piano: Mee Chou Lee)
- Klavierkonzert in G-Dur: Presto (Radiosymphonieorchester Ljubljana feat. conductor: Anton Nanut, piano: Mee Chou Lee)
- Tzigane (Symphonieorchester Baden-Baden feat. conductor: Rolf Reinhardt, violin: Aaron Rosand)
- Daphnis et Chloé: 1. Introduction et danse religieuse - Danse des jeunes
- Daphnis et Chloé: (1) Danse générale
- Daphnis et Chloé: (1) Danse grotesque - Danse de Daphnis - Danse de Lycénion
- Daphnis et Chloé: (1) Nocturne
- Daphnis et Chloé: (1) Interlude - 2. Danse guerrière
- Daphnis et Chloé: 3. Lever du jour
- Daphnis et Chloé: (3) Pantomime
- Daphnis et Chloé: (3) Danse générale
- Daphnis et Chloé, Suite No. 1
- Daphnis et Chloé, Suite No. 2
- Valses nobles et sentimentales (feat.
- Le tombeau de Couperin
Bolero / Daphnis et Cloe / La Valse / Rapsodie Espagnole (Halle Orchestra feat. conductor: John Barbirolli)
Released 1994
Released 1994
- Symphonie en ut Allegro vivo
- Symphonie en ut Adagio
- Symphonie en ut Allegro vivace
- Symphonie en ut Allegro vivace
- Jeux d'enfants Marche (Trompette et tambour)
- Jeux d'enfants Berceuse (La poupee)
- Jeux d'enfants Impromptu (La toupie)
- Jeux d'enfants Duo (Petit mari, petite femme)
- Jeux d'enfants Galop (Le bal)
- La Jolie Fille de Perth --- suite Prelude
- La Jolie Fille de Perth --- suite Serenade
- La Jolie Fille de Perth --- suite Marche
- La Jolie Fille de Perth --- suite Danse bohemienne
- Le Tombeau de Couperin Prelude
- Le Tombeau de Couperin Forlane
- Le Tombeau de Couperin Menuet
- Le Tombeau de Couperin Rigaudon
- Introduction et Rondo capriccioso, Op. 28
- Méditation de Thaïs
- Zigeunerweisen, Op. 20
- Poème, Op. 25
- Caprice d'après l'Étude en forme de valse de Saint-Saëns
- Tzigane
- Boléro
- La valse
- Daphnis et Chloé - Suite no. 2 - I - Lever du jour
- Daphnis et Chloé - Suite no. 2 - II - Pantomime
- Daphnis et Chloé - Suite no. 2 - III - Danse générale
- Pavane pour une infante défunte
- Boléro
- Rapsodie espagnole: Prélude à la nuit
- Rapsodie espagnole: Malagueña
- Rapsodie espagnole: Habanera
- Rapsodie espagnole: Feria
- Pavan for a Dead Princess
- La Valse
- "Mother Goose" Suite: Pavan of the Sleeping Beauty
- "Mother Goose" Suite: Hop-o-My-Thumb
- "Mother Goose" Suite: Laideronette, Empress of the Pagodas
- "Mother Goose" Suite: Beauty and the Beast Converse
- "Mother Goose" Suite: The Fairy Garden
Orchestral Works (feat. conductor: Andre Previn, orchestra: Royal Philharmonic Orchestra)
Released 1986
Released 1986
- Valses nobles et sentimentales - 1. Modere
- Valses nobles et sentimentales - 2. Assez lent
- Valses Nobles et Sentimentales 3 Modere 4 Assez anime
- Valses nobles et sentimentales - 5. Presque lent
- Valses nobles et sentimentales - 6. Assez vif
- Valses nobles et sentimentales - 7. Moins vif
- Valses nobles et sentimentales - 8. Epilogue. Lent
- Le Tombeau de Couperin 1 Prelude Vif
- Le tombeau de Couperin - 2 Forlane. Allegretto
- Le tombeau de Couperin - 3 Menuet. Allegro moderato
- Le Tombeau de Couperin 4 Regaudon Assez vif
- Alborada del gracioso
- Rapsodie Espagnole 1 Prelude a la nuit Tres modere
- Rapsodie Espagnole 2 Malaguena Assez vif
- Rapsodie Espagnole - 3 Habanera. Assez lent et d'un rythme las
- Rapsodie Espagnole 4 Feria Assez anime
- Pavane pour une infante defunte
- Jeux D'eau
- Sonatine: Modéré
- Sonatine: Mouvt de Menuet
- Sonatine: Animé
- Le Tombeau De Couperin: Prélude
- Le Tombeau De Couperin: Fugue
- Le Tombeau De Couperin: Forlane
- Le Tombeau De Couperin: Rigaudon
- Le Tombeau De Couperin: Menuet
- Le Tombeau De Couperin: Toccata
- Gaspard de la nuit: I. Ondine
- Gaspard de la nuit: II. Le Gibet
- Gaspard de la nuit: III. Scarbo
- Pavane pour une infante défunte
- Valses nobles et sentimentales
- Sheherazade: I. Asie
- Sheherazade: II. La flûte Enchantée
- Sheherazade: III. L'indifférent
- Vocalise en forme de habanera
- Chanson espagnole (Chants populaires, n° 1)
- Sur l'herbe
- Histoires naturelles: I. Le paon
- Histoires Naturelles: II. Le grillon
- Histoires Naturelles: III. Le cygne
- Histoires Naturelles: IV. Le martin-pêcheur
- Histoires Naturelles: V. La pintade
- Chanson Francaise (Chants populaires, n° 2)
- Melodies populaires grecques: I. Chanson de la mariée
- Melodies populaires grecques: II. Là-bas, vers l'église
- Melodies populaires grecques: III. Quel galant m'est comparable
- Melodies populaires grecques: IV. Chanson de cueilleuses de lentisques
- Melodies populaires grecques: V. Tout gai !
- Tripatos, chant populaire grec
- Ballade de la reine morte d'aimer
- Manteau de fleurs
- Rêves
- Sonatine - Modéré
- Sonatine - Mouvt. de menuet
- Sonatine - Animé
- Valses nobles et sentimentales
- Le tombeau de Couperin - Prélude
- Le tombeau de Couperin - Fugue
- Le tombeau de Couperin - Forlane
- Le tombeau de Couperin - Riguadon
- Le tombeau de Couperin - Menuet
- Le tombeau de Couperin - Toccata
- Prélude
- A la manière de Borodine
- A la manière de Chabrier
- Menuet antique
- Menuet sur le nom d'Haydn
- Miroirs - Noctuelles
- Miroirs - Oiseaux tristes
- Miroirs - Une barque sur l'océan
- Miroirs - Alborada del gracioso
- Miroirs - Vallée des cloches
- Jeaux d'eau
- Pavane pour une infante défunte
- Gaspard de la Nuit - Ondine
- Gaspard de la Nuit - Le gibet
- Gaspard de la Nuit - Scarbo
The Piano Concertos (Orchestre symphonique de Montréal feat. conductor: Charles Dutoit, piano: Pascal Rogé)
Released 1983
Released 1983
- Piano Concerto in G major: I. Allegramente
- Piano Concerto in G major: II. Adagio assai
- Piano Concerto in G major: III. Presto
- Menuet antique
- Piano Concerto for the Left Hand
- Une barque sur l’océan
- Fanfare from l’Éventail de Jeanne
- The Sorcerer's Apprentice
- Danse macabre, Op. 40 (David Nadien, violin solo)
- "Bacchanale" (from Samson and Delilah)
- España (Spanish Rhapsody)
- Pavane pour une infante defunte
- Orpheus in the Underworld Overture
- Alborado del gracioso
- Rapsodie espagnole : I. Prelude a la nuit
- Rapsodie espagnole : II. Malagueña
- Rapsodie espagnole : III. Habanera
- Rapsodie espagnole : IV. Feria
- Valses nobles et sentimentales : I. Modéré
- Valses nobles et sentimentales : II. Assez lent
- Valses nobles et sentimentales : III. Modéré
- Valses nobles et sentimentales : IV. Assez animé
- Valses nobles et sentimentales : V. Presque lent
- Valses nobles et sentimentales : VI. Assez vif
- Valses nobles et sentimentales : VII. Moins vif
- Valses nobles et sentimentales : VIII. Epilogue
- La Valse
- Bolero
- Boléro, Op. 81
- Miroirs: Alborada Del Gracioso
- Pavane Pour Une Infante Defunte
- Rapsodie Espagnole
- La valse, un poème choréographique pour orchestre
- Feste Romane: I: Circences
- Feste Romane: II: Il giubileo
- Feste Romane: III: L'ottobrata
- Feste Romane: IV: La befana
- Daphnis et Cloé Suite No. 2
- L'Apprenti sorcier
- Nocturnes: Triptyque symphonique pour orchestre et chœurs: Nuages: Modéré - Un peu animé
- Nocturnes: Triptyque symphonique pour orchestre et chœurs: Fêtes: Animé et très rythmé - Modéré mais toujours très rythmé - De plus en plus sonore et en serrant le mouvement
- Nocturnes: Triptyque symphonique pour orchestre et chœurs: Sirènes: Modérément animé
- Prélude à l'après-midi d'un faune: Très modéré
- La Valse: Poème chorégraphique: Mouvement de valse viennoise
- Boléro: Tempo di Boléro moderato assai
- La Valse
- Boléro
- Pavane pour une infante défunte
- Valse nobles et sentimentales - I Modéré
- Valse nobles et sentimentales - II Assez lent
- Valse nobles et sentimentales - III Modéré
- Valse nobles et sentimentales - IV Assez animé
- Valse nobles et sentimentales - V Presque lent
- Valse nobles et sentimentales - VI Assez vif
- Valse nobles et sentimentales - VII Moins vif
- Valse nobles et sentimentales - VIII Epilogue
- Ma mère l'Oye - I Pavane de la Belle au Bois Dormant : Lent
- Ma mère l'Oye - II Petit Poucet : Très modéré
- Ma mère l'Oye - III Laideronette, Impératrice des Pagodes : Mouvement de marche
- Ma mère l'Oye - IV Les Entretiens de la Belle et de la Bête : Mouvement de valse modéré
- Ma mère l'Oye - V Le jardin féerique : Lent et grave
- Daphnis et Chloé, Part I: Introduction et Danse religieuse
- Daphnis et Chloé, Part I: Danse générale
- Daphnis et Chloé, Part I: Danse grotesque de Dorcon
- Daphnis et Chloé, Part I: Danse légère et gracieuse de Daphnis
- Daphnis et Chloé, Part I: Danse de Lycéion
- Daphnis et Chloé, Part I: Danse lente et mystérieuse des Nymphes
- Daphnis et Chloé, Part II: Introduction
- Daphnis et Chloé, Part II: Danse guerrière
- Daphnis et Chloé, Part II: Danse suppliante de Chloé
- Daphnis et Chloé, Part III: Lever du jour
- Daphnis et Chloé, Part III: Pantomime
- Daphnis et Chloé, Part III: Danse générale
- Rapsodie espagnole: 1. Prélude à la nuit
- Rapsodie espagnole: 2. Malagueña
- Rapsodie espagnole: 3. Habanera
- Rapsodie espagnole: 4. Feria
- Pavane pour une infante défunte
- Piano Concerto in G major: I. Allegramente
- Piano Concerto in G major: II. Adagio assai
- Piano Concerto in G major: III. Presto
- Piano Concerto in A minor, Op. 16: I. Allegro molto moderato
- Piano Concerto in A minor, Op. 16: II. Adagio
- Piano Concerto in A minor, Op. 16: III. Allegro moderato molto e marcato - quasi presto - andante maestoso
Born: 1875-03-07
Died: 1937-12-28
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Maurice Ravel - Pavane for Dead Princess
- Order: Reorder
- Duration: 6:47
- Updated: 10 Apr 2013
Painting - Lake George, 1869 Artist - John Frederick Kensett (1816--1872)
http://wn.com/Maurice_Ravel_Pavane_for_Dead_Princess
Painting - Lake George, 1869 Artist - John Frederick Kensett (1816--1872)
Maurice Ravel-Bolero [FULL]
- Order: Reorder
- Duration: 14:52
- Updated: 10 Apr 2013
DISCLAIMER: (All images and music are copyrighted by their respective copyright owners.)
http://wn.com/Maurice_Ravel-Bolero_FULL_
DISCLAIMER: (All images and music are copyrighted by their respective copyright owners.)
- published: 17 Aug 2010
- views: 844696
- author: SloLord
Maurice Ravel - Miroirs
- Order: Reorder
- Duration: 28:38
- Updated: 09 Apr 2013
"Miroirs" (Reflections) is a suite for solo piano written by French impressionist composer Maurice Ravel between 1904 and 1905, first performed by Ricardo Vi...
http://wn.com/Maurice_Ravel_Miroirs
"Miroirs" (Reflections) is a suite for solo piano written by French impressionist composer Maurice Ravel between 1904 and 1905, first performed by Ricardo Vi...
- published: 04 Sep 2012
- views: 5033
- author: neuIlaryRheinKlange
Maurice Ravel - Daybreak (Daphnis et Chloé)
- Order: Reorder
- Duration: 6:24
- Updated: 08 Apr 2013
Daphnis et Chloé is a ballet with music by Maurice Ravel. Ravel described it as a "symphonie choréographique" (choreographic symphony). The scenario was adap...
http://wn.com/Maurice_Ravel_Daybreak_Daphnis_et_Chloé
Daphnis et Chloé is a ballet with music by Maurice Ravel. Ravel described it as a "symphonie choréographique" (choreographic symphony). The scenario was adap...
- published: 07 May 2012
- views: 34424
- author: DistantMirrors
Hagen Quartet - Maurice Ravel - String Quartet in F - Allegro moderato, Très doux (1/4)
- Order: Reorder
- Duration: 8:01
- Updated: 09 Apr 2013
The first movement of 28 year-old Ravel's Quatuor à Cordes. He is said to have been meticulous in his writing, and, finally, a group of musicians have matche...
http://wn.com/Hagen_Quartet_Maurice_Ravel_String_Quartet_in_F_Allegro_moderato,_Très_doux_1_4
The first movement of 28 year-old Ravel's Quatuor à Cordes. He is said to have been meticulous in his writing, and, finally, a group of musicians have matche...
- published: 24 Oct 2009
- views: 222442
- author: thegoodgeneral
Maurice Ravel Piano Concerto in G (Leonard Bernstein)
- Order: Reorder
- Duration: 23:49
- Updated: 10 Apr 2013
Maurice Ravel Piano Concerto in G (Leonard Bernstein)
http://wn.com/Maurice_Ravel_Piano_Concerto_in_G_Leonard_Bernstein
Maurice Ravel Piano Concerto in G (Leonard Bernstein)
- published: 19 May 2011
- views: 46790
- author: Alex cello
- Maurice Ravel BOLERO - Wiener Philharmonic
- Order: Reorder
- Duration: 17:23
- Updated: 10 Apr 2013
Wiener Philharmonic : Gustavo Dudamel : Albena Danailova.
http://wn.com/_Maurice_Ravel_BOLERO_Wiener_Philharmonic
Wiener Philharmonic : Gustavo Dudamel : Albena Danailova.
- published: 28 Nov 2011
- views: 636528
- author: Last2TYears
Maurice Ravel - Piano Concerto for the left hand (Full)
- Order: Reorder
- Duration: 20:45
- Updated: 09 Apr 2013
The Symphony Orchestra of the Liszt School Of Music (Conductor: Prof. Nicolás Pasquet) plays Maurice Ravels Piano concerto for the left hand, which he compos...
http://wn.com/Maurice_Ravel_Piano_Concerto_for_the_left_hand_Full
The Symphony Orchestra of the Liszt School Of Music (Conductor: Prof. Nicolás Pasquet) plays Maurice Ravels Piano concerto for the left hand, which he compos...
- published: 16 Dec 2011
- views: 37025
- author: hfmFRANZLISZTweimar
BOLERO-RAVEL
- Order: Reorder
- Duration: 6:56
- Updated: 11 Apr 2013
An impressive performance of Ravel's Bolero by the orchestra directed by the Dutch violinist and conductor Andre Rieu.
http://wn.com/BOLERO-RAVEL
An impressive performance of Ravel's Bolero by the orchestra directed by the Dutch violinist and conductor Andre Rieu.
- published: 20 Mar 2007
- views: 12261003
- author: consejomunicipal
Maurice Ravel La Valse
- Order: Reorder
- Duration: 12:56
- Updated: 10 Apr 2013
Myung-Whun Chung Orchestre Philharmonique de Radio France.
http://wn.com/Maurice_Ravel_La_Valse
Myung-Whun Chung Orchestre Philharmonique de Radio France.
- published: 14 Aug 2010
- views: 150837
- author: Kim Cul Deok
Maurice Ravel - "Le tombeau de Couperin" by Angela Hewitt
- Order: Reorder
- Duration: 25:24
- Updated: 10 Apr 2013
http://www.cbcmusic.ca Angela Hewitt performs a live concert for the Royal Conservatory of Music at Toronto's Koerner Hall.
http://wn.com/Maurice_Ravel_Le_tombeau_de_Couperin_by_Angela_Hewitt
http://www.cbcmusic.ca Angela Hewitt performs a live concert for the Royal Conservatory of Music at Toronto's Koerner Hall.
- published: 12 Feb 2012
- views: 105749
- author: cbcradio3
Maurice Ravel - Bolero
- Order: Reorder
- Duration: 15:29
- Updated: 10 Apr 2013
Version complète du Bolero de Maurice Ravel (environ 15 minutes). Pierre Monteux, London Symphony Orchestra. A venir bientôt... Des compilations de grands cl...
http://wn.com/Maurice_Ravel_Bolero
Version complète du Bolero de Maurice Ravel (environ 15 minutes). Pierre Monteux, London Symphony Orchestra. A venir bientôt... Des compilations de grands cl...
- published: 19 Oct 2010
- views: 2200911
- author: sesebs
![Maurice Ravel - Piano Trio (1914) [1/2]](http://web.archive.org./web/20130411034540im_/http://i.ytimg.com/vi/fKs31Se985s/default.jpg "Maurice Ravel - Piano Trio (1914) [1/2]")
Maurice Ravel - Piano Trio (1914) [1/2]
- Order: Reorder
- Duration: 12:39
- Updated: 08 Apr 2013
Maurice Ravel (1875-1937) Piano Trio (1914) I. Modéré 0:00 II. Pantoum (Assez vif) 8:22 III. Passacaille (Très large) IV. Final (Animé) Claremont Trio: Emily...
http://wn.com/Maurice_Ravel_Piano_Trio_1914_1_2_
Maurice Ravel (1875-1937) Piano Trio (1914) I. Modéré 0:00 II. Pantoum (Assez vif) 8:22 III. Passacaille (Très large) IV. Final (Animé) Claremont Trio: Emily...
- published: 13 Oct 2010
- views: 18539
- author: Epogdous
Maurice Ravel - Feria
- Order: Reorder
- Duration: 6:21
- Updated: 28 Mar 2013
Maurice Ravel (1875 - 1937) Rapsodie espagnole N°4: -Feria- (The Cleveland Orchestra / Vladimir Ashkenazy)
http://wn.com/Maurice_Ravel_Feria
Maurice Ravel (1875 - 1937) Rapsodie espagnole N°4: -Feria- (The Cleveland Orchestra / Vladimir Ashkenazy)
- published: 31 Jan 2010
- views: 15907
- author: Classisch
Hagen Quartet - Maurice Ravel - String Quartet in F - Assez vif, Très rythmé (2/4)
- Order: Reorder
- Duration: 6:28
- Updated: 09 Apr 2013
The second movement of 28 year-old Ravel's Quatuor à Cordes. He is said to have been meticulous in his writing, and, finally, a group of musicians have match...
http://wn.com/Hagen_Quartet_Maurice_Ravel_String_Quartet_in_F_Assez_vif,_Très_rythmé_2_4
The second movement of 28 year-old Ravel's Quatuor à Cordes. He is said to have been meticulous in his writing, and, finally, a group of musicians have match...
- published: 27 Oct 2009
- views: 207618
- author: thegoodgeneral
Maurice Ravel - Jeux d'eau
- Order: Reorder
- Duration: 6:17
- Updated: 07 Apr 2013
Magdalena Müllerperth plays on the Steinway & Sons Concert Grand Piano D-274 "Jeux d'eau" by Maurice Ravel (1875-1937) from the CD: "Grand Piano Masters ~ Co...
http://wn.com/Maurice_Ravel_Jeux_d'eau
Magdalena Müllerperth plays on the Steinway & Sons Concert Grand Piano D-274 "Jeux d'eau" by Maurice Ravel (1875-1937) from the CD: "Grand Piano Masters ~ Co...
- published: 22 Sep 2009
- views: 9304
- author: KuKMusic
Maurice Ravel - Prelude à la Nuit
- Order: Reorder
- Duration: 3:47
- Updated: 04 Apr 2013
Maurice Ravel (1875 - 1937) Rapsodie espagnole N°1: -Prélude à la Nuit- (The Cleveland Orchestra / Vladimir Ashkenazy)
http://wn.com/Maurice_Ravel_Prelude_à_la_Nuit
Maurice Ravel (1875 - 1937) Rapsodie espagnole N°1: -Prélude à la Nuit- (The Cleveland Orchestra / Vladimir Ashkenazy)
- published: 01 Dec 2009
- views: 60657
- author: Classisch
Maurice Ravel - Prélude à la nuit
- Order: Reorder
- Duration: 5:47
- Updated: 24 Jan 2013
Tratto da "Rhapsodie espagnole". Pianisti: Alfons & Aloys Kontarsky.
http://wn.com/Maurice_Ravel_Prélude_à_la_nuit
Tratto da "Rhapsodie espagnole". Pianisti: Alfons & Aloys Kontarsky.
- published: 09 Mar 2010
- views: 4353
- author: pecorwood
ANDRÉ RIEU 2009 BOLERO MAURICE RAVEL
- Order: Reorder
- Duration: 7:38
- Updated: 10 Apr 2013
OBS: VIDEO RECOLOCADOI POR TER SIDO DELETADO ACIDENTALMENTE (Novo Link) ANDRÉ RIEU - LIVE IN AUSTRALIA. 2009 -- BOLERO (MAURICE RAVEL) "Em uma noite linda Me...
http://wn.com/ANDRÉ_RIEU_2009_BOLERO_MAURICE_RAVEL
OBS: VIDEO RECOLOCADOI POR TER SIDO DELETADO ACIDENTALMENTE (Novo Link) ANDRÉ RIEU - LIVE IN AUSTRALIA. 2009 -- BOLERO (MAURICE RAVEL) "Em uma noite linda Me...
- published: 29 Jul 2010
- views: 613202
- author: WILLIS DE FARIA de Faria
Ravel Piano Concerto In G Major Argerich Dutoit Orchestre National De France Frankfurt 9 9 1990
- Order: Reorder
- Duration: 22:59
- Updated: 09 Apr 2013
Complete.
http://wn.com/Ravel_Piano_Concerto_In_G_Major_Argerich_Dutoit_Orchestre_National_De_France_Frankfurt_9_9_1990
Maurice Ravel - Piano Concerto in G major, II-III
- Order: Reorder
- Duration: 12:56
- Updated: 10 Apr 2013
Piano Concerto in G major (1929-1931) I. Allegramente II. Adagio assai III. Presto Mi Joo Lee, piano Radio Symphony Orchestra Ljubljana Marco Munith The pian...
http://wn.com/Maurice_Ravel_Piano_Concerto_in_G_major,_II-III
Piano Concerto in G major (1929-1931) I. Allegramente II. Adagio assai III. Presto Mi Joo Lee, piano Radio Symphony Orchestra Ljubljana Marco Munith The pian...
- published: 03 Jul 2011
- views: 14604
- author: pelodelperro
Maurice Ravel - Habanera
- Order: Reorder
- Duration: 2:24
- Updated: 03 Apr 2013
Maurice Ravel (1875 - 1937) Rapsodie espagnole N°3: -Habanera- (The Cleveland Orchestra / Vladimir Ashkenazy)
http://wn.com/Maurice_Ravel_Habanera
Maurice Ravel (1875 - 1937) Rapsodie espagnole N°3: -Habanera- (The Cleveland Orchestra / Vladimir Ashkenazy)
- published: 31 Jan 2010
- views: 12373
- author: Classisch
Maurice Ravel - String Quartet in F Major
- Order: Reorder
- Duration: 28:31
- Updated: 10 Apr 2013
Joseph-Maurice Ravel (March 7, 1875 -- December 28, 1937) was a French composer known especially for his melodies, orchestral and instrumental textures and e...
http://wn.com/Maurice_Ravel_String_Quartet_in_F_Major
Joseph-Maurice Ravel (March 7, 1875 -- December 28, 1937) was a French composer known especially for his melodies, orchestral and instrumental textures and e...
- published: 17 Feb 2013
- views: 2242
- author: bartje11
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Maurice Ravel: 'Bolero'
- Order: Reorder
- Duration: 9:06
- Updated: 21 Mar 2013
Volker Hartung conducts Ravel's Bolero in a live performance given at Cologne Philharmonic Hall. Volker Hartung dirigiert Maurice Ravel's Bolero. Live Konzer...
http://wn.com/Maurice_Ravel_'Bolero'
Volker Hartung conducts Ravel's Bolero in a live performance given at Cologne Philharmonic Hall. Volker Hartung dirigiert Maurice Ravel's Bolero. Live Konzer...
- published: 30 Aug 2008
- views: 85459
- author: maestrohartung
- Maurice Ravel BOLERO - Wiener Philharmonic
- Order: Reorder
- Duration: 17:23
- Updated: 10 Apr 2013
Wiener Philharmonic : Gustavo Dudamel : Albena Danailova.
http://wn.com/_Maurice_Ravel_BOLERO_Wiener_Philharmonic
Wiener Philharmonic : Gustavo Dudamel : Albena Danailova.
- published: 28 Nov 2011
- views: 636528
- author: Last2TYears
Andre Rieu - Bolero (Maurice Ravel) Live in München 2012
- Order: Reorder
- Duration: 6:26
- Updated: 30 Mar 2013
Concert Andre Rieu - Olympiahalle, Munchen, Germania, 25 aprilie 2012 Inregistrare din concert cu aparat foto digital propriu.
http://wn.com/Andre_Rieu_Bolero_Maurice_Ravel_Live_in_München_2012
Concert Andre Rieu - Olympiahalle, Munchen, Germania, 25 aprilie 2012 Inregistrare din concert cu aparat foto digital propriu.
- published: 30 Apr 2012
- views: 1491
- author: doridani
BOLERO-RAVEL
- Order: Reorder
- Duration: 6:56
- Updated: 11 Apr 2013
An impressive performance of Ravel's Bolero by the orchestra directed by the Dutch violinist and conductor Andre Rieu.
http://wn.com/BOLERO-RAVEL
An impressive performance of Ravel's Bolero by the orchestra directed by the Dutch violinist and conductor Andre Rieu.
- published: 20 Mar 2007
- views: 12261003
- author: consejomunicipal
Ravel Bolero Christoph Eschenbach Orchestre de Paris part1
- Order: Reorder
- Duration: 8:18
- Updated: 09 Apr 2013
Maurice Ravel Bolero Condact:Christoph Eschenbach Orchestra:Orchestre de Paris Nov 5, 2007 NHKhall.
http://wn.com/Ravel_Bolero_Christoph_Eschenbach_Orchestre_de_Paris_part1
Maurice Ravel Bolero Condact:Christoph Eschenbach Orchestra:Orchestre de Paris Nov 5, 2007 NHKhall.
- published: 15 Dec 2007
- views: 1146073
- author: soichi1228
ANDRÉ RIEU 2009 BOLERO MAURICE RAVEL
- Order: Reorder
- Duration: 7:38
- Updated: 09 Apr 2013
OBS: VIDEO RECOLOCADOI POR TER SIDO DELETADO ACIDENTALMENTE (Novo Link) ANDRÉ RIEU - LIVE IN AUSTRALIA. 2009 -- BOLERO (MAURICE RAVEL) "Em uma noite linda Me...
http://wn.com/ANDRÉ_RIEU_2009_BOLERO_MAURICE_RAVEL
OBS: VIDEO RECOLOCADOI POR TER SIDO DELETADO ACIDENTALMENTE (Novo Link) ANDRÉ RIEU - LIVE IN AUSTRALIA. 2009 -- BOLERO (MAURICE RAVEL) "Em uma noite linda Me...
- published: 29 Jul 2010
- views: 612588
- author: WILLIS DE FARIA de Faria
Pianoduo Mephisto - Maurice Ravel - Rapsodie Espagnole - 2. Malaguena - Live in Bozar
- Order: Reorder
- Duration: 2:08
- Updated: 28 Mar 2013
The Pianoduo Mephisto (Katrijn Simoens & John Gevaert) in concert at the Center for Fine Arts - Brussels (May 29, 2011).
http://wn.com/Pianoduo_Mephisto_Maurice_Ravel_Rapsodie_Espagnole_2_Malaguena_Live_in_Bozar
The Pianoduo Mephisto (Katrijn Simoens & John Gevaert) in concert at the Center for Fine Arts - Brussels (May 29, 2011).
- published: 29 Sep 2011
- views: 1089
- author: PianoduoMephisto
M. Ravel - Daphnis et Chloé (Live)
- Order: Reorder
- Duration: 55:38
- Updated: 05 Apr 2013
Daphnis et Chloé (Live) - Complete Part I Introduction et Danse religieuse Danse générale Danse grotesque de Dorcon Danse légère et gracieuse de Daphnis Dans...
http://wn.com/M_Ravel_Daphnis_et_Chloé_Live
Daphnis et Chloé (Live) - Complete Part I Introduction et Danse religieuse Danse générale Danse grotesque de Dorcon Danse légère et gracieuse de Daphnis Dans...
- published: 15 Mar 2012
- views: 4767
- author: thiagoblanco
Argerich - Ravel Piano Concerto in G Major
- Order: Reorder
- Duration: 22:38
- Updated: 06 Apr 2013
Martha Argerich playing Piano Concerto by Maurice Ravel live from Torino Andrej Boreyko, conductor Orchestra Sinfonica Nazionale della Rai.
http://wn.com/Argerich_Ravel_Piano_Concerto_in_G_Major
Martha Argerich playing Piano Concerto by Maurice Ravel live from Torino Andrej Boreyko, conductor Orchestra Sinfonica Nazionale della Rai.
- published: 07 Jan 2011
- views: 50723
- author: nnamffohsaile
Maurice Ravel - Concerto pour la main Gauche 1/2 live on Erard Concert Grand
- Order: Reorder
- Duration: 8:25
- Updated: 21 Dec 2012
Live-recording of Tamara Rumiantsev and Noord Nederlands Orkest conducted by Jacques Mercier. Erard Concert Grand of Frits Janmaat.
http://wn.com/Maurice_Ravel_Concerto_pour_la_main_Gauche_1_2_live_on_Erard_Concert_Grand
Live-recording of Tamara Rumiantsev and Noord Nederlands Orkest conducted by Jacques Mercier. Erard Concert Grand of Frits Janmaat.
- published: 04 Jun 2010
- views: 21299
- author: Tamara Rumiantsev
100 Gypsy Violins, live in Lyon - Auditorium Maurice Ravel
- Order: Reorder
- Duration: 0:29
- Updated: 01 Mar 2013
Extract from the Dvd "live 1994-2004" available on our website http://www.100violins.com http://www.facebook.com/100violins.
http://wn.com/100_Gypsy_Violins,_live_in_Lyon_Auditorium_Maurice_Ravel
Extract from the Dvd "live 1994-2004" available on our website http://www.100violins.com http://www.facebook.com/100violins.
- published: 24 Jan 2007
- views: 80833
- author: 100violins
Quatuor Ellipsos LIVE Toccata by Maurice RAVEL
- Order: Reorder
- Duration: 4:08
- Updated: 05 Feb 2013
http://www.quatuor-ellipsos.com "Toccata" tirée du Tombeau de Couperin de Maurice RAVEL pour Quatuor de Saxophones donnée à l'Auditorium du Conservatoire de ...
http://wn.com/Quatuor_Ellipsos_LIVE_Toccata_by_Maurice_RAVEL
http://www.quatuor-ellipsos.com "Toccata" tirée du Tombeau de Couperin de Maurice RAVEL pour Quatuor de Saxophones donnée à l'Auditorium du Conservatoire de ...
- published: 17 May 2011
- views: 3764
- author: ellipsosTV
Parker Quartet - Maurice Ravel - String Quartet in F Major (Live on Performance Today)
- Order: Reorder
- Duration: 8:34
- Updated: 04 Apr 2013
The Parker Quartet performs Movement I - Allegro Moderato. Tres Doux, from Maurice Ravel's String Quartet in F Major (1903) live on Performance Today.
http://wn.com/Parker_Quartet_Maurice_Ravel_String_Quartet_in_F_Major_Live_on_Performance_Today
The Parker Quartet performs Movement I - Allegro Moderato. Tres Doux, from Maurice Ravel's String Quartet in F Major (1903) live on Performance Today.
- published: 21 Jan 2010
- views: 13534
- author: AmericanPublicMedia
Trio Imàge -live- Maurice Ravel Trio en la 1914 Final.Animé
- Order: Reorder
- Duration: 5:19
- Updated: 20 Sep 2012
Trio Imàge LIVE Melbourne 2011 Maurice Ravel Trio en la Finale.Animé Gergana Gergova - Violine Thomas Kaufmann - Violoncello Pavlin Nechev - Klavier.
http://wn.com/Trio_Imàge_-live_Maurice_Ravel_Trio_en_la_1914_FinalAnimé
Trio Imàge LIVE Melbourne 2011 Maurice Ravel Trio en la Finale.Animé Gergana Gergova - Violine Thomas Kaufmann - Violoncello Pavlin Nechev - Klavier.
- published: 17 May 2012
- views: 480
- author: Trio Imàge
Flash mob at Copenhagen Central Station. Copenhagen Phil playing Ravel's Bolero.
- Order: Reorder
- Duration: 4:53
- Updated: 10 Apr 2013
As one of the first professional symphony orchestras ever Copenhagen Phil (Sjællands Symfoniorkester) did a flash mob at Copenhagen Central Station on May 2n...
http://wn.com/Flash_mob_at_Copenhagen_Central_Station_Copenhagen_Phil_playing_Ravel's_Bolero
As one of the first professional symphony orchestras ever Copenhagen Phil (Sjællands Symfoniorkester) did a flash mob at Copenhagen Central Station on May 2n...
- published: 27 May 2011
- views: 6200612
- author: Copenhagen Phil
Ravel - Rapsodie Espagnole - DePaul Symphony Orchestra
- Order: Reorder
- Duration: 19:12
- Updated: 08 Apr 2013
DePaul Symphony Orchestra performs Ravel's Rapsodie Espagnole at Orchestra Hall, home of the Chicago Symphony Orchestra.
http://wn.com/Ravel_Rapsodie_Espagnole_DePaul_Symphony_Orchestra
DePaul Symphony Orchestra performs Ravel's Rapsodie Espagnole at Orchestra Hall, home of the Chicago Symphony Orchestra.
- published: 27 Oct 2011
- views: 35881
- author: DePaulSOM
Maurice Ravel - Concerto pour la main Gauche 2/2 live on Erard Concert Grand
- Order: Reorder
- Duration: 10:00
- Updated: 04 Jun 2012
Live-recording of Tamara Rumiantsev and Noord Nederlands Orkest conducted by Jacques Mercier. Erard Concert Grand of Frits Janmaat.
http://wn.com/Maurice_Ravel_Concerto_pour_la_main_Gauche_2_2_live_on_Erard_Concert_Grand
Live-recording of Tamara Rumiantsev and Noord Nederlands Orkest conducted by Jacques Mercier. Erard Concert Grand of Frits Janmaat.
- published: 04 Jun 2010
- views: 3467
- author: Tamara Rumiantsev
André Rieu - Boléro (Ravel)
- Order: Reorder
- Duration: 6:57
- Updated: 10 Apr 2013
André Rieu & the Johann Strauss Orchestra performing Ravel's Boléro live in Maastricht. Taken from the DVD/Blu-Ray "André Rieu - Under the Stars - Live in Ma...
http://wn.com/André_Rieu_Boléro_Ravel
André Rieu & the Johann Strauss Orchestra performing Ravel's Boléro live in Maastricht. Taken from the DVD/Blu-Ray "André Rieu - Under the Stars - Live in Ma...
- published: 24 Apr 2012
- views: 450929
- author: AndreRieuTV
Ondine RAVEL (Piano Solo) by world-class concert pianist Stephanie ELBAZ
- Order: Reorder
- Duration: 6:40
- Updated: 08 Apr 2013
Ondine RAVEL Gaspard de la nuit (Piano Solo) by world-class concert pianist Stephanie Elbaz at the younger age of 19 (i.e. after merely 9 years of piano, sin...
http://wn.com/Ondine_RAVEL_Piano_Solo_by_world-class_concert_pianist_Stephanie_ELBAZ
Ondine RAVEL Gaspard de la nuit (Piano Solo) by world-class concert pianist Stephanie Elbaz at the younger age of 19 (i.e. after merely 9 years of piano, sin...
- published: 05 Jan 2013
- views: 921
- author: Stéphanie Elbaz
Ben1 "Héros" extrait live @ Auditorium Maurice Ravel
- Order: Reorder
- Duration: 2:05
- Updated: 12 Jun 2012
"Héros" extrait live @ Auditorium Maurice Ravel le Samedi 9 Juin 2012 www.ben1.fr.
http://wn.com/Ben1_Héros_extrait_live_@_Auditorium_Maurice_Ravel
"Héros" extrait live @ Auditorium Maurice Ravel le Samedi 9 Juin 2012 www.ben1.fr.
- published: 12 Jun 2012
- views: 168
- author: benisorriso
(Maurice Ravel) Bolero - Sungha Jung-live
- Order: Reorder
- Duration: 4:51
- Updated: 13 Aug 2012
http://wn.com/Maurice_Ravel_Bolero_Sungha_Jung-live
Ravel: Alborada del gracioso / Rattle · Berliner Philharmoniker / Live from Taipei
- Order: Reorder
- Duration: 2:11
- Updated: 02 Apr 2013
Full-length concert at http://www.digitalconcerthall.com/concert/2478 Maurice Ravel: Alborada del gracioso / Sir Simon Rattle · Berliner Philharmoniker / Rec...
http://wn.com/Ravel_Alborada_del_gracioso_Rattle_·_Berliner_Philharmoniker_Live_from_Taipei
Full-length concert at http://www.digitalconcerthall.com/concert/2478 Maurice Ravel: Alborada del gracioso / Sir Simon Rattle · Berliner Philharmoniker / Rec...
- published: 01 Jun 2012
- views: 20884
- author: BerlinPhil
Frits Damrow - (Maurice Ravel) Pièce En Forme De Habanera. live at Tbilisi Wind Festival 2010
- Order: Reorder
- Duration: 2:32
- Updated: 20 Jan 2013
http://wn.com/Frits_Damrow_Maurice_Ravel_Pièce_En_Forme_De_Habanera_live_at_Tbilisi_Wind_Festival_2010
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Maurice Ravel - Miroirs
- Order: Reorder
- Duration: 28:38
- Updated: 09 Apr 2013
"Miroirs" (Reflections) is a suite for solo piano written by French impressionist composer Maurice Ravel between 1904 and 1905, first performed by Ricardo Vi...
http://wn.com/Maurice_Ravel_Miroirs
"Miroirs" (Reflections) is a suite for solo piano written by French impressionist composer Maurice Ravel between 1904 and 1905, first performed by Ricardo Vi...
- published: 04 Sep 2012
- views: 5033
- author: neuIlaryRheinKlange
Maurice Ravel Piano Concerto in G (Leonard Bernstein)
- Order: Reorder
- Duration: 23:49
- Updated: 10 Apr 2013
Maurice Ravel Piano Concerto in G (Leonard Bernstein)
http://wn.com/Maurice_Ravel_Piano_Concerto_in_G_Leonard_Bernstein
Maurice Ravel Piano Concerto in G (Leonard Bernstein)
- published: 19 May 2011
- views: 46790
- author: Alex cello
Maurice Ravel - Piano Concerto for the left hand (Full)
- Order: Reorder
- Duration: 20:45
- Updated: 09 Apr 2013
The Symphony Orchestra of the Liszt School Of Music (Conductor: Prof. Nicolás Pasquet) plays Maurice Ravels Piano concerto for the left hand, which he compos...
http://wn.com/Maurice_Ravel_Piano_Concerto_for_the_left_hand_Full
The Symphony Orchestra of the Liszt School Of Music (Conductor: Prof. Nicolás Pasquet) plays Maurice Ravels Piano concerto for the left hand, which he compos...
- published: 16 Dec 2011
- views: 37025
- author: hfmFRANZLISZTweimar
Maurice Ravel - "Le tombeau de Couperin" by Angela Hewitt
- Order: Reorder
- Duration: 25:24
- Updated: 10 Apr 2013
http://www.cbcmusic.ca Angela Hewitt performs a live concert for the Royal Conservatory of Music at Toronto's Koerner Hall.
http://wn.com/Maurice_Ravel_Le_tombeau_de_Couperin_by_Angela_Hewitt
http://www.cbcmusic.ca Angela Hewitt performs a live concert for the Royal Conservatory of Music at Toronto's Koerner Hall.
- published: 12 Feb 2012
- views: 105749
- author: cbcradio3
Ravel Piano Concerto In G Major Argerich Dutoit Orchestre National De France Frankfurt 9 9 1990
- Order: Reorder
- Duration: 22:59
- Updated: 09 Apr 2013
Complete.
http://wn.com/Ravel_Piano_Concerto_In_G_Major_Argerich_Dutoit_Orchestre_National_De_France_Frankfurt_9_9_1990
Maurice Ravel - String Quartet in F Major
- Order: Reorder
- Duration: 28:31
- Updated: 10 Apr 2013
Joseph-Maurice Ravel (March 7, 1875 -- December 28, 1937) was a French composer known especially for his melodies, orchestral and instrumental textures and e...
http://wn.com/Maurice_Ravel_String_Quartet_in_F_Major
Joseph-Maurice Ravel (March 7, 1875 -- December 28, 1937) was a French composer known especially for his melodies, orchestral and instrumental textures and e...
- published: 17 Feb 2013
- views: 2242
- author: bartje11
ARTURO BENEDETTI MICHELANGELI - MAURICE RAVEL - THE PIANO CONCERTO
- Order: Reorder
- Duration: 25:21
- Updated: 01 Apr 2013
Maurice Ravel Konzert für Klavier und Orchester G Dur [1931] - I. Allegramente - II. Adagio assai - III. Presto - Arturo Benedetti Michelangeli, Klavier - Lo...
http://wn.com/ARTURO_BENEDETTI_MICHELANGELI_MAURICE_RAVEL_THE_PIANO_CONCERTO
Maurice Ravel Konzert für Klavier und Orchester G Dur [1931] - I. Allegramente - II. Adagio assai - III. Presto - Arturo Benedetti Michelangeli, Klavier - Lo...
- published: 22 Dec 2010
- views: 23710
- author: berlinzerberus
Maurice Ravel - Trio in A minor for Piano, Violin and Cello
- Order: Reorder
- Duration: 26:33
- Updated: 12 Mar 2013
Maurice Ravel - Trio in A minor for Piano, Violin and Cello. 1. Modéré. 2. Pantoum: Assez vif. 3. Passacaille: Tres large - enchainez. 4. Finale: Animé. Reco...
http://wn.com/Maurice_Ravel_Trio_in_A_minor_for_Piano,_Violin_and_Cello
Maurice Ravel - Trio in A minor for Piano, Violin and Cello. 1. Modéré. 2. Pantoum: Assez vif. 3. Passacaille: Tres large - enchainez. 4. Finale: Animé. Reco...
- published: 07 May 2012
- views: 2128
- author: goturhjem2
MAURICE RAVEL.- 1875-1937.- Concierto para Piano y Orquesta Sol majeur
- Order: Reorder
- Duration: 22:10
- Updated: 06 Apr 2013
MAURICE RAVEL.- 1875-1937.- Concierto para Piano y Orquesta Sol majeur Allegramente Adagio assai Presto Piano: Pascal Rogé Orquesta Sinfónica de Montréal Dir...
http://wn.com/MAURICE_RAVEL_1875-1937_Concierto_para_Piano_y_Orquesta_Sol_majeur
MAURICE RAVEL.- 1875-1937.- Concierto para Piano y Orquesta Sol majeur Allegramente Adagio assai Presto Piano: Pascal Rogé Orquesta Sinfónica de Montréal Dir...
- published: 21 Sep 2012
- views: 1199
- author: Carlos Garcia
M. Ravel Bolero - Philharmoniker Hamburg, Gerd Albrecht (1997)
- Order: Reorder
- Duration: 56:45
- Updated: 09 Apr 2013
Maurice Ravel - Bolero Gerd Albrecht, Philharmonisches Staatsorchester Hamburg (1997)
http://wn.com/M_Ravel_Bolero_Philharmoniker_Hamburg,_Gerd_Albrecht_1997
Maurice Ravel - Bolero Gerd Albrecht, Philharmonisches Staatsorchester Hamburg (1997)
- published: 14 Jul 2011
- views: 84166
- author: MD051
Maurice Ravel - Miroirs (Mirrors)
- Order: Reorder
- Duration: 28:00
- Updated: 04 Apr 2013
Miroirs ("Mirrors") is a solo piano work by Maurice Ravel written from 1904--1905.Ricardo Viñes first performed the work in 1906. Une barque sur l'océan and ...
http://wn.com/Maurice_Ravel_Miroirs_Mirrors
Miroirs ("Mirrors") is a solo piano work by Maurice Ravel written from 1904--1905.Ricardo Viñes first performed the work in 1906. Une barque sur l'océan and ...
- published: 19 Aug 2012
- views: 1244
- author: ArtMusikHistory
Maurice Ravel-String Quartet in F Major (Complete)
- Order: Reorder
- Duration: 30:34
- Updated: 09 Apr 2013
Budapest String Quartet (Joseph Roisman, Alexander Schneider: violin, Boris Kroyt: viola, Mischa Schneider: cello)-1958.
http://wn.com/Maurice_Ravel-String_Quartet_in_F_Major_Complete
Budapest String Quartet (Joseph Roisman, Alexander Schneider: violin, Boris Kroyt: viola, Mischa Schneider: cello)-1958.
- published: 02 Jun 2011
- views: 8448
- author: viool7
Maurice Ravel - Gaspard de la nuit
- Order: Reorder
- Duration: 23:26
- Updated: 10 Apr 2013
"Gaspard de la nuit: Trois poèmes pour piano d'après Aloysius Bertrand" is a suite of pieces for solo piano, composed in 1908 by Maurice Ravel. It has three ...
http://wn.com/Maurice_Ravel_Gaspard_de_la_nuit
"Gaspard de la nuit: Trois poèmes pour piano d'après Aloysius Bertrand" is a suite of pieces for solo piano, composed in 1908 by Maurice Ravel. It has three ...
- published: 01 Sep 2012
- views: 748
- author: neuIlaryRheinKlange
Pogorelich plays Ravel: Gaspard de la nuit (Ondine - Le Gibet - Scarbo)
- Order: Reorder
- Duration: 23:56
- Updated: 10 Apr 2013
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 b...
http://wn.com/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 b...
- published: 30 Apr 2011
- views: 97204
- author: musicanth
Ravel's Piano Trio in A Minor - La Jolla Music Society SummerFest
- Order: Reorder
- Duration: 28:20
- Updated: 05 Apr 2013
Visit: http://www.uctv.tv/) As part of SummerFest's "Prelude" series, the acclaimed Newbury Trio performs Maurice Ravel's "Piano Trio in A Minor", composed ...
http://wn.com/Ravel's_Piano_Trio_in_A_Minor_La_Jolla_Music_Society_SummerFest
Visit: http://www.uctv.tv/) As part of SummerFest's "Prelude" series, the acclaimed Newbury Trio performs Maurice Ravel's "Piano Trio in A Minor", composed ...
- published: 01 Nov 2012
- views: 4248
- author: UCtelevision
Argerich - Ravel Piano Concerto in G Major
- Order: Reorder
- Duration: 22:38
- Updated: 06 Apr 2013
Martha Argerich playing Piano Concerto by Maurice Ravel live from Torino Andrej Boreyko, conductor Orchestra Sinfonica Nazionale della Rai.
http://wn.com/Argerich_Ravel_Piano_Concerto_in_G_Major
Martha Argerich playing Piano Concerto by Maurice Ravel live from Torino Andrej Boreyko, conductor Orchestra Sinfonica Nazionale della Rai.
- published: 07 Jan 2011
- views: 50723
- author: nnamffohsaile
Ravel: Daphnis et Chloé - Haitink/RCO(1999Live)
- Order: Reorder
- Duration: 54:44
- Updated: 10 Apr 2013
Maurice Ravel (1875-1937) Daphnis et Chloé Bernard Haitink Royal Concertgebouw Orchestra Concertgebouw, Amsterdam, 19 3/1999.
http://wn.com/Ravel_Daphnis_et_Chloé_Haitink_RCO1999Live
Maurice Ravel (1875-1937) Daphnis et Chloé Bernard Haitink Royal Concertgebouw Orchestra Concertgebouw, Amsterdam, 19 3/1999.
- published: 09 Nov 2011
- views: 48361
- author: magischmeisjeorkest
Ravel - Le Tombeau de Couperin, orchestration complète
- Order: Reorder
- Duration: 24:33
- Updated: 10 Apr 2013
Composée entre 1914 et 1917, donnée en première audition en avril 1919 par Marguerite Long, la suite pour piano Le Tombeau de Couperin comporte six morceaux,...
http://wn.com/Ravel_Le_Tombeau_de_Couperin,_orchestration_complète
Composée entre 1914 et 1917, donnée en première audition en avril 1919 par Marguerite Long, la suite pour piano Le Tombeau de Couperin comporte six morceaux,...
- published: 02 May 2012
- views: 25535
- author: newhope123
Maurice Ravel - Piano concerto for the left hand
- Order: Reorder
- Duration: 20:16
- Updated: 08 Apr 2013
Leon Fleisher plays this work under the baton of Sergiu Comissiona. Orquesta Sinfónica de Radiotelevisión Española (Spanish Radio and Television Orchestra). ...
http://wn.com/Maurice_Ravel_Piano_concerto_for_the_left_hand
Leon Fleisher plays this work under the baton of Sergiu Comissiona. Orquesta Sinfónica de Radiotelevisión Española (Spanish Radio and Television Orchestra). ...
- published: 01 Jul 2012
- views: 1677
- author: Carlos SR
Maurice Ravel (1875-1937): String Quartet in F Major
- Order: Reorder
- Duration: 28:06
- Updated: 06 Apr 2013
I. Allegro moderato II. Assez vif (très rhythmé) III. Très lent IV. Vif et agité Carmirelli Quartet 1960.
http://wn.com/Maurice_Ravel_1875-1937_String_Quartet_in_F_Major
I. Allegro moderato II. Assez vif (très rhythmé) III. Très lent IV. Vif et agité Carmirelli Quartet 1960.
- published: 03 Jan 2013
- views: 520
- author: agir3
RAVEL - L'ENFANT ET LES SORTILEGES - ENREGISTREMENT HISTORIQUE DE 1947 - ERNEST BOUR
- Order: Reorder
- Duration: 43:26
- Updated: 05 Apr 2013
Maurice RAVEL L'ENFANT ET LES SORTILEGES Poème de COLETTE Nadine Sautereau : l'Enfant Denise Scharley : Maman / La Tasse chinoise / La Libellute / Une Bête A...
http://wn.com/RAVEL_L'ENFANT_ET_LES_SORTILEGES_ENREGISTREMENT_HISTORIQUE_DE_1947_ERNEST_BOUR
Maurice RAVEL L'ENFANT ET LES SORTILEGES Poème de COLETTE Nadine Sautereau : l'Enfant Denise Scharley : Maman / La Tasse chinoise / La Libellute / Une Bête A...
- published: 18 Feb 2012
- views: 16968
- author: RIRRATTO
Ravel Piano Trio in A minor - Menuhin, Cassadó, Kentner
- Order: Reorder
- Duration: 27:39
- Updated: 10 Apr 2013
Ravel: Piano trio in A minor 1. Modéré 2. Pantoum (Assez vif) 3. Passacaille: Trés large 4. Final: Animé Yehudi Menuhin, violin Gaspar Cassadó, cello Louis K...
http://wn.com/Ravel_Piano_Trio_in_A_minor_Menuhin,_Cassadó,_Kentner
Ravel: Piano trio in A minor 1. Modéré 2. Pantoum (Assez vif) 3. Passacaille: Trés large 4. Final: Animé Yehudi Menuhin, violin Gaspar Cassadó, cello Louis K...
- published: 05 Jan 2011
- views: 98767
- author: nikolaimedtner
Modest Mussorgsky / Maurice Ravel - Pictures at an Exhibition
- Order: Reorder
- Duration: 32:46
- Updated: 09 Apr 2013
Pictures at an Exhibition (Russian: Картинки с выставки -- Воспоминание о Викторе Гартмане, Kartinki s vystavki -- Vospominaniye o Viktore Gartmane, "Picture...
http://wn.com/Modest_Mussorgsky_Maurice_Ravel_Pictures_at_an_Exhibition
Pictures at an Exhibition (Russian: Картинки с выставки -- Воспоминание о Викторе Гартмане, Kartinki s vystavki -- Vospominaniye o Viktore Gartmane, "Picture...
- published: 17 Mar 2012
- views: 54319
- author: Fledermaus1990
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Maurice Ravel - Miroirs
- Order: Reorder
- Duration: 28:38
- Updated: 09 Apr 2013
"Miroirs" (Reflections) is a suite for solo piano written by French impressionist composer Maurice Ravel between 1904 and 1905, first performed by Ricardo Vi...
http://wn.com/Maurice_Ravel_Miroirs
"Miroirs" (Reflections) is a suite for solo piano written by French impressionist composer Maurice Ravel between 1904 and 1905, first performed by Ricardo Vi...
- published: 04 Sep 2012
- views: 5033
- author: neuIlaryRheinKlange
Maurice Ravel - Pavane for Dead Princess
- Order: Reorder
- Duration: 6:47
- Updated: 09 Apr 2013
Painting - Lake George, 1869 Artist - John Frederick Kensett (1816--1872)
http://wn.com/Maurice_Ravel_Pavane_for_Dead_Princess
Painting - Lake George, 1869 Artist - John Frederick Kensett (1816--1872)
- published: 15 Jan 2008
- views: 1395218
- author: poloshia
Maurice Ravel-Bolero [FULL]
- Order: Reorder
- Duration: 14:52
- Updated: 10 Apr 2013
DISCLAIMER: (All images and music are copyrighted by their respective copyright owners.)
http://wn.com/Maurice_Ravel-Bolero_FULL_
DISCLAIMER: (All images and music are copyrighted by their respective copyright owners.)
- published: 17 Aug 2010
- views: 843187
- author: SloLord
Maurice Ravel - Daybreak (Daphnis et Chloé)
- Order: Reorder
- Duration: 6:24
- Updated: 08 Apr 2013
Daphnis et Chloé is a ballet with music by Maurice Ravel. Ravel described it as a "symphonie choréographique" (choreographic symphony). The scenario was adap...
http://wn.com/Maurice_Ravel_Daybreak_Daphnis_et_Chloé
Daphnis et Chloé is a ballet with music by Maurice Ravel. Ravel described it as a "symphonie choréographique" (choreographic symphony). The scenario was adap...
- published: 07 May 2012
- views: 34424
- author: DistantMirrors
Hagen Quartet - Maurice Ravel - String Quartet in F - Allegro moderato, Très doux (1/4)
- Order: Reorder
- Duration: 8:01
- Updated: 08 Apr 2013
The first movement of 28 year-old Ravel's Quatuor à Cordes. He is said to have been meticulous in his writing, and, finally, a group of musicians have matche...
http://wn.com/Hagen_Quartet_Maurice_Ravel_String_Quartet_in_F_Allegro_moderato,_Très_doux_1_4
The first movement of 28 year-old Ravel's Quatuor à Cordes. He is said to have been meticulous in his writing, and, finally, a group of musicians have matche...
- published: 24 Oct 2009
- views: 222170
- author: thegoodgeneral
Maurice Ravel Piano Concerto in G (Leonard Bernstein)
- Order: Reorder
- Duration: 23:49
- Updated: 08 Apr 2013
Maurice Ravel Piano Concerto in G (Leonard Bernstein)
http://wn.com/Maurice_Ravel_Piano_Concerto_in_G_Leonard_Bernstein
Maurice Ravel Piano Concerto in G (Leonard Bernstein)
- published: 19 May 2011
- views: 46585
- author: Alex cello
Maurice Ravel - Piano Concerto for the left hand (Full)
- Order: Reorder
- Duration: 20:45
- Updated: 09 Apr 2013
The Symphony Orchestra of the Liszt School Of Music (Conductor: Prof. Nicolás Pasquet) plays Maurice Ravels Piano concerto for the left hand, which he compos...
http://wn.com/Maurice_Ravel_Piano_Concerto_for_the_left_hand_Full
The Symphony Orchestra of the Liszt School Of Music (Conductor: Prof. Nicolás Pasquet) plays Maurice Ravels Piano concerto for the left hand, which he compos...
- published: 16 Dec 2011
- views: 37025
- author: hfmFRANZLISZTweimar
Maurice Ravel - "Le tombeau de Couperin" by Angela Hewitt
- Order: Reorder
- Duration: 25:24
- Updated: 09 Apr 2013
http://www.cbcmusic.ca Angela Hewitt performs a live concert for the Royal Conservatory of Music at Toronto's Koerner Hall.
http://wn.com/Maurice_Ravel_Le_tombeau_de_Couperin_by_Angela_Hewitt
http://www.cbcmusic.ca Angela Hewitt performs a live concert for the Royal Conservatory of Music at Toronto's Koerner Hall.
- published: 12 Feb 2012
- views: 105584
- author: cbcradio3
- Maurice Ravel BOLERO - Wiener Philharmonic
- Order: Reorder
- Duration: 17:23
- Updated: 09 Apr 2013
Wiener Philharmonic : Gustavo Dudamel : Albena Danailova.
http://wn.com/_Maurice_Ravel_BOLERO_Wiener_Philharmonic
Wiener Philharmonic : Gustavo Dudamel : Albena Danailova.
- published: 28 Nov 2011
- views: 634144
- author: Last2TYears
Maurice Ravel - Piano Trio (1914) [1/2]
- Order: Reorder
- Duration: 12:39
- Updated: 08 Apr 2013
Maurice Ravel (1875-1937) Piano Trio (1914) I. Modéré 0:00 II. Pantoum (Assez vif) 8:22 III. Passacaille (Très large) IV. Final (Animé) Claremont Trio: Emily...
http://wn.com/Maurice_Ravel_Piano_Trio_1914_1_2_
Maurice Ravel (1875-1937) Piano Trio (1914) I. Modéré 0:00 II. Pantoum (Assez vif) 8:22 III. Passacaille (Très large) IV. Final (Animé) Claremont Trio: Emily...
- published: 13 Oct 2010
- views: 18503
- author: Epogdous
Maurice Ravel La Valse
- Order: Reorder
- Duration: 12:56
- Updated: 10 Apr 2013
Myung-Whun Chung Orchestre Philharmonique de Radio France.
http://wn.com/Maurice_Ravel_La_Valse
Myung-Whun Chung Orchestre Philharmonique de Radio France.
- published: 14 Aug 2010
- views: 150837
- author: Kim Cul Deok
Hagen Quartet - Maurice Ravel - String Quartet in F - Assez vif, Très rythmé (2/4)
- Order: Reorder
- Duration: 6:28
- Updated: 08 Apr 2013
The second movement of 28 year-old Ravel's Quatuor à Cordes. He is said to have been meticulous in his writing, and, finally, a group of musicians have match...
http://wn.com/Hagen_Quartet_Maurice_Ravel_String_Quartet_in_F_Assez_vif,_Très_rythmé_2_4
The second movement of 28 year-old Ravel's Quatuor à Cordes. He is said to have been meticulous in his writing, and, finally, a group of musicians have match...
- published: 27 Oct 2009
- views: 207246
- author: thegoodgeneral
Maurice Ravel - Feria
- Order: Reorder
- Duration: 6:21
- Updated: 28 Mar 2013
Maurice Ravel (1875 - 1937) Rapsodie espagnole N°4: -Feria- (The Cleveland Orchestra / Vladimir Ashkenazy)
http://wn.com/Maurice_Ravel_Feria
Maurice Ravel (1875 - 1937) Rapsodie espagnole N°4: -Feria- (The Cleveland Orchestra / Vladimir Ashkenazy)
- published: 31 Jan 2010
- views: 15907
- author: Classisch
Maurice Ravel - Jeux d'eau
- Order: Reorder
- Duration: 6:17
- Updated: 07 Apr 2013
Magdalena Müllerperth plays on the Steinway & Sons Concert Grand Piano D-274 "Jeux d'eau" by Maurice Ravel (1875-1937) from the CD: "Grand Piano Masters ~ Co...
http://wn.com/Maurice_Ravel_Jeux_d'eau
Magdalena Müllerperth plays on the Steinway & Sons Concert Grand Piano D-274 "Jeux d'eau" by Maurice Ravel (1875-1937) from the CD: "Grand Piano Masters ~ Co...
- published: 22 Sep 2009
- views: 9304
- author: KuKMusic
Ivo Pogorelich - Ravel Gaspard de la nuit - Ondine - part 1 of 3
- Order: Reorder
- Duration: 7:32
- Updated: 09 Apr 2013
Ivo Pogorelich - Ravel Gaspard de la nuit - London, 1983.
http://wn.com/Ivo_Pogorelich_Ravel_Gaspard_de_la_nuit_Ondine_part_1_of_3
Ivo Pogorelich - Ravel Gaspard de la nuit - London, 1983.
- published: 28 Jan 2010
- views: 25859
- author: Goranowitsch
Ivo Pogorelich - Ravel Gaspard de la nuit - interview - part 1 of 4
- Order: Reorder
- Duration: 5:23
- Updated: 03 Apr 2013
Ivo Pogorelich Ravel Gaspard de la nuit - interview - part 1 of 4, London 1983.
http://wn.com/Ivo_Pogorelich_Ravel_Gaspard_de_la_nuit_interview_part_1_of_4
Ivo Pogorelich Ravel Gaspard de la nuit - interview - part 1 of 4, London 1983.
- published: 30 Jan 2010
- views: 23124
- author: Goranowitsch
Maurice Ravel - Bolero
- Order: Reorder
- Duration: 15:29
- Updated: 10 Apr 2013
Version complète du Bolero de Maurice Ravel (environ 15 minutes). Pierre Monteux, London Symphony Orchestra. A venir bientôt... Des compilations de grands cl...
http://wn.com/Maurice_Ravel_Bolero
Version complète du Bolero de Maurice Ravel (environ 15 minutes). Pierre Monteux, London Symphony Orchestra. A venir bientôt... Des compilations de grands cl...
- published: 19 Oct 2010
- views: 2200276
- author: sesebs
Maurice Ravel - Prelude à la Nuit
- Order: Reorder
- Duration: 3:47
- Updated: 04 Apr 2013
Maurice Ravel (1875 - 1937) Rapsodie espagnole N°1: -Prélude à la Nuit- (The Cleveland Orchestra / Vladimir Ashkenazy)
http://wn.com/Maurice_Ravel_Prelude_à_la_Nuit
Maurice Ravel (1875 - 1937) Rapsodie espagnole N°1: -Prélude à la Nuit- (The Cleveland Orchestra / Vladimir Ashkenazy)
- published: 01 Dec 2009
- views: 60657
- author: Classisch
Maurice Ravel - Trois Poèmes de Stéphane Mallarmé
- Order: Reorder
- Duration: 11:21
- Updated: 04 Apr 2013
Trois poèmes de Stéphane Mallarmé, song cycle for voice & ensemble (or piano) (1913) Marie-Thérèse Escribano Ensemble Friedrich Cerha In a 1927 interview, Ma...
http://wn.com/Maurice_Ravel_Trois_Poèmes_de_Stéphane_Mallarmé
Trois poèmes de Stéphane Mallarmé, song cycle for voice & ensemble (or piano) (1913) Marie-Thérèse Escribano Ensemble Friedrich Cerha In a 1927 interview, Ma...
- published: 27 May 2011
- views: 7822
- author: pelodelperro
Maurice Ravel - Prélude à la nuit
- Order: Reorder
- Duration: 5:47
- Updated: 24 Jan 2013
Tratto da "Rhapsodie espagnole". Pianisti: Alfons & Aloys Kontarsky.
http://wn.com/Maurice_Ravel_Prélude_à_la_nuit
Tratto da "Rhapsodie espagnole". Pianisti: Alfons & Aloys Kontarsky.
- published: 09 Mar 2010
- views: 4277
- author: pecorwood
Ravel Piano Concerto In G Major Argerich Dutoit Orchestre National De France Frankfurt 9 9 1990
- Order: Reorder
- Duration: 22:59
- Updated: 09 Apr 2013
Complete.
http://wn.com/Ravel_Piano_Concerto_In_G_Major_Argerich_Dutoit_Orchestre_National_De_France_Frankfurt_9_9_1990
ANDRÉ RIEU 2009 BOLERO MAURICE RAVEL
- Order: Reorder
- Duration: 7:38
- Updated: 09 Apr 2013
OBS: VIDEO RECOLOCADOI POR TER SIDO DELETADO ACIDENTALMENTE (Novo Link) ANDRÉ RIEU - LIVE IN AUSTRALIA. 2009 -- BOLERO (MAURICE RAVEL) "Em uma noite linda Me...
http://wn.com/ANDRÉ_RIEU_2009_BOLERO_MAURICE_RAVEL
OBS: VIDEO RECOLOCADOI POR TER SIDO DELETADO ACIDENTALMENTE (Novo Link) ANDRÉ RIEU - LIVE IN AUSTRALIA. 2009 -- BOLERO (MAURICE RAVEL) "Em uma noite linda Me...
- published: 29 Jul 2010
- views: 612588
- author: WILLIS DE FARIA de Faria
Maurice Ravel: Rapsodie Espagnole - Louis Lortie And Hélène Mercier, Piano 4-Hands
- Order: Reorder
- Duration: 14:50
- Updated: 07 Apr 2013
http://www.cbcmusic.ca Louis Lortie made his third appearance on the stage of Koerner Hall in February of 2013, joined this time by fellow French-Canadian pi...
http://wn.com/Maurice_Ravel_Rapsodie_Espagnole_Louis_Lortie_And_Hélène_Mercier,_Piano_4-Hands
http://www.cbcmusic.ca Louis Lortie made his third appearance on the stage of Koerner Hall in February of 2013, joined this time by fellow French-Canadian pi...
- published: 04 Apr 2013
- views: 62
- author: cbcradio3
9:06
Maurice Ravel: 'Bolero'
Volker Hartung conducts Ravel's Bolero in a live performance given at Cologne Philharmonic...
published: 30 Aug 2008
author: maestrohartung
Maurice Ravel: 'Bolero'
Volker Hartung conducts Ravel's Bolero in a live performance given at Cologne Philharmonic Hall. Volker Hartung dirigiert Maurice Ravel's Bolero. Live Konzer...
- published: 30 Aug 2008
- views: 85459
- author: maestrohartung
17:23
- Maurice Ravel BOLERO - Wiener Philharmonic
Wiener Philharmonic : Gustavo Dudamel : Albena Danailova....
published: 28 Nov 2011
author: Last2TYears
- Maurice Ravel BOLERO - Wiener Philharmonic
Wiener Philharmonic : Gustavo Dudamel : Albena Danailova.
- published: 28 Nov 2011
- views: 636528
- author: Last2TYears
6:26
Andre Rieu - Bolero (Maurice Ravel) Live in München 2012
Concert Andre Rieu - Olympiahalle, Munchen, Germania, 25 aprilie 2012 Inregistrare din con...
published: 30 Apr 2012
author: doridani
Andre Rieu - Bolero (Maurice Ravel) Live in München 2012
Concert Andre Rieu - Olympiahalle, Munchen, Germania, 25 aprilie 2012 Inregistrare din concert cu aparat foto digital propriu.
- published: 30 Apr 2012
- views: 1491
- author: doridani
6:56
BOLERO-RAVEL
An impressive performance of Ravel's Bolero by the orchestra directed by the Dutch violini...
published: 20 Mar 2007
author: consejomunicipal
BOLERO-RAVEL
An impressive performance of Ravel's Bolero by the orchestra directed by the Dutch violinist and conductor Andre Rieu.
- published: 20 Mar 2007
- views: 12261003
- author: consejomunicipal
8:18
Ravel Bolero Christoph Eschenbach Orchestre de Paris part1
Maurice Ravel Bolero Condact:Christoph Eschenbach Orchestra:Orchestre de Paris Nov 5, 2007...
published: 15 Dec 2007
author: soichi1228
Ravel Bolero Christoph Eschenbach Orchestre de Paris part1
Maurice Ravel Bolero Condact:Christoph Eschenbach Orchestra:Orchestre de Paris Nov 5, 2007 NHKhall.
- published: 15 Dec 2007
- views: 1146073
- author: soichi1228
7:38
ANDRÉ RIEU 2009 BOLERO MAURICE RAVEL
OBS: VIDEO RECOLOCADOI POR TER SIDO DELETADO ACIDENTALMENTE (Novo Link) ANDRÉ RIEU - LIVE ...
published: 29 Jul 2010
author: WILLIS DE FARIA de Faria
ANDRÉ RIEU 2009 BOLERO MAURICE RAVEL
OBS: VIDEO RECOLOCADOI POR TER SIDO DELETADO ACIDENTALMENTE (Novo Link) ANDRÉ RIEU - LIVE IN AUSTRALIA. 2009 -- BOLERO (MAURICE RAVEL) "Em uma noite linda Me...
- published: 29 Jul 2010
- views: 612588
- author: WILLIS DE FARIA de Faria
2:08
Pianoduo Mephisto - Maurice Ravel - Rapsodie Espagnole - 2. Malaguena - Live in Bozar
The Pianoduo Mephisto (Katrijn Simoens & John Gevaert) in concert at the Center for Fine A...
published: 29 Sep 2011
author: PianoduoMephisto
Pianoduo Mephisto - Maurice Ravel - Rapsodie Espagnole - 2. Malaguena - Live in Bozar
The Pianoduo Mephisto (Katrijn Simoens & John Gevaert) in concert at the Center for Fine Arts - Brussels (May 29, 2011).
- published: 29 Sep 2011
- views: 1089
- author: PianoduoMephisto
55:38
M. Ravel - Daphnis et Chloé (Live)
Daphnis et Chloé (Live) - Complete Part I Introduction et Danse religieuse Danse générale ...
published: 15 Mar 2012
author: thiagoblanco
M. Ravel - Daphnis et Chloé (Live)
Daphnis et Chloé (Live) - Complete Part I Introduction et Danse religieuse Danse générale Danse grotesque de Dorcon Danse légère et gracieuse de Daphnis Dans...
- published: 15 Mar 2012
- views: 4767
- author: thiagoblanco
22:38
Argerich - Ravel Piano Concerto in G Major
Martha Argerich playing Piano Concerto by Maurice Ravel live from Torino Andrej Boreyko, c...
published: 07 Jan 2011
author: nnamffohsaile
Argerich - Ravel Piano Concerto in G Major
Martha Argerich playing Piano Concerto by Maurice Ravel live from Torino Andrej Boreyko, conductor Orchestra Sinfonica Nazionale della Rai.
- published: 07 Jan 2011
- views: 50723
- author: nnamffohsaile
8:25
Maurice Ravel - Concerto pour la main Gauche 1/2 live on Erard Concert Grand
Live-recording of Tamara Rumiantsev and Noord Nederlands Orkest conducted by Jacques Merci...
published: 04 Jun 2010
author: Tamara Rumiantsev
Maurice Ravel - Concerto pour la main Gauche 1/2 live on Erard Concert Grand
Live-recording of Tamara Rumiantsev and Noord Nederlands Orkest conducted by Jacques Mercier. Erard Concert Grand of Frits Janmaat.
- published: 04 Jun 2010
- views: 21299
- author: Tamara Rumiantsev
0:29
100 Gypsy Violins, live in Lyon - Auditorium Maurice Ravel
Extract from the Dvd "live 1994-2004" available on our website http://www.100violins.com h...
published: 24 Jan 2007
author: 100violins
100 Gypsy Violins, live in Lyon - Auditorium Maurice Ravel
Extract from the Dvd "live 1994-2004" available on our website http://www.100violins.com http://www.facebook.com/100violins.
- published: 24 Jan 2007
- views: 80833
- author: 100violins
4:08
Quatuor Ellipsos LIVE Toccata by Maurice RAVEL
http://www.quatuor-ellipsos.com "Toccata" tirée du Tombeau de Couperin de Maurice RAVEL po...
published: 17 May 2011
author: ellipsosTV
Quatuor Ellipsos LIVE Toccata by Maurice RAVEL
http://www.quatuor-ellipsos.com "Toccata" tirée du Tombeau de Couperin de Maurice RAVEL pour Quatuor de Saxophones donnée à l'Auditorium du Conservatoire de ...
- published: 17 May 2011
- views: 3764
- author: ellipsosTV
8:34
Parker Quartet - Maurice Ravel - String Quartet in F Major (Live on Performance Today)
The Parker Quartet performs Movement I - Allegro Moderato. Tres Doux, from Maurice Ravel's...
published: 21 Jan 2010
author: AmericanPublicMedia
Parker Quartet - Maurice Ravel - String Quartet in F Major (Live on Performance Today)
The Parker Quartet performs Movement I - Allegro Moderato. Tres Doux, from Maurice Ravel's String Quartet in F Major (1903) live on Performance Today.
- published: 21 Jan 2010
- views: 13534
- author: AmericanPublicMedia
5:19
Trio Imàge -live- Maurice Ravel Trio en la 1914 Final.Animé
Trio Imàge LIVE Melbourne 2011 Maurice Ravel Trio en la Finale.Animé Gergana Gergova - Vio...
published: 17 May 2012
author: Trio Imàge
Trio Imàge -live- Maurice Ravel Trio en la 1914 Final.Animé
Trio Imàge LIVE Melbourne 2011 Maurice Ravel Trio en la Finale.Animé Gergana Gergova - Violine Thomas Kaufmann - Violoncello Pavlin Nechev - Klavier.
- published: 17 May 2012
- views: 480
- author: Trio Imàge
Vimeo results:
19:53
Maya Plisetskaya - BOLÉRO (Ravel) [20 min.]
Maya Plisetskaya - BOLÉRO (Ravel)
Le Ballet du XXe Siècle
BOLÉRO de Ravel
Fête de l'H...
published: 28 Jan 2010
author: andrei66ro
Maya Plisetskaya - BOLÉRO (Ravel) [20 min.]
Maya Plisetskaya - BOLÉRO (Ravel)
Le Ballet du XXe Siècle
BOLÉRO de Ravel
Fête de l'Humanité
Théâtre Royal de la Monnaie, Bruxelles, Belgique, 1976
Solistă / Soloist: Maia Pliseţkaia / Maya Plisetskaya (n. 1925)
(Maia Mihailovna Pliseţkaia, Майя Михайловна Плисецкая,
Maïa Mikhaïlovna Plissetskaïa, Maya Mikhaylovna Plisetskaya,
Maia Mihailovna Plisetkaia, Maya Mikhaylovna Plisetkaya)
Prima ballerina assoluta (din / from 1960)
Coregrafie / Choreography: Maurice Béjart
Muzică / Music: Maurice Ravel (Boléro - 1928, 1930)
http://andrei66ro.multiply.com/journal/item/25
1:57
Scenes from an abandoned music video
Music composed by Maurice Ravel
Sourced from musopen.org...
published: 10 Mar 2011
author: oneedo
Scenes from an abandoned music video
Music composed by Maurice Ravel
Sourced from musopen.org
13:09
Maurice Ravel - La Valse
La Valse (1919) by Maurice Ravel
Mikel Toms, conductor
Brno Philharmonic Orchestra
Septem...
published: 15 Jan 2010
author: First Creative
Maurice Ravel - La Valse
La Valse (1919) by Maurice Ravel
Mikel Toms, conductor
Brno Philharmonic Orchestra
September 2009
13:09
Maurice Ravel - La Valse
La Valse (1919) - Maurice Ravel
Mikel Toms, conductor
Brno Philharmonic Orchestra
Filmed...
published: 07 Jan 2010
author: First Creative
Maurice Ravel - La Valse
La Valse (1919) - Maurice Ravel
Mikel Toms, conductor
Brno Philharmonic Orchestra
Filmed on 9 September 2009 at Besedni dum, Brno, Czech Republic by First Creative Ltd
Youtube results:
4:53
Flash mob at Copenhagen Central Station. Copenhagen Phil playing Ravel's Bolero.
As one of the first professional symphony orchestras ever Copenhagen Phil (Sjællands Symfo...
published: 27 May 2011
author: Copenhagen Phil
Flash mob at Copenhagen Central Station. Copenhagen Phil playing Ravel's Bolero.
As one of the first professional symphony orchestras ever Copenhagen Phil (Sjællands Symfoniorkester) did a flash mob at Copenhagen Central Station on May 2n...
- published: 27 May 2011
- views: 6200612
- author: Copenhagen Phil
19:12
Ravel - Rapsodie Espagnole - DePaul Symphony Orchestra
DePaul Symphony Orchestra performs Ravel's Rapsodie Espagnole at Orchestra Hall, home of t...
published: 27 Oct 2011
author: DePaulSOM
Ravel - Rapsodie Espagnole - DePaul Symphony Orchestra
DePaul Symphony Orchestra performs Ravel's Rapsodie Espagnole at Orchestra Hall, home of the Chicago Symphony Orchestra.
- published: 27 Oct 2011
- views: 35881
- author: DePaulSOM
10:00
Maurice Ravel - Concerto pour la main Gauche 2/2 live on Erard Concert Grand
Live-recording of Tamara Rumiantsev and Noord Nederlands Orkest conducted by Jacques Merci...
published: 04 Jun 2010
author: Tamara Rumiantsev
Maurice Ravel - Concerto pour la main Gauche 2/2 live on Erard Concert Grand
Live-recording of Tamara Rumiantsev and Noord Nederlands Orkest conducted by Jacques Mercier. Erard Concert Grand of Frits Janmaat.
- published: 04 Jun 2010
- views: 3467
- author: Tamara Rumiantsev
6:57
André Rieu - Boléro (Ravel)
André Rieu & the Johann Strauss Orchestra performing Ravel's Boléro live in Maastricht. Ta...
published: 24 Apr 2012
author: AndreRieuTV
André Rieu - Boléro (Ravel)
André Rieu & the Johann Strauss Orchestra performing Ravel's Boléro live in Maastricht. Taken from the DVD/Blu-Ray "André Rieu - Under the Stars - Live in Ma...
- published: 24 Apr 2012
- views: 450929
- author: AndreRieuTV
28:38
Maurice Ravel - Miroirs
"Miroirs" (Reflections) is a suite for solo piano written by French impressionist composer...
published: 04 Sep 2012
author: neuIlaryRheinKlange
Maurice Ravel - Miroirs
"Miroirs" (Reflections) is a suite for solo piano written by French impressionist composer Maurice Ravel between 1904 and 1905, first performed by Ricardo Vi...
- published: 04 Sep 2012
- views: 5033
- author: neuIlaryRheinKlange
23:49
Maurice Ravel Piano Concerto in G (Leonard Bernstein)
Maurice Ravel Piano Concerto in G (Leonard Bernstein)...
published: 19 May 2011
author: Alex cello
Maurice Ravel Piano Concerto in G (Leonard Bernstein)
Maurice Ravel Piano Concerto in G (Leonard Bernstein)
- published: 19 May 2011
- views: 46790
- author: Alex cello
20:45
Maurice Ravel - Piano Concerto for the left hand (Full)
The Symphony Orchestra of the Liszt School Of Music (Conductor: Prof. Nicolás Pasquet) pla...
published: 16 Dec 2011
author: hfmFRANZLISZTweimar
Maurice Ravel - Piano Concerto for the left hand (Full)
The Symphony Orchestra of the Liszt School Of Music (Conductor: Prof. Nicolás Pasquet) plays Maurice Ravels Piano concerto for the left hand, which he compos...
- published: 16 Dec 2011
- views: 37025
- author: hfmFRANZLISZTweimar
25:24
Maurice Ravel - "Le tombeau de Couperin" by Angela Hewitt
http://www.cbcmusic.ca Angela Hewitt performs a live concert for the Royal Conservatory of...
published: 12 Feb 2012
author: cbcradio3
Maurice Ravel - "Le tombeau de Couperin" by Angela Hewitt
http://www.cbcmusic.ca Angela Hewitt performs a live concert for the Royal Conservatory of Music at Toronto's Koerner Hall.
- published: 12 Feb 2012
- views: 105749
- author: cbcradio3
22:59
Ravel Piano Concerto In G Major Argerich Dutoit Orchestre National De France Frankfurt 9 9 1990
Complete....
published: 26 Jan 2009
author: Pedro Taam
Ravel Piano Concerto In G Major Argerich Dutoit Orchestre National De France Frankfurt 9 9 1990
Complete.
- published: 26 Jan 2009
- views: 207821
- author: Pedro Taam
28:31
Maurice Ravel - String Quartet in F Major
Joseph-Maurice Ravel (March 7, 1875 -- December 28, 1937) was a French composer known espe...
published: 17 Feb 2013
author: bartje11
Maurice Ravel - String Quartet in F Major
Joseph-Maurice Ravel (March 7, 1875 -- December 28, 1937) was a French composer known especially for his melodies, orchestral and instrumental textures and e...
- published: 17 Feb 2013
- views: 2242
- author: bartje11
25:21
ARTURO BENEDETTI MICHELANGELI - MAURICE RAVEL - THE PIANO CONCERTO
Maurice Ravel Konzert für Klavier und Orchester G Dur [1931] - I. Allegramente - II. Adagi...
published: 22 Dec 2010
author: berlinzerberus
ARTURO BENEDETTI MICHELANGELI - MAURICE RAVEL - THE PIANO CONCERTO
Maurice Ravel Konzert für Klavier und Orchester G Dur [1931] - I. Allegramente - II. Adagio assai - III. Presto - Arturo Benedetti Michelangeli, Klavier - Lo...
- published: 22 Dec 2010
- views: 23710
- author: berlinzerberus
26:33
Maurice Ravel - Trio in A minor for Piano, Violin and Cello
Maurice Ravel - Trio in A minor for Piano, Violin and Cello. 1. Modéré. 2. Pantoum: Assez ...
published: 07 May 2012
author: goturhjem2
Maurice Ravel - Trio in A minor for Piano, Violin and Cello
Maurice Ravel - Trio in A minor for Piano, Violin and Cello. 1. Modéré. 2. Pantoum: Assez vif. 3. Passacaille: Tres large - enchainez. 4. Finale: Animé. Reco...
- published: 07 May 2012
- views: 2128
- author: goturhjem2
22:10
MAURICE RAVEL.- 1875-1937.- Concierto para Piano y Orquesta Sol majeur
MAURICE RAVEL.- 1875-1937.- Concierto para Piano y Orquesta Sol majeur Allegramente Adagio...
published: 21 Sep 2012
author: Carlos Garcia
MAURICE RAVEL.- 1875-1937.- Concierto para Piano y Orquesta Sol majeur
MAURICE RAVEL.- 1875-1937.- Concierto para Piano y Orquesta Sol majeur Allegramente Adagio assai Presto Piano: Pascal Rogé Orquesta Sinfónica de Montréal Dir...
- published: 21 Sep 2012
- views: 1199
- author: Carlos Garcia
56:45
M. Ravel Bolero - Philharmoniker Hamburg, Gerd Albrecht (1997)
Maurice Ravel - Bolero Gerd Albrecht, Philharmonisches Staatsorchester Hamburg (1997)...
published: 14 Jul 2011
author: MD051
M. Ravel Bolero - Philharmoniker Hamburg, Gerd Albrecht (1997)
Maurice Ravel - Bolero Gerd Albrecht, Philharmonisches Staatsorchester Hamburg (1997)
- published: 14 Jul 2011
- views: 84166
- author: MD051
28:00
Maurice Ravel - Miroirs (Mirrors)
Miroirs ("Mirrors") is a solo piano work by Maurice Ravel written from 1904--1905.Ricardo ...
published: 19 Aug 2012
author: ArtMusikHistory
Maurice Ravel - Miroirs (Mirrors)
Miroirs ("Mirrors") is a solo piano work by Maurice Ravel written from 1904--1905.Ricardo Viñes first performed the work in 1906. Une barque sur l'océan and ...
- published: 19 Aug 2012
- views: 1244
- author: ArtMusikHistory
30:34
Maurice Ravel-String Quartet in F Major (Complete)
Budapest String Quartet (Joseph Roisman, Alexander Schneider: violin, Boris Kroyt: viola, ...
published: 02 Jun 2011
author: viool7
Maurice Ravel-String Quartet in F Major (Complete)
Budapest String Quartet (Joseph Roisman, Alexander Schneider: violin, Boris Kroyt: viola, Mischa Schneider: cello)-1958.
- published: 02 Jun 2011
- views: 8448
- author: viool7
23:26
Maurice Ravel - Gaspard de la nuit
"Gaspard de la nuit: Trois poèmes pour piano d'après Aloysius Bertrand" is a suite of piec...
published: 01 Sep 2012
author: neuIlaryRheinKlange
Maurice Ravel - Gaspard de la nuit
"Gaspard de la nuit: Trois poèmes pour piano d'après Aloysius Bertrand" is a suite of pieces for solo piano, composed in 1908 by Maurice Ravel. It has three ...
- published: 01 Sep 2012
- views: 748
- author: neuIlaryRheinKlange
23:56
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:...
published: 30 Apr 2011
author: musicanth
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 b...
- published: 30 Apr 2011
- views: 97204
- author: musicanth
Vimeo results:
19:53
Maya Plisetskaya - BOLÉRO (Ravel) [20 min.]
Maya Plisetskaya - BOLÉRO (Ravel)
Le Ballet du XXe Siècle
BOLÉRO de Ravel
Fête de l'H...
published: 28 Jan 2010
author: andrei66ro
Maya Plisetskaya - BOLÉRO (Ravel) [20 min.]
Maya Plisetskaya - BOLÉRO (Ravel)
Le Ballet du XXe Siècle
BOLÉRO de Ravel
Fête de l'Humanité
Théâtre Royal de la Monnaie, Bruxelles, Belgique, 1976
Solistă / Soloist: Maia Pliseţkaia / Maya Plisetskaya (n. 1925)
(Maia Mihailovna Pliseţkaia, Майя Михайловна Плисецкая,
Maïa Mikhaïlovna Plissetskaïa, Maya Mikhaylovna Plisetskaya,
Maia Mihailovna Plisetkaia, Maya Mikhaylovna Plisetkaya)
Prima ballerina assoluta (din / from 1960)
Coregrafie / Choreography: Maurice Béjart
Muzică / Music: Maurice Ravel (Boléro - 1928, 1930)
http://andrei66ro.multiply.com/journal/item/25
1:57
Scenes from an abandoned music video
Music composed by Maurice Ravel
Sourced from musopen.org...
published: 10 Mar 2011
author: oneedo
Scenes from an abandoned music video
Music composed by Maurice Ravel
Sourced from musopen.org
13:09
Maurice Ravel - La Valse
La Valse (1919) by Maurice Ravel
Mikel Toms, conductor
Brno Philharmonic Orchestra
Septem...
published: 15 Jan 2010
author: First Creative
Maurice Ravel - La Valse
La Valse (1919) by Maurice Ravel
Mikel Toms, conductor
Brno Philharmonic Orchestra
September 2009
13:09
Maurice Ravel - La Valse
La Valse (1919) - Maurice Ravel
Mikel Toms, conductor
Brno Philharmonic Orchestra
Filmed...
published: 07 Jan 2010
author: First Creative
Maurice Ravel - La Valse
La Valse (1919) - Maurice Ravel
Mikel Toms, conductor
Brno Philharmonic Orchestra
Filmed on 9 September 2009 at Besedni dum, Brno, Czech Republic by First Creative Ltd
Youtube results:
28:20
Ravel's Piano Trio in A Minor - La Jolla Music Society SummerFest
Visit: http://www.uctv.tv/) As part of SummerFest's "Prelude" series, the acclaimed Newbur...
published: 01 Nov 2012
author: UCtelevision
Ravel's Piano Trio in A Minor - La Jolla Music Society SummerFest
Visit: http://www.uctv.tv/) As part of SummerFest's "Prelude" series, the acclaimed Newbury Trio performs Maurice Ravel's "Piano Trio in A Minor", composed ...
- published: 01 Nov 2012
- views: 4248
- author: UCtelevision
22:38
Argerich - Ravel Piano Concerto in G Major
Martha Argerich playing Piano Concerto by Maurice Ravel live from Torino Andrej Boreyko, c...
published: 07 Jan 2011
author: nnamffohsaile
Argerich - Ravel Piano Concerto in G Major
Martha Argerich playing Piano Concerto by Maurice Ravel live from Torino Andrej Boreyko, conductor Orchestra Sinfonica Nazionale della Rai.
- published: 07 Jan 2011
- views: 50723
- author: nnamffohsaile
54:44
Ravel: Daphnis et Chloé - Haitink/RCO(1999Live)
Maurice Ravel (1875-1937) Daphnis et Chloé Bernard Haitink Royal Concertgebouw Orchestra C...
published: 09 Nov 2011
author: magischmeisjeorkest
Ravel: Daphnis et Chloé - Haitink/RCO(1999Live)
Maurice Ravel (1875-1937) Daphnis et Chloé Bernard Haitink Royal Concertgebouw Orchestra Concertgebouw, Amsterdam, 19 3/1999.
- published: 09 Nov 2011
- views: 48361
- author: magischmeisjeorkest
24:33
Ravel - Le Tombeau de Couperin, orchestration complète
Composée entre 1914 et 1917, donnée en première audition en avril 1919 par Marguerite Long...
published: 02 May 2012
author: newhope123
Ravel - Le Tombeau de Couperin, orchestration complète
Composée entre 1914 et 1917, donnée en première audition en avril 1919 par Marguerite Long, la suite pour piano Le Tombeau de Couperin comporte six morceaux,...
- published: 02 May 2012
- views: 25535
- author: newhope123
28:38
Maurice Ravel - Miroirs
"Miroirs" (Reflections) is a suite for solo piano written by French impressionist composer...
published: 04 Sep 2012
author: neuIlaryRheinKlange
Maurice Ravel - Miroirs
"Miroirs" (Reflections) is a suite for solo piano written by French impressionist composer Maurice Ravel between 1904 and 1905, first performed by Ricardo Vi...
- published: 04 Sep 2012
- views: 5033
- author: neuIlaryRheinKlange
6:47
Maurice Ravel - Pavane for Dead Princess
Painting - Lake George, 1869 Artist - John Frederick Kensett (1816--1872)...
published: 15 Jan 2008
author: poloshia
Maurice Ravel - Pavane for Dead Princess
Painting - Lake George, 1869 Artist - John Frederick Kensett (1816--1872)
- published: 15 Jan 2008
- views: 1395218
- author: poloshia
14:52
Maurice Ravel-Bolero [FULL]
DISCLAIMER: (All images and music are copyrighted by their respective copyright owners.)...
published: 17 Aug 2010
author: SloLord
Maurice Ravel-Bolero [FULL]
DISCLAIMER: (All images and music are copyrighted by their respective copyright owners.)
- published: 17 Aug 2010
- views: 843187
- author: SloLord
6:24
Maurice Ravel - Daybreak (Daphnis et Chloé)
Daphnis et Chloé is a ballet with music by Maurice Ravel. Ravel described it as a "symphon...
published: 07 May 2012
author: DistantMirrors
Maurice Ravel - Daybreak (Daphnis et Chloé)
Daphnis et Chloé is a ballet with music by Maurice Ravel. Ravel described it as a "symphonie choréographique" (choreographic symphony). The scenario was adap...
- published: 07 May 2012
- views: 34424
- author: DistantMirrors
8:01
Hagen Quartet - Maurice Ravel - String Quartet in F - Allegro moderato, Très doux (1/4)
The first movement of 28 year-old Ravel's Quatuor à Cordes. He is said to have been meticu...
published: 24 Oct 2009
author: thegoodgeneral
Hagen Quartet - Maurice Ravel - String Quartet in F - Allegro moderato, Très doux (1/4)
The first movement of 28 year-old Ravel's Quatuor à Cordes. He is said to have been meticulous in his writing, and, finally, a group of musicians have matche...
- published: 24 Oct 2009
- views: 222170
- author: thegoodgeneral
23:49
Maurice Ravel Piano Concerto in G (Leonard Bernstein)
Maurice Ravel Piano Concerto in G (Leonard Bernstein)...
published: 19 May 2011
author: Alex cello
Maurice Ravel Piano Concerto in G (Leonard Bernstein)
Maurice Ravel Piano Concerto in G (Leonard Bernstein)
- published: 19 May 2011
- views: 46585
- author: Alex cello
20:45
Maurice Ravel - Piano Concerto for the left hand (Full)
The Symphony Orchestra of the Liszt School Of Music (Conductor: Prof. Nicolás Pasquet) pla...
published: 16 Dec 2011
author: hfmFRANZLISZTweimar
Maurice Ravel - Piano Concerto for the left hand (Full)
The Symphony Orchestra of the Liszt School Of Music (Conductor: Prof. Nicolás Pasquet) plays Maurice Ravels Piano concerto for the left hand, which he compos...
- published: 16 Dec 2011
- views: 37025
- author: hfmFRANZLISZTweimar
25:24
Maurice Ravel - "Le tombeau de Couperin" by Angela Hewitt
http://www.cbcmusic.ca Angela Hewitt performs a live concert for the Royal Conservatory of...
published: 12 Feb 2012
author: cbcradio3
Maurice Ravel - "Le tombeau de Couperin" by Angela Hewitt
http://www.cbcmusic.ca Angela Hewitt performs a live concert for the Royal Conservatory of Music at Toronto's Koerner Hall.
- published: 12 Feb 2012
- views: 105584
- author: cbcradio3
17:23
- Maurice Ravel BOLERO - Wiener Philharmonic
Wiener Philharmonic : Gustavo Dudamel : Albena Danailova....
published: 28 Nov 2011
author: Last2TYears
- Maurice Ravel BOLERO - Wiener Philharmonic
Wiener Philharmonic : Gustavo Dudamel : Albena Danailova.
- published: 28 Nov 2011
- views: 634144
- author: Last2TYears
12:39
Maurice Ravel - Piano Trio (1914) [1/2]
Maurice Ravel (1875-1937) Piano Trio (1914) I. Modéré 0:00 II. Pantoum (Assez vif) 8:22 II...
published: 13 Oct 2010
author: Epogdous
Maurice Ravel - Piano Trio (1914) [1/2]
Maurice Ravel (1875-1937) Piano Trio (1914) I. Modéré 0:00 II. Pantoum (Assez vif) 8:22 III. Passacaille (Très large) IV. Final (Animé) Claremont Trio: Emily...
- published: 13 Oct 2010
- views: 18503
- author: Epogdous
12:56
Maurice Ravel La Valse
Myung-Whun Chung Orchestre Philharmonique de Radio France....
published: 14 Aug 2010
author: Kim Cul Deok
Maurice Ravel La Valse
Myung-Whun Chung Orchestre Philharmonique de Radio France.
- published: 14 Aug 2010
- views: 150837
- author: Kim Cul Deok
6:28
Hagen Quartet - Maurice Ravel - String Quartet in F - Assez vif, Très rythmé (2/4)
The second movement of 28 year-old Ravel's Quatuor à Cordes. He is said to have been metic...
published: 27 Oct 2009
author: thegoodgeneral
Hagen Quartet - Maurice Ravel - String Quartet in F - Assez vif, Très rythmé (2/4)
The second movement of 28 year-old Ravel's Quatuor à Cordes. He is said to have been meticulous in his writing, and, finally, a group of musicians have match...
- published: 27 Oct 2009
- views: 207246
- author: thegoodgeneral
6:21
Maurice Ravel - Feria
Maurice Ravel (1875 - 1937) Rapsodie espagnole N°4: -Feria- (The Cleveland Orchestra / Vla...
published: 31 Jan 2010
author: Classisch
Maurice Ravel - Feria
Maurice Ravel (1875 - 1937) Rapsodie espagnole N°4: -Feria- (The Cleveland Orchestra / Vladimir Ashkenazy)
- published: 31 Jan 2010
- views: 15907
- author: Classisch
6:17
Maurice Ravel - Jeux d'eau
Magdalena Müllerperth plays on the Steinway & Sons Concert Grand Piano D-274 "Jeux d'eau" ...
published: 22 Sep 2009
author: KuKMusic
Maurice Ravel - Jeux d'eau
Magdalena Müllerperth plays on the Steinway & Sons Concert Grand Piano D-274 "Jeux d'eau" by Maurice Ravel (1875-1937) from the CD: "Grand Piano Masters ~ Co...
- published: 22 Sep 2009
- views: 9304
- author: KuKMusic
Vimeo results:
19:53
Maya Plisetskaya - BOLÉRO (Ravel) [20 min.]
Maya Plisetskaya - BOLÉRO (Ravel)
Le Ballet du XXe Siècle
BOLÉRO de Ravel
Fête de l'H...
published: 28 Jan 2010
author: andrei66ro
Maya Plisetskaya - BOLÉRO (Ravel) [20 min.]
Maya Plisetskaya - BOLÉRO (Ravel)
Le Ballet du XXe Siècle
BOLÉRO de Ravel
Fête de l'Humanité
Théâtre Royal de la Monnaie, Bruxelles, Belgique, 1976
Solistă / Soloist: Maia Pliseţkaia / Maya Plisetskaya (n. 1925)
(Maia Mihailovna Pliseţkaia, Майя Михайловна Плисецкая,
Maïa Mikhaïlovna Plissetskaïa, Maya Mikhaylovna Plisetskaya,
Maia Mihailovna Plisetkaia, Maya Mikhaylovna Plisetkaya)
Prima ballerina assoluta (din / from 1960)
Coregrafie / Choreography: Maurice Béjart
Muzică / Music: Maurice Ravel (Boléro - 1928, 1930)
http://andrei66ro.multiply.com/journal/item/25
1:57
Scenes from an abandoned music video
Music composed by Maurice Ravel
Sourced from musopen.org...
published: 10 Mar 2011
author: oneedo
Scenes from an abandoned music video
Music composed by Maurice Ravel
Sourced from musopen.org
13:09
Maurice Ravel - La Valse
La Valse (1919) by Maurice Ravel
Mikel Toms, conductor
Brno Philharmonic Orchestra
Septem...
published: 15 Jan 2010
author: First Creative
Maurice Ravel - La Valse
La Valse (1919) by Maurice Ravel
Mikel Toms, conductor
Brno Philharmonic Orchestra
September 2009
13:09
Maurice Ravel - La Valse
La Valse (1919) - Maurice Ravel
Mikel Toms, conductor
Brno Philharmonic Orchestra
Filmed...
published: 07 Jan 2010
author: First Creative
Maurice Ravel - La Valse
La Valse (1919) - Maurice Ravel
Mikel Toms, conductor
Brno Philharmonic Orchestra
Filmed on 9 September 2009 at Besedni dum, Brno, Czech Republic by First Creative Ltd
Youtube results:
7:32
Ivo Pogorelich - Ravel Gaspard de la nuit - Ondine - part 1 of 3
Ivo Pogorelich - Ravel Gaspard de la nuit - London, 1983....
published: 28 Jan 2010
author: Goranowitsch
Ivo Pogorelich - Ravel Gaspard de la nuit - Ondine - part 1 of 3
Ivo Pogorelich - Ravel Gaspard de la nuit - London, 1983.
- published: 28 Jan 2010
- views: 25859
- author: Goranowitsch
5:23
Ivo Pogorelich - Ravel Gaspard de la nuit - interview - part 1 of 4
Ivo Pogorelich Ravel Gaspard de la nuit - interview - part 1 of 4, London 1983....
published: 30 Jan 2010
author: Goranowitsch
Ivo Pogorelich - Ravel Gaspard de la nuit - interview - part 1 of 4
Ivo Pogorelich Ravel Gaspard de la nuit - interview - part 1 of 4, London 1983.
- published: 30 Jan 2010
- views: 23124
- author: Goranowitsch
15:29
Maurice Ravel - Bolero
Version complète du Bolero de Maurice Ravel (environ 15 minutes). Pierre Monteux, London S...
published: 19 Oct 2010
author: sesebs
Maurice Ravel - Bolero
Version complète du Bolero de Maurice Ravel (environ 15 minutes). Pierre Monteux, London Symphony Orchestra. A venir bientôt... Des compilations de grands cl...
- published: 19 Oct 2010
- views: 2200276
- author: sesebs
3:47
Maurice Ravel - Prelude à la Nuit
Maurice Ravel (1875 - 1937) Rapsodie espagnole N°1: -Prélude à la Nuit- (The Cleveland Orc...
published: 01 Dec 2009
author: Classisch
Maurice Ravel - Prelude à la Nuit
Maurice Ravel (1875 - 1937) Rapsodie espagnole N°1: -Prélude à la Nuit- (The Cleveland Orchestra / Vladimir Ashkenazy)
- published: 01 Dec 2009
- views: 60657
- author: Classisch
photo: AP / Korea POOL
10 Apr 2013
SEOUL. South Korea raised its military watch alert to "vital threat" today ahead of an expected North Korean missile launch, as UN chief Ban Ki-moon warned the Korean peninsula may be slipping out of control. South Korean intelligence says the North had prepared two mid-range missiles for imminent launch from its east coast, despite warnings from ally China to avoid provocative moves at a time of soaring military tensions ... ....(size: 2.4Kb)
photo: UN / Sophia Paris
09 Apr 2013
UN Secretary-General Ban Ki-moon has warned the crisis on the Korean peninsula may become "uncontrollable". He once again urged North Korea to tone down its "provocative rhetoric" and to keep open a joint North-South Korean industrial complex. Also on Tuesday, North Korea warned foreigners in South Korea to take evacuation measures in case of war ... Speaking to reporters in Rome, Mr Ban said ... Korean tensions. 12 Dec ... ....(size: 7.2Kb)
photo: AP / Fars News Agency, Mohammad Fatemi
10 Apr 2013
DUBAI - A powerful earthquake struck close to Iran's only nuclear power station on Tuesday, killing 37 people and injuring 850 as it destroyed homes and devastated two small villages, Iranian media reported ... Many houses in rural parts of the province are made of mud bricks, which have been known to crumble easily in quake-prone Iran. Some 700 homes were destroyed, Hassanvand said ... "The windows and chandeliers all shook." ... ... ....(size: 3.5Kb)
photo: White House / Pete Souza
09 Apr 2013
Article by WN.com Correspondent Dallas Darling. In 1982 with negotiations over the eventual return of the Malvians-Falkland Islands to Argentina dragging on, Argentine forces landed and declared ownership of the islands. During the seventy-four day war that ensued between Britain and Argentina, only 649 Argentineans and 255 British were killed. Surprisingly, the conflict involved virtually no civilian casualties....(size: 3.8Kb)
photo: AP / Manu Fernandez
10 Apr 2013
Gerard Pique of Barcelona and Zlatan Ibrahimovic of PSG in action during the UEFA Champions League Quarter Final match at the Parc des Princes stadium on April 2, 2013 in Paris France. By Karthick Arvinth, Goal.com. The Blaugrana will hope that home advantage can give them the edge over Carlo Ancelotti's star-studded outfit in Wednesday's Champions League quarterfinal second leg. Probable lineups. BARCELONA. Valdés ... PARIS SAINT-GERMAIN ... ....(size: 3.4Kb)
noodls
09 Apr 2013
(Source. Stetson University). April 09, 2013 ... Woodland Blvd., DeLand, Fla ... Craig Maddox, voice professor at Stetson since 1984 ... O'Malley's senior recital will feature pieces by George Frederic Handel (1685-1759), Henry Purcell (1659-1695), Johannes Brahms (1833-1897), Maurice Ravel (1875-1937), Jacques Ibert (1890-1962), Wolfgang Amadeus Mozart (1756-1791), and Ralph Vaughan Williams (1872-1958)....(size: 1.7Kb)
The Guardian
08 Apr 2013
Philharmonic Hall, Liverpool 4. George Gershwin never realised his ambition of studying harmony with Maurice Ravel. When the French composer heard how much Gershwin was earning, he replied. "You should give me lessons." He did become Arnold Schoenberg's tennis partner in Hollywood, however, and John Wilson's programme focused on Gershwin's attempts to jump the net and be taken seriously as a classical composer ... ....(size: 2.0Kb)
noodls
08 Apr 2013
(Source. KU - The University of Kansas). LAWRENCE - Movement drives the University Dance Company of the University of Kansas. This month the company's movement will take it all the way to Salina. The Salina Community Theatre will present the University Dance Company for performances and community workshops April 27 ... Choreographed by Jerel Hilding to Maurice Ravel's introduction and allegro for harp, string quartet, flute and clarinet....(size: 3.9Kb)
Syracuse
07 Apr 2013
By Linda Loomis. Contributing Writer. Players performed. Fans cheered. Syracuse scored a win. It all happened at John H ... In the second selection, mezzo-soprano Susan Platts evoked visions of aromatic spices, incense-laden chambers and veiled couches as she sang Maurice Ravel’s sensuous “Scheherazade,” a turn of 20th-Century song cycle of three Tristan Klingsor poems ... The audience clearly loved the program ... ....(size: 3.4Kb)
The Charlotte Observer
06 Apr 2013
Some don’t consider Christmas complete without “The Nutcracker.” I feel the same way about the Maurice Ravel’s Piano Concerto in G ... And Friday night, Parisian Pascal Rogé turned it on its head with a deeply felt, introverted version that made it sound like Chopin and Gershwin were both looking over Ravel’s shoulder....(size: 2.6Kb)
The Florida Times Union
02 Apr 2013
From its opening timpani roll, Edvard Grieg’s “Piano Concerto” is untamed wildness ... Cohen’s reputation as a passionate and fiery performer is perfect for this weekend’s repertoire ... He has made several appearances with the Jacksonville orchestra ... The Jacksonville Symphony Orchestra also will also perform Henry Dutilleux’s “Metaboles” and Maurice Ravel’s “La Valse.” ... Soaring melodic content common with Ravel’s style is always a delight ... ....(size: 2.6Kb)
All About Jazz
01 Apr 2013
By PAUL ZABORAC, Paul Zaborac. Saxophonist and Composer. Recent articles (0 total) Take Five With Paul Zaborac. View All12Next ». Meet Paul Zaborac.. Paul Zaborac is a versatile saxophonist, composer, and educator. Born in Des Moines, Iowa in 1987, he began studying the saxophone at the age of 11 ... Instrument(s).. Saxophone. Teachers and/or influences? ... Maurice Ravel, Claude Debussy, Rimsky Korsakov, Christian Lauba, and many others ... ....(size: 4.9Kb)
North Jersey
31 Mar 2013
The Wichita Eagle
31 Mar 2013
Music Director and Conductor Daniel Hege and Executive Director Don Reinhold wanted both old favorites and show stoppers in the lineup ... The season opener will feature the large orchestra pieces by Maurice Ravel and Igor Stravinsky — “Daphnis and Chloe Suite” and “The Rite of Spring.” Identical twin sisters will play Francois Poulenc’s “Concerto for Two Pianos.” ... 1 ... ....(size: 4.3Kb)
Otago Daily Times
29 Mar 2013
Ravel ... This is the impressive debut of a two-volume set of Maurice Ravel's orchestral music, the second disc by American conductor Leonard Slatkin in his post with the French orchestra - now playing with spirit and a rich sheen, well captured by excellent recording ... Most of these started as piano music but display Ravel's mastery in transferring them ......(size: 1.8Kb)
U~T San Diego
29 Mar 2013
San Diego State music professor and composer Joseph Waters is always pushing the envelope, and for the April, 2013 edition of his annual new music festival, produced with NWEAMO (The New West Electronic Arts and Music Organization), he’ll go interspecies. NWEAMO 2013 will address “Emotional circuts. Electric Animal.” ... “Is there music that specifically provokes these?” Waters asks ... Here are the festival programs. ... Maurice Ravel/arr ... “Hurt”....(size: 2.3Kb)
The Los Angeles Times
29 Mar 2013
The Los Angeles Philharmonic will be visiting living rooms around the country via its national radio broadcast concert series, which will be syndicated nationwide again this year ... Phil’s 2012-13 season ... Philharmonic ... Phil and Music Director Gustavo Dudamel." ... Maurice Ravel’s “Pavane for a Dead Princess,” Stravinsky’s “Rite of Spring” and the world premiere of Steven Stucky’s Symphony. ALSO.....(size: 3.9Kb)
noodls
27 Mar 2013
The program will include performances of Maurice Ravel's Alborada del gracioso, a technically challenging piece that incorporates Spanish musical themes with complicated melodies; George Gershwin's An American in Paris, which was inspired by time the composer spent in Paris, evoking sights and sounds of the French capital; and Ottorino Respighi's ......(size: 2.5Kb)
This article is about the late 19th-, early 20th-century composer. For other uses, see Ravel (disambiguation).
| Maurice Ravel | |
|---|---|
 Maurice Ravel in 1912 |
|
| Born | Joseph Maurice Ravel (1875-03-07)March 7, 1875 Ciboure, France |
| Died | December 28, 1937(1937-12-28) (aged 62) Paris, France |
| Resting place | Levallois-Perret |
| Nationality | French |
| Occupation | Composer |
| Partner | None |
| Relatives | Marie Delouart, Joseph Ravel |
Joseph-Maurice Ravel (March 7, 1875 – December 28, 1937) was a French composer known especially for his melodies, orchestral and instrumental textures and effects. Much of his piano music, chamber music, vocal music and orchestral music has entered the standard concert repertoire.
Ravel's piano compositions, such as Jeux d'eau, Miroirs, Le tombeau de Couperin and Gaspard de la nuit, demand considerable virtuosity from the performer, and his orchestral music, including Daphnis et Chloé and his arrangement of Modest Mussorgsky's Pictures at an Exhibition, uses a variety of sound and instrumentation.
Ravel is perhaps known best for his orchestral work Boléro (1928), which he considered trivial and once described as "a piece for orchestra without music".[1]
According to SACEM, Ravel's estate earns more royalties than that of any other French composer. According to the law of most countries (including all members of the World Trade Organization), Ravel's works have been in the public domain since January 1, 2008, in most countries.
Contents |
Biography[link]
Early life[link]
Ravel was born in the Basque town of Ciboure, France, near Biarritz, close to the border with Spain, in 1875. His mother, Marie Delouart, was of Basque descent and grew up in Madrid, Spain, while his father, Joseph Ravel, was a Swiss inventor and industrialist from French Haute-Savoie.[2] Both were Catholics and they provided a happy and stimulating household for their children. Some of Joseph's inventions were quite important, including an early internal-combustion engine and a notorious circus machine, the "Whirlwind of Death", an automotive loop-the-loop that was quite a success until a fatal accident at the Barnum & Bailey Circus in 1903.[3] Joseph delighted in taking his sons to factories to see the latest mechanical devices, and he also had a keen interest in music and culture.[4] Ravel substantiated his father's early influence by stating later, “As a child, I was sensitive to music—to every kind of music.”[5]
Ravel was very fond of his mother, and her Basque-Spanish heritage was a strong influence on his life and music. Among his earliest memories are folk songs she sang to him.[6] The family moved to Paris three months after the birth of Maurice, and there his younger brother Édouard was born. Édouard became his father’s favorite and also became an engineer.[6] At age six, Maurice began piano lessons with Henry Ghys and received his first instruction in harmony, counterpoint, and composition with Charles-René. His earliest public piano recital was in 1889 at age fourteen.[7]
Though obviously talented at the piano, Ravel demonstrated a preference for composing. He was particularly impressed by the new Russian works conducted by Nikolai Rimsky-Korsakov at the Exposition Universelle in 1889.[8] The foreign music at the exhibition also had a great influence on Ravel’s contemporaries Erik Satie, Emmanuel Chabrier, and most significantly Claude Debussy. That year Ravel also met Ricardo Viñes, who would become one of his best friends, one of the foremost interpreters of his piano music, and an important link between Ravel and Spanish music.[9] The students shared an appreciation for Richard Wagner, the Russian school, and the writings of Edgar Allan Poe, Charles Baudelaire, and Stéphane Mallarmé.[10]
The Conservatoire and early career[link]
Ravel’s parents encouraged his musical pursuits and sent him to the Conservatoire de Paris, first as a preparatory student and eventually as a piano major. His teachers included Émile Descombes. He received a first prize in the piano student competition in 1891.[11] Overall, however, he was not successful academically even as his musicianship matured dramatically. Considered “very gifted”, Ravel was also called “somewhat heedless” in his studies.[11] Around 1893, Ravel created his earliest compositions, and he was introduced by his father to the café pianist Erik Satie, whose distinctive personality and unorthodox musical experiments proved influential.[10]
Ravel was not a "bohemian" and evidenced little of the typical trauma of adolescence. At twenty years of age, Ravel was already "self-possessed, a little aloof, intellectually biased, given to mild banter."[12] He dressed like a dandy and was meticulous about his appearance and demeanor. Short in stature, light in frame, and bony in features, Ravel had the "appearance of a well-dressed jockey".[13] His large head seemed suitably matched to his great intellect. He was well-read and later accumulated a library of over 1,000 volumes.[13] In his younger adulthood, Ravel was usually bearded in the fashion of the day, though later he dispensed with all whiskers. Though reserved, Ravel was sensitive and self-critical, and had a mischievous sense of humor.[12] He became a life-long tobacco smoker in his youth, and he enjoyed strongly flavored meals, fine wine, and spirited conversation.[14]
After failing to meet the requirement of earning a competitive medal in three consecutive years, Ravel was expelled in 1895. He turned down a music professorship in Tunisia then returned to the Conservatoire in 1898 and started his studies with Gabriel Fauré, determined to focus on composing rather than piano playing.[15] He studied composition with Fauré until he was dismissed from the class in 1900 for having won neither the fugue nor the composition prize. He remained an auditor with Fauré until he left the Conservatoire in 1903.[16] Ravel found his teacher’s personality and methods sympathetic and they remained friends and colleagues. He also undertook private studies with André Gedalge, whom he later stated was responsible for "the most valuable elements of my technique."[17] Ravel studied the ability of each instrument carefully in order to determine the possible effects, and was sensitive to their color and timbre. This may account for his success as an orchestrator and as a transcriber of his own piano works and those of other composers, such as Mussorgsky, Debussy and Schumann.[18]
His first significant work, Habanera for two pianos, was later transcribed into the well-known third movement of his Rapsodie espagnole, which he dedicated to Charles-Wilfrid de Bériot, another of his professors at the Conservatoire. His first published work was Menuet antique, dedicated to and premiered by Viñes.[19] In 1899, Ravel conducted his first orchestral piece, Shéhérazade, and was greeted by a raucous mixture of boos and applause. Critics termed the piece "a jolting debut: a clumsy plagiarism of the Russian School" and called Ravel a “mediocrely gifted debutante ... who will perhaps become something if not someone in about ten years, if he works hard.”[20] As the most gifted composer of his class and as a leader, with Debussy, of avant-garde French music, Ravel would continue to have a difficult time with the critics for some time to come.[21]
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Around 1900, Ravel joined with a number of innovative young artists, poets, critics, and musicians who were referred to as the Apaches (hooligans), a name coined by Viñes to represent his band of "artistic outcasts".[22] The group met regularly until the beginning of World War I and the members often inspired each other with intellectual argument and performances of their works before the group. For a time, the influential group included Igor Stravinsky and Manuel de Falla.[23] One of the first works Ravel performed for the Apaches was Jeux d'eau, his first piano masterpiece and clearly a pathfinding impressionistic work. Viñes performed the public premiere of this piece and Ravel's other early masterpiece Pavane pour une infante défunte in 1902.[24]
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, including Director Théodore Dubois.[25] One of Ravel's submitted pieces, the String Quartet in F, probably modeled on Debussy’s Quartet (1893), is now a standard work of chamber music, though at the time it was criticized and found lacking academically.[26] In 1905, Ravel's final year of eligibility for the Prix de Rome, Ravel did not even pass the preliminary test, despite being favored to win one of the two first prizes available.[27] Instead, all six selected finalists were students of Charles Lenepveu, a member of the jury and heir apparent of Dubois as director of the Conservatoire. The scandal – named the "Ravel Affair" by the Parisian press – engaged the entire artistic community, pitting conservatives against the avant-garde, and eventually caused the resignation of Dubois and his replacement by Fauré instead of Lenepveu, a vindication of sorts for Ravel.[28] Alfred Edwards, editor of Le Matin, who had taken particular interest in the incident, took Ravel on a seven-week canal trip on his yacht Aimée through the Low Countries in June and July 1905, the first time Ravel traveled abroad.[29] Though deprived of the opportunity to study in Rome, the decade after the scandal proved to be Ravel's most productive, and included his "Spanish period".[30]
Ravel and Debussy[link]
Ravel met Debussy in the 1890s. Debussy was older than Ravel by some twelve years and his pioneering Prélude à l'après-midi d'un faune was influential among the younger musicians including Ravel, who were impressed by the new language of impressionism.[31] In 1900, Ravel was invited to Debussy’s home and they played each other’s works. Viñes became the preferred piano performer for both composers and a go-between. The two composers attended many of the same musical events and were performed at the same concerts. Ravel and the Apaches were strong supporters of Debussy’s controversial public debut of his unconventional opera Pelléas et Mélisande, which garnered Debussy both fame and scorn.[25]
The two musicians also appreciated much the same musical heritage and operated in the same artistic milieu, but they differed in terms of personality and their approach to music. Debussy was considered more spontaneous and casual in his composing while Ravel was more attentive to form and craftsmanship.[32] Even though they worked independently of one another, because they employed differing means to similar ends, and because superficial similarities and even some more substantive ones are evident, the public and the critics associated them more than the facts warranted.[33]
Ravel wrote that Debussy’s “genius was obviously one of great individuality, creating its own laws, constantly in evolution, expressing itself freely, yet always faithful to French tradition. For Debussy, the musician and the man, I have had profound admiration, but by nature I am different from Debussy.”[34] Ravel further stated, “I think I have always personally followed a direction opposed to that of the symbolism of Debussy.”[15]
They admired each other’s music and Ravel even played Debussy’s work in public on occasion. However, Ravel did criticize Debussy sometimes, particularly regarding his orchestration, and he once said, "If I had the time, I would reorchestrate La mer."[32]
By 1905, factions formed for each composer and the two groups began feuding in public. Disputes arose as to questions of chronology about their respective works and who influenced whom. The public tension caused personal estrangement.[35] As Ravel said, “It is probably better after all for us to be on frigid terms for illogical reasons.”[33] Ravel stoically absorbed superficial comparisons with Debussy promulgated by biased critics, including Pierre Lalo, an anti-Ravel critic who stated, “Where M. Debussy is all sensitivity, M. Ravel is all insensitivity, borrowing without hesitation not only technique but the sensitivity of other people.”[35] During 1913, in a remarkable coincidence, both Ravel and Debussy independently produced and published musical settings for poems by Stéphane Mallarmé, again provoking comparisons of their work and their perceived influence on each other, which continued even after Debussy’s death five years later.[36]
Early major works[link]
The next of Ravel’s piano compositions to become famous was Miroirs (Mirrors, 1905), five piano pieces which marked a “harmonic evolution” and which one commentator described as “intensely descriptive and pictorial. They banish all sentiment in expression but offer to the listener a number of refined sensory elements which can be appreciated according to his imagination.”[37] Next was his Histoires naturelles (Nature Stories), five humorous songs evoking the presence of five animals.[38] Two years later, Ravel completed his Rapsodie espagnole, his first major "Spanish" piece, written first for piano four hands and then scored for orchestra. Though it employs folk-like melodies, no actual folk songs are quoted.[39] It premiered in 1908 to generally good reviews, with one critic stating that it was "one of the most interesting novelties of the season", while Pierre Lalo (as usual) reacted negatively, calling it "laborious and pedantic".[40] Next followed Ravel's music for the opera L'heure espagnole (The Spanish Hour), full of humor and rich in color, employing a wide variety of instruments and their characteristic qualities, including the trombone, sarrusophone, tuba, celesta, xylophone, and bells.[41] The libretto was by Franc-Nohain, after his own comedy of the same name.
Ravel further extended his mastery of impressionistic piano music with Gaspard de la nuit, based on a collection by the same name by Aloysius Bertrand, with some influence from the writings of Edgar Allan Poe, particularly in the second part.[42] Viñes, as usual, performed the premiere but his performance displeased Ravel, and their relationship became strained from then on. For future premieres, Ravel replaced Viñes with Marguerite Long.[43] Also unhappy with the conservative musical establishment which was discouraging performance of new music, around this time Ravel, Fauré, and some of his pupils formed the Société musicale indépendante (SMI). In 1910, the society presented the premiere of Ravel’s Ma mère l'oye (Mother Goose) in its original piano duet version.[44] With this work, Ravel followed in the tradition of Schumann, Mussorgsky, and Debussy, who also created memorable works of childhood themes. In 1912, Ravel's Ma mère l'oye was performed as a ballet (with added music) after being first transcribed from piano to orchestra.[45] Looking to expand his contacts and career, Ravel made his first foreign tours to England and Scotland during 1909 and 1911.[46]
[edit] Daphnis et Chloé
Ravel began work with impresario Sergei Diaghilev during 1909 for the ballet Daphnis et Chloé commissioned by Diaghilev with the lead danced by the famous ballet dancer and choreographer Vaslav Nijinsky. Diaghilev had taken Paris by storm the previous year in his Parisian opera debut, Boris Godunov.[45] Daphnis et Chloé took three years to complete, with conflicts constantly arising among the principal artists, including Léon Bakst (sets and costumes), Michel Fokine (libretto), and Ravel (music).[47] In frustration, Diaghilev nearly cancelled the project. The ballet had an unenthusiastic reception and lasted only two performances, only to be revived to acclaim a year later. Igor Stravinsky called Daphnis et Chloé "one of the most beautiful products of all French music" and author Burnett James claims that it is "Ravel's most impressive single achievement, as it is his most opulent and confident orchestral score".[48] The work is notable for its rhythmic diversity, lyricism, and evocations of nature. The score utilizes a large orchestra and two choruses, one onstage and one offstage.[49] So exhausting was the effort to score the ballet that Ravel's health deteriorated, with a diagnosis of neurasthenia soon forcing him to rest for several months.[50] During 1914, just as World War I began, Ravel composed his Piano Trio (for piano, violin, and cello) with its Basque themes. The piece, difficult to play well, is considered a masterpiece among trio works.[51]
War years[link]
Although he considered his small stature (1.61 m)[52] and light weight an advantage to becoming an aviator, and he tried every means of securing service as a flyer, during the First World War Ravel was not allowed to enlist as a pilot because of his age and weak health.[53] Instead, he became a truck driver stationed at the Verdun front.[54] At one point Ravel's unit engaged a German unit that included a young Adolf Hitler.[55] With his mother’s death in 1917, his fondest relationship ended and he fell into a “horrible despair”, adding to his ill health and the general gloom over the suffering endured by the people of his country during the war. However, during the war years, Ravel did manage some compositions, including one of his most popular works, Le tombeau de Couperin, a commemoration of the musical ideals of François Couperin, the early 18th-century composer, which premiered in 1919.[56] Each movement is dedicated to a friend of Ravel's who died in the war, with the final movement dedicated to the deceased husband of Ravel’s favorite pianist Marguerite Long.[56] During the war, the Ligue Nationale pour la Defense de la Musique Française (National League for the Defense of French Music) was formed but Ravel, despite his strong antipathy for the German aggression, declined to join stating:
“it would be dangerous for French composers to ignore systematically the works of their foreign colleagues, and thus form themselves into a sort of national coterie: our musical art, so rich at the present time, would soon degenerate and become isolated by its own academic formulas.”[54]
Ravel was exhausted and lacking creative spirit at the war’s end in 1918. With the death of Debussy and the emergence of Satie, Schoenberg, and Stravinsky, modern classical music had a new style to which Ravel would shortly re-group and make his contribution.[57]
1920s[link]
Around 1920, Diaghilev commissioned Ravel to write La valse (The Waltz), originally named Wien (Vienna), which was to be used for a projected ballet. The piece, conceived many years earlier, became a waltz with a macabre undertone, famous for its “fantastic and fatal whirling”. However, it was rejected by Diaghilev as “not a ballet. It’s a portrait of ballet”. Ravel, hurt by the comment, ended the relationship.[58] Subsequently, it became a popular concert work and when the two men met again in 1925, Ravel refused to shake Diaghilev's hand. Diaghilev challenged Ravel to a duel, but friends persuaded Diaghilev to recant. The two never met again.[59]
In 1920, the French government awarded Ravel the Légion d'honneur, but he refused it.[60] The next year, he retired to the French countryside where he continued to write music, albeit even less prolifically, but in more tranquil surroundings.[61] He returned regularly to Paris for performances and socializing, and increased his foreign concert tours. Ravel maintained his influential participation with the SMI which continued its active role of promoting new music, particularly of British and American composers such as Arnold Bax, Ralph Vaughan Williams, Aaron Copland, and Virgil Thomson.[62] With Debussy’s death, Ravel became perceived popularly as the main composer of French classical music. As Fauré stated in a letter to Ravel in October 1922, “I am happier than you can imagine about the solid position which you occupy and which you have acquired so brilliantly and so rapidly. It is a source of joy and pride for your old professor.”[63] In 1922, Ravel completed his Sonata for Violin and Cello. Dedicated to Debussy’s memory, the work features the thinner texture popular with the younger postwar composers.[63]
The English, in particular, lauded Ravel, as The Times reported April 16, 1923, “Since the death of Debussy, he has represented to English musicians the most vigorous current in modern French music."[63] In reality, however, Ravel’s own music was no longer considered au courant in France. Satie had become the inspiring force for the new generation of French composers known as Les Six.[64] Ravel was fully aware of this, and was mostly effective in preventing a serious breach between his generation of musicians and the younger group.[64]
In post-war Paris, American musical influence was strong. Jazz particularly was played in the cafes and became popular, and French composers including Ravel and Darius Milhaud were applying jazz elements to their work.[18] Also in vogue was a return to simplicity in orchestration and a transition from the great scale of the works of Gustav Mahler and Richard Strauss. Igor Stravinsky and Sergei Prokofiev were in the ascendant, and Arnold Schoenberg's experiments were leading music into atonality.[65] These trends posed challenges for Ravel, always a slow and deliberate composer, who desired to keep his music relevant but still revered the past. This may have played a part in his declining output and longer composing time during the 1920s.[65]
Around 1922, Ravel completed his famous orchestral arrangement of Mussorgsky’s Pictures at an Exhibition, commissioned by Serge Koussevitzky, which through its widespread popularity brought Ravel great fame and substantial profit.[18] The first half of the 1920s was a particularly lean period for composing but Ravel did complete successful concert tours to Amsterdam, Milan, London, Madrid, and Vienna, which also boosted his fame. By 1925, by virtue of the unwelcomed pressure of a performance deadline, he finally finished his opera L'enfant et les sortilèges, with its significant jazz and ragtime accents. Famed writer Colette provided the libretto.[66] Around this time, he also completed Chansons madécasses, the summit of his vocal art.[67]
In 1927, Ravel’s String Quartet received its first complete recording. By this time Ravel, like Edward Elgar, had become convinced of the importance of recording his works, especially with his input and direction. He made recordings nearly every year from then until his death.[68] That same year, he completed and premiered his Sonata for Violin and Piano, his last chamber work, with its second movement (titled “Blues”) gaining much attention.[69]
Ravel also served as a juror with Florence Meyer Blumenthal in awarding the Prix Blumenthal, a grant given between 1919 and 1954 to young French painters, sculptors, decorators, engravers, writers, and musicians.[70]
American tour[link]
After two months of planning, in 1928 Ravel made a four-month concert tour in North America, for a promised minimum of $10,000[68] (approximately $135,349, adjusted for inflation[71]). In New York City, he received a standing ovation, unlike any of his unenthusiastic premieres in Paris. His all-Ravel concert in Boston was equally acclaimed.[72] The noted critic Olin Downes wrote, “Mr. Ravel has pursued his way as an artist quietly and very well. He has disdained superficial or meretricious effects. He has been his own most unsparing critic.”[73] Ravel conducted most of the leading orchestras in the U.S. from coast to coast and visited twenty-five cities.[74]
He also met the American composer George Gershwin in New York and went with him to hear jazz in Harlem, probably hearing some of the famous jazz musicians such as Duke Ellington.[75] There is a story that when Gershwin met Ravel, he mentioned that he would like to study with the French composer. According to Gershwin, the Frenchman retorted, "Why do you want to become a second-rate Ravel when you are already a first-rate Gershwin?"[76] The second part of the story has Ravel asking Gershwin how much money he made. Upon hearing Gershwin's reply, Ravel suggested that maybe he should study with Gershwin. This tale may well be apocryphal: Gershwin seems also to have told a near-identical story about a conversation with Arnold Schoenberg, and some have claimed it was with Igor Stravinsky. (See George Gershwin.) In any event, this had to have been before Ravel wrote Boléro, which became financially very successful for him.
Ravel then visited New Orleans and imbibed the jazz scene there as well. His admiration of jazz, increased by his American visit, caused him to include some jazz elements in a few of his later compositions, especially the two piano concertos. The great success of his American tour made Ravel famous internationally.[77]
Final years[link]
After returning to France, Ravel composed his most famous and controversial orchestral work Boléro, originally called Fandango. Ravel called it “an experiment in a very special and limited direction”.[78] He stated his idea for the piece, “I am going to try to repeat it a number of times on different orchestral levels but without any development.”[79] He conceived of it as an accompaniment to a ballet and not as an orchestral piece as, in his own opinion, “it has no music in it”, and was somewhat taken aback by its popular success.[79] A public dispute began with conductor Arturo Toscanini. The Italian maestro, taking liberties with Ravel’s strict instructions, conducted the piece at a faster tempo and with an “accelerando at the finish”. Ravel insisted “I don’t ask for my music to be interpreted, but only that it should be played.” In the end, the feuding only helped to increase the work’s fame. A Hollywood film titled Bolero (1934), starring Carole Lombard and George Raft, made major use of the theme.[80] Ravel made one of the few recordings of his own music when he conducted his Boléro with the Lamoureux Orchestra in 1930.
Remarkably, Ravel composed both of his piano concertos simultaneously.[81] He completed the Concerto for the Left Hand first. The work was commissioned by Austrian pianist Paul Wittgenstein, who had lost his right arm during World War I. Ravel was inspired by the technical challenges of the project. As Ravel stated, “In a work of this kind, it is essential to give the impression of a texture no thinner than that of a part written for both hands.”[82] At the premiere of the work, Ravel, not proficient enough to perform the work with only his left hand, played two-handed and Wittgenstein was reportedly underwhelmed by it. But later Wittgenstein stated, “Only much later, after I’d studied the concerto for months, did I become fascinated by it and realized what a great work it was.”[83] In 1933, Wittgenstein played the work in concert for the first time to instant acclaim.[84] Critic Henry Prunières wrote, “From the opening measures, we are plunged into a world in which Ravel has but rarely introduced us.”[84]
The other piano concerto was completed a year later. Its lighter tone follows the models of Mozart, Domenico Scarlatti, and Saint-Saëns, and also makes use of jazz-like themes.[85] Ravel dedicated the work to his favorite pianist, Marguerite Long, who played it and popularized it across Europe in over twenty cities, and they recorded it together in 1932.[86] EMI later reissued the 1932 recording on LP and CD. Although Ravel was listed as the conductor on the original 78-rpm discs, it is possible he merely supervised the recording.
Ravel, ever modest, was bemused by the critics' sudden favor of him since his American tour: “Didn’t I represent to the critics for a long time the most perfect example of insensitivity and lack of emotion?... And the successes they have given me in the past few years are just as unimportant.”[84]
Illness and death[link]
In 1932, Ravel suffered a major blow to the head in a taxi accident. This injury was not considered serious at the time.[87] However, afterwards he began to experience aphasia-like symptoms and was frequently absent-minded.[88] He had begun work on music for a film, Adventures of Don Quixote (1933) from Miguel de Cervantes's celebrated novel, featuring the Russian bass Feodor Chaliapin and directed by G. W. Pabst. When Ravel became unable to compose, and could not write down the musical ideas he heard in his mind, Pabst hired Jacques Ibert. However, three songs for baritone and orchestra that Ravel composed for the film were later published under the title Don Quichotte a Dulcinée, and have been performed and recorded.[87]
On April 8, 2008, the New York Times published an article suggesting Ravel may have been in the early stages of frontotemporal dementia during 1928, and this might account for the repetitive nature of Boléro.[89] This accords with an earlier article, published in a journal of neurology, that closely examines Ravel's clinical history and argues that his works Boléro and Piano Concerto for the Left Hand both indicate the impacts of neurological disease.[90] This is contradicted somewhat, however, by the earlier cited comments by Ravel about how he created the deliberately repetitious theme for Boléro.
In late 1937, Ravel consented to experimental brain surgery, evidently with some hesitation. On December 17, he entered a hospital in Paris, following the advice of the well-known neurosurgeon Clovis Vincent. Vincent assumed there was brain tumor, and on December 19 operated on Ravel. No tumor was found, but there was some shrinkage of the left hemisphere of his brain, which was re-inflated with serous fluid. When Ravel awoke from the anaesthesia, he asked for his brother, but quickly sank into a deep coma, from which he never awoke.[91] He died on December 28, at the age of 62, in Paris.
Ravel's death was probably a result of the brain surgery, with the underlying cause arguably being a brain injury caused by the automobile accident in 1932, and not from a brain tumor as some believe.[92] This confusion may arise because his friend George Gershwin had died from a brain tumor only five months earlier.
On December 30, 1937, Ravel was buried next to his parents in a granite tomb at the cemetery at Levallois-Perret, a suburb of northwest Paris.
Personal life[link]
Ravel is not known to have had any intimate relationships, and his personal life, and especially his sexuality, remains a mystery. Ravel made a remark at one time suggesting that because he was such a perfectionist composer, so devoted to his work, he could never have a lasting intimate relationship with anyone.[93] However, according to close friend and student Manuel Rosenthal, he asked violinist Hélène Jourdan-Mourhange to marry him, although she dismissed him, saying 'No, Maurice, I'm extremely fond of you, as you know, but only as a friend, and I couldn't possibly consider marrying you.'[94] He is quoted as saying "The only love affair I have ever had was with music".[95] Some of his friends suggested that Ravel frequented the bordellos of Paris, but no factual evidence has ever been found to substantiate this rumor.
A recent hypothesis presented by David Lamaze, a composition teacher at the Conservatoire de Rennes in France, is that he hid in his music representations of the nickname and the name of Misia Godebska, transcribed into two groups of notes, Godebska = G D E B A and Misia = Mi + Si + A = E B A. He was invited onto her boat during a 1905 cruise on the Rhine after his failure at the Prix de Rome, for which her husband, Alfred Edwards, organized a scandal in the newspapers. This same man owned the Casino de Paris where the Ravel family had a number staged, Tourbillon de la mort (A Car Somersault). The family of her half-brother, Cipa Godebski, is said to have been like a second family for Ravel. In 1907 on Misia's boat L'Aimée, Ravel completed L'heure espagnole and the Rapsodie espagnole, and at the premiere of Daphnis et Chloé, Ravel arrived late and did not go to his box but to Misia's, where he offered her a Japanese doll. In her memoirs, Misia hid all these facts.[96]
In his Maurice Ravel: A Life, published in 2000, biographer Benjamin Ivry presents evidence in support of his thesis that Ravel's lack of known intimate relationships may be explained if he was a "very secretive" gay man. Ivry also attempts to illustrate examples where Ravel's sexuality may have been expressed in his musical compositions. In his review[97] of Ivry's biography for Library Journal Larry Lipkis is persuaded by Ivry's research that, "There seems to be little question that Ravel was an affected, intensely secretive dandy with gay inclinations," but also expresses the view that Ivry's work is less persuasive in definitively linking Ravel's sexuality to characteristics of his musical oeuvre.
Legacy[link]
Many of Ravel's works are protected by copyright and due to various posthumous extensions will remain so until 2032 in the EU and US. The composer died childless and left everything to his brother Edouard who turned Ravel's house into a museum. Edouard was severely injured in a car accident in 1954 and required near constant care. In 1957, Edouard announced his intention to deed 80% of the composer's posthumous royalties to the city of Paris and endow a Nobel Prize in music.
Instead, Edouard consigned the rights to his nurse, Jeanne Taverne, and her husband Alexandre, a chauffer. When Edouard Ravel died in 1960, the Ravel estate fell subject to extensive litigation for ten years, reaching France's highest appellate court. Jeanne Taverne died before the litigation ended. During this period, Jean-Jacques Lemoine, the legal director of SACEM (the organization that collects and distributes royalties in France), froze distribution of Ravel's account.
When the litigation concluded, Lemoine resigned from SACEM and set up a shell company, Arima, with Alexandre Taverne for collecting Ravel's royalties. The company is based in Gibraltar and the British Virgin Islands in order to avoid French taxes. The two also sued Ravel's publisher, then nearing retirement, to re-write the original contracts, consigning a greater percentage of the royalties to Arima than Durand's publisher. Since that time, the shell company has collected at least £30m and none of Ravel's estate has gone to the Ravel family or to further the cause of French music.[98]
Musicality[link]
Musical sources[link]
Active during a period of great artistic innovations and diversification, Ravel benefited from many sources and influences, though his music defies any facile classification. As Vladimir Jankélévitch notes in his biography, "no influence can claim to have conquered him entirely […]. Ravel remains ungraspable behind all these masks which the snobbery of the century has attempted to impose."[99]
Ravel's musical language was ultimately very original, neither absolutely modernist nor impressionist. Like Debussy, Ravel categorically refused this description of “impressionist” which he believed was reserved exclusively for painting.[100]
Ravel was a remarkable synthesist of disparate styles. His music matured early into his innovative and distinct style. As a student, he studied the scores of composers of the past methodically: as he stated, "in order to know one's own craft, one must study the craft of others."[101] Though he liked the new French music, during his youth Ravel still felt fond of the older French styles of Franck and the Romanticism of Beethoven and Wagner.[12] Or, as Viñes put it, discussing Ravel's aesthetics (not his religion):
"He is, moreover, very complicated, there being in him a mixture of Middle Ages Catholicism and satanic impiety, but also a love of Art and Beauty which guide him and which make him react candidly."[101]
Certain aspects of his music can be considered to belong to the tradition of 18th-century French classicism beginning with Couperin and Rameau as in Le Tombeau de Couperin. The uniquely 19th-century French sensibilities of Fauré and Chabrier are reflected in Sérénade grotesque, Pavane pour une infante défunte, and Menuet antique, while pieces such as Jeux d'eau, and the String Quartet in F owe something to the innovations of Satie and Debussy. The virtuosity and poetry of Gaspard de la nuit and Concerto for the left hand hint at Liszt and Chopin. His admiration for American jazz is echoed in L'enfant et les sortilèges, the Violin Sonata and the Piano Concerto in G, while the Russian school of music inspired homage in "À la manière de Borodin" and the orchestration of Mussorgsky's Pictures at an Exhibition. Additionally, he variously cited Mozart, Saint-Saëns, Schubert and Schoenberg as inspirations for various pieces.
Musical style[link]
Ravel's music was innovative, though he did not follow the contemporary trend towards atonality, as pioneered by Schoenberg. Instead, he applied the aesthetics of the new French school of Chabrier, Satie, and particularly Debussy. Ravel's compositions rely upon modal melodies instead of using the major or minor scales for their predominant harmonic language. He preferred modes with major or minor flavors; for example, the Mixolydian instead of the major scale, and the Aeolian instead of the harmonic minor. As a result, there are virtually no leading tones in his output. Melodically, he tended to favor two modes: the Dorian and the Phrygian.[102] Following the teachings of Gédalge, Ravel placed high importance on melody, once stating to Vaughan Williams, that there is "an implied melodic outline in all vital music."[102]
In no way dependent on exclusively traditional modal practices, Ravel used extended harmonies and intricate modulations. He was fond of chords of the ninth and eleventh, and his characteristic harmonies are largely the result of a fondness for unresolved appoggiaturas, such as in the Valses nobles et sentimentales.[103] He was inspired by various dances, his favorite being the minuet, composing the Menuet sur le nom d'Haydn in 1908, to commemorate the centenary of the death of Joseph Haydn. Other forms from which Ravel drew material include the forlane, rigaudon, waltz, czardas, habanera, passacaglia, and the boléro.
He believed that composers should be aware of both individual and national consciousness. For him, Basque music was influential. He intended to write an earlier concerto, Zazpiak Bat, but it was never finished. The title is a result of his Basque heritage: meaning 'The Seven Are One' (see Zazpiak Bat), it refers to the seven Basque regions, and was a motto often used in association with the idea of a Basque nation.[104] Instead, Ravel abandoned the piece, using its nationalistic themes and rhythms in some of his other pieces. Ravel also used other folk themes including Hebraic, Greek, and Hungarian.[105]
Ravel has almost always been considered one of the two great French impressionist composers, the other being Debussy. In reality Ravel was much more than an Impressionist (and in fact he resented being labelled as such). For example, he made extensive use of rollicking jazz tunes in his Piano Concerto in G Major in the first and third movements.[106] Ravel also imitates Paganini's and Liszt's virtuoso gypsy themes and technique in Tzigane.[107] In his À la manière de...Borodine (In the manner of...Borodin), Ravel plays with the ability to both mimic and remain original. In a more complex situation, A la maniere de...Emmanuel Chabrier/Paraphrase sur un air de Gounod ("Faust IIème acte"), Ravel takes on a theme from Gounod's Faust and arranges it in the style of Chabrier. He also composed short pieces in the manner of Haydn and his teacher Fauré.[108] Even in writing in the style of others, Ravel's own voice as a composer remained distinct.
Ravel considered himself in many ways a classicist. He often relied on traditional forms, such as the ternary form, as well as traditional structures as ways of presenting his new melodic and rhythmic content, and his innovative harmonies.[109] Ravel stated, "If I were called upon to do so, I would ask to be allowed to identify myself with the simple pronouncements made by Mozart ... He confined himself to saying that there is nothing that music cannot undertake to do, or dare, or portray, provided it continues to charm and always remain music."[110] He often masked the sections of his structure with transitions that disguised the beginnings of the motif. This is apparent in his Valses nobles et sentimentales – inspired by Franz Schubert's collections, Valses nobles and Valses sentimentales – where the seven movements begin and end without pause, and in his chamber music where many movements are in sonata-allegro form, hiding the change from developmental sections to recapitulation.[111]
From his own experience, Ravel was cognizant of the effect of new music on the ears of the public and he insightfully wrote:
On the initial performance of a new musical composition, the first impression of the public is generally one of reaction to the more superficial elements of its music, that is to say, to its external manifestations rather than to its inner content…often it is not until years after, when the means of expression have finally surrendered all their secrets, that the real inner emotion of the music becomes apparent to the listener.[112]
Methods[link]
His own composing method was craftsman-like and perfectionistic. Igor Stravinsky once referred to Ravel as "the most perfect of Swiss watchmakers", a reference to the intricacy and precision of Ravel's works.[113] Ravel, who sometimes spent years refining a piece, said, “My objective, therefore, is technical perfection. I can strive unceasingly to this end, since I am certain of never being able to attain it. The important thing is to get nearer to it all the time.”[114]
More specifically he stated:
”In my own compositions I judge a long period of conscious gestation necessary. During this interval I come progressively, and with growing precision, to see the form and the evolution that the final work will take in its tonality. Thus I can be occupied for several years without writing a single note of the work, after which composition goes relatively quickly. But one must spend much time in eliminating all that could be regarded as superfluous in order to realize as completely as possible the definitive clarity so much desired. The moment arrives when new conceptions must be formulated for the final composition, but they cannot be artificially forced for they come only of their own accord, often deriving their original from some far-off perception and only manifesting themselves after long years.”[113]
Many of his most innovative compositions were developed first as piano music. Ravel used this miniaturist approach to build up his architecture with many finely wrought strokes. To fill the requirements of larger works, he multiplied the number of small building blocks.[109] This demonstrates the great regard he had for the piano traditions of Couperin, Scarlatti, Mozart, Chopin and Liszt.[115] For example, Gaspard de la nuit can be viewed as an extension of Liszt’s virtuosity and advanced harmonics.[116] Even Ravel’s most difficult pieces, however, are marked by elegance and refinement. Walter Gieseking found some of Ravel’s piano works to be among the most difficult pieces for the instrument but always based on “musically perfectly logical concepts”; not just technically demanding but also requiring the right expression.[115]
Ravel’s great regard as an orchestrator is also based on his thorough methods. He usually notated the string parts first and insisted that the string section “sound perfectly in and of itself”.[117] In writing for the other sections, he often preferred to score in tutti to produce a full, clear resonance. To add surprise and added color, the melody might start with one instrument and be continued with another.[118]
Because of his perfectionism and methods, Ravel’s musical output over four decades is quite small. Most of his works were thought out over considerable lengths of time, then notated quickly, and refined painstakingly.[119] When a piece would not progress, he would abandon a piece until inspired anew.[120] There are only about sixty compositions in all, of which slightly more than half are instrumental. Ravel’s body of work includes pieces for piano, chamber works, two piano concerti, ballet music, opera, and song cycles.[5] Though wide-ranging in his music, Ravel avoided the symphonic form as well as religious themes and forms.[121]
Ravel crafted his manuscripts meticulously, and relentlessly polished and corrected them. He destroyed hundreds of sketches and even re-copied entire autographs to correct one mistake. Early printed editions of his works were prone to errors so he worked painstakingly with his publisher, Durand, to correct them.[119]
Pianist and conductor[link]
Though a competent pianist, Ravel decided early on to have virtuosi, like Ricardo Viñes, premiere and perform his work. As his career evolved, however, Ravel was again called upon to play his own piano music, and to conduct his larger works, particularly during a tour, both of which he considered chores in the same mold as "circus performances". Only rarely did he conduct works of other composers.[122] One London critic stated "His baton is not the magician's wand of a virtuoso conductor. He just stood there beating time and keeping watch."[123] As to how his music was to be played, Ravel was always clear and direct with his instructions.[123]
Transcriber and orchestrator[link]
Ravel was and is a leading figure in the art of transcription and orchestration. During his life Ravel studied the ability of each orchestral instrument carefully in order to determine its possible effects while being sensitive to individual color and timbre.[17] Ravel regarded orchestration as a task separate from composition, involving distinct technical skills. He was always careful to ensure that the writing for each family of instruments worked in isolation as well as in the complete ensemble. While he disapproved of tampering with his own works once completed, orchestration gave him the opportunity to view works in a different context.[16] Among the most famous of his orchestral transcriptions is his own Le Tombeau de Couperin (1917) of which he orchestrated the Prelude, Forlane, Minuet, and Rigaudon movements in 1919. The orchestral version clarifies the harmonic language of the suite and brings sharpness to its classical dance rhythms. Modest Mussorgsky's Pictures at an Exhibition is best known through its orchestration by Ravel. In this version, produced in 1922, Ravel omits the Promenade between "Samuel" Goldenberg und "Schmuÿle" and Limoges and applies artistic license to some particulars of dynamics and notation as well as putting forth the virtuoso effort of a master colourist throughout.
Musical influence[link]
Ravel was always a supporter of young musicians, through his society and associations and through his personal individual advice and his help in securing performance dates. His closest students included Maurice Delage, Manuel Rosenthal, Ralph Vaughan Williams, Alexis Roland-Manuel and Vlado Perlemuter.[93] Ravel modeled his teaching methods after his own teacher Gabriel Fauré, avoiding formulas and emphasizing individualism. Ravel's preferred way of teaching would be to have a conversation with his students and demonstrate his points at the piano. He was rigorous and demanding in teaching counterpoint and fugue, as he revered Johann Sebastian Bach without reservation. But in all other areas, he considered Mozart the ideal, with the perfect balance between "classical symmetry and the element of surprise", and with works of clarity, perfect craftsmanship, and measured amounts of lyricism. Often Ravel would challenge a student with "What would Mozart do?" and then ask the student to invent his own solution.[124]
Though never a paid critic as Debussy had been, Ravel had strong opinions on historical and contemporary music and musicians, which influenced his younger contemporaries. In creating his own music, he tended to avoid the more monumental composers as models, finding relatively little kinship with or inspiration from Beethoven, Brahms, Tchaikovsky, Berlioz or Franck. However, as an outspoken commentator on the Romantic giants, he found much of Beethoven "exasperating", Wagner's influence "pernicious" and Berlioz's harmony "clumsy". He had considerable admiration for other 19th-century masters such as Chopin, Liszt, Mendelssohn, and Schubert.[125] Despite what he considered its technical deficiencies, Ravel was a strong advocate of Russian music and praised its spontaneity, orchestral color, and exoticism.[126]
Notable compositions[link]
Main article: List of compositions by Maurice Ravel
- Menuet antique (piano, 1895, orchestrated in 1929)
- Shéhérazade (ouverture de féerie) (1897)
- Pavane pour une infante défunte ("Pavane for a dead infanta") (piano 1899, orchestra 1910)
- Jeux d'eau (piano, 1901)
- String Quartet in F major (1902–3)
- Shéhérazade (orchestral song cycle, 1903) Setting poems by his friend Tristan Klingsor
- Sonatine (piano, 1903–1905)
- Introduction and Allegro (pedal harp, flute, clarinet, string quartet, 1905)
- Miroirs ("Reflections") (piano, 1905):
- Noctuelles ("Night moths")
- Oiseaux tristes ("Sad birds")
- Une barque sur l'océan ("A boat on the ocean"; orchestrated 1906)
- Alborada del Gracioso ("Dawn song of the jester"; orchestrated 1918)
- La vallée des cloches ("Valley of the bells")
- Histoires naturelles ("Tales from nature") (song cycle for voice and piano, text by Jules Renard, 1906)
- Pièce en forme de Habanera (bass voice and piano, 1907)
- Rapsodie espagnole ("Spanish Rhapsody") (orchestra, 1907)
- L'heure espagnole ("The Spanish Hour") (opera, 1907–1909)
- Gaspard de la nuit ("Demons of the night") (piano, 1908)
- Ma Mère l'Oye ("Mother Goose") (piano duet 1908–1910, orchestrated 1911, expanded into ballet 1912)
- Daphnis et Chloé ("Daphnis and Chloé") (ballet, 1909–1912)
- Trois Poèmes de Stéphane Mallarmé, (voice, piano, flute/piccolo, clarinet/bass clarinet and string quartet, 1913)
- Valses nobles et sentimentales ("Noble and Sentimental Waltzes") (piano 1911, orchestra 1912)
- Piano Trio A minor (1914)
- Le Tombeau de Couperin ("Tombeau for Couperin"; piano 1914–1917; movements I, III, IV and V orchestrated 1919)
- I. Prelude
- II. Fugue
- III. Forlane
- IV. Rigaudon
- V. Minuet
- VI. Toccata
- La Valse (choreographic poem, 1906–1914 and 1919–1920)
- Sonata for Violin and Cello in C Major (1920–1922)
- Chansons Madécasses ("Songs of Madagascar") (voice, flute, cello and piano, text by Evariste Parny, 1926)
- L'enfant et les sortilèges ("The Child and the Spells", lyric fantasy, 1920–1925, libretto by Colette 1917)
- Tzigane (violin and piano, 1924)
- Sonata for Violin and Piano in G major (1923–1927)
- Fanfare (1927; for the children's ballet L'Éventail de Jeanne, to which ten French composers each contributed a dance)
- Boléro (ballet, 1928)
- Piano Concerto for the Left Hand in D major (1929–1930; composed for Paul Wittgenstein)
- Piano Concerto in G (1929–1931)
- Don Quichotte à Dulcinée ("Serenade of Don Quixote to Dulcinea"; voice and piano, 1932–1933)
Media depictions[link]
- Canadian filmmaker Larry Weinstein has produced two documentaries about Ravel, Ravel (1987)[127] and Ravel's Brain (2001).[128] The second of these two films dramatizes the musician's illness and death.
- Maurice Ravel is played as a "bit role" by actor Oscar Loraine in the 1945 Gershwin film biography Rhapsody in Blue.
See also[link]
Notes[link]
- ^ Kavanaugh 1996, p. 56
- ^ James 1987, p. 11. Joseph is sometimes described inaccurately as “Swiss”.
- ^ James 1987, p. 13
- ^ Orenstein 1991, p. 10
- ^ a b Orenstein 1991, p. 130
- ^ a b Orenstein 1991, p. 8
- ^ Orenstein 1991, p. 11
- ^ Orenstein 1991, pp. 11–12
- ^ James 1987, p. 15
- ^ a b Orenstein 1991, p. 16
- ^ a b Orenstein 1991, p. 14
- ^ a b c James 1987, p. 22
- ^ a b Orenstein 1991, p. 111
- ^ Orenstein 1991, p. 110
- ^ a b James 1987, p. 20
- ^ a b Kelly
- ^ a b James 1987, p. 21
- ^ a b c James 1987, p. 101
- ^ Orenstein 1991, p. 17
- ^ Orenstein 1991, p. 24
- ^ Orenstein 1991, p. 25
- ^ Orenstein 1991, p. 28
- ^ Orenstein 1991, p. 29
- ^ Orenstein 1991, p. 37
- ^ a b James 1987, p. 33
- ^ Orenstein 1991, pp. 39, 155
- ^ Larner, pp. 76-78
- ^ James 1987, p. 40
- ^ Ravel and Holland on the Ravel website
- ^ James 1987, pp. 40, 46
- ^ Orenstein 1991, p. 31
- ^ a b Orenstein 1991, p. 127
- ^ a b James 1987, pp. 30–31
- ^ Orenstein 1991, p. 33
- ^ a b James 1987, p. 46
- ^ Orenstein 1991, p. 67
- ^ James 1987, p. 44
- ^ Orenstein 1991, p. 163
- ^ Orenstein 1991, p. 166
- ^ Orenstein 1991, p. 39
- ^ Orenstein 1991, p. 169
- ^ Orenstein 1991, p. 171
- ^ James 1987, p. 61
- ^ James 1987, p. 62
- ^ a b Orenstein 1991, p. 65
- ^ James 1987, p. 65
- ^ Orenstein 1991, p. 60
- ^ James 1987, pp. 71–72
- ^ Orenstein 1991, p. 177
- ^ James 1987, p. 72
- ^ James 1987, p. 79
- ^ Entretien avec Jean Echenoz et Philippe Barrot, La Quinzaine littéraire du 16 janvier 2006
- ^ James 1987, p. 78
- ^ a b James 1987, p. 83
- ^ James 1987, p. 84
- ^ a b James 1987, p. 81
- ^ James 1987, p. 86
- ^ Orenstein 1991, p. 78
- ^ Schonberg 1981, p. 486
- ^ Orenstein 1991, p. 77
- ^ Orenstein 1991, p. 81
- ^ Orenstein 1991, pp. 82–83
- ^ a b c Orenstein 1991, p. 82
- ^ a b James 1987, p. 99
- ^ a b Orenstein 1991, p. 84
- ^ James 1987, p. 108
- ^ Orenstein 1991, p. 197
- ^ a b James 1987, p. 118
- ^ Orenstein 1991, p. 93
- ^ Siegel 2009
- ^ Staff. Consumer Price Index (estimate) 1800–2012. Federal Reserve Bank of Minneapolis. Retrieved February 22, 2012.
- ^ Orenstein 1991, p. 94
- ^ James 1987, p. 119
- ^ Orenstein 1991, p. 95
- ^ Orenstein 1991, p. 97
- ^ Smith 1995, p. 272
- ^ Orenstein 1991, p. 98
- ^ Orenstein 1991, p. 201
- ^ a b James 1987, p. 121
- ^ Orenstein 1991, p. 99
- ^ James 1987, p. 125
- ^ James 1987, p. 126
- ^ Orenstein 1991, p. 101
- ^ a b c Orenstein 1991, p. 104
- ^ Orenstein 1991, pp. 204–5
- ^ Orenstein 1991, p. 103
- ^ a b James 1987, p. 132
- ^ Orenstein 1991, p. 105
- ^ Blakeslee 2008
- ^ Amaducci 2002, pp. 75–82
- ^ Jourdan-Morhange, Hélène. "Ravel et nous", Éditions du milieu du monde, 1945, p. 252
- ^ James 1987, p. 136
- ^ a b Orenstein 1991, p. 112
- ^ Nichols, Roger (1987). Ravel Remembered. London: Faber and Faber Limited. pp. 35.
- ^ Limelight 2008, p. 11
- ^ Lamaze 2009
- ^ Lipkis, Larry (7/1/2000). Library Journal 125 (12): 97.
- ^ "Jon Henley investigates Ravel's missing millions". The Guardian (London). May 8, 2001. http://www.guardian.co.uk/education/2001/apr/25/arts.highereducation.
- ^ Jankélévitch 1995, pp. 7–8
- ^ Ravel 1989, p. 327. "Si vous me demandez si nous avons une école impressionniste en musique, je dois dire que je n'ai jamais associé ce terme à la musique. La peinture, ah, ça, c'est autre chose! Monet et son école étaient impressionnistes. Mais dans l'art sœur, il n'y a pas d'équivalent à cela." Interview extract printed in Musical Digest, March 1928.
- ^ a b Orenstein 1991, p. 18
- ^ a b Orenstein 1991, p. 131
- ^ Orenstein 1991, p. 132
- ^ James 1987, p. 75
- ^ Orenstein, 1991, p. 190
- ^ Orenstein 1991, p. 203
- ^ Orenstein 1991, p. 193
- ^ Orenstein 1991, p. 192
- ^ a b Orenstein 1991, p. 135
- ^ Orenstein 1991, pp. 117–8
- ^ Orenstein 1991, p. 134
- ^ Orenstein 1991, p. 217
- ^ a b James 1987, p. 103
- ^ Orenstein 1991, p. 118
- ^ a b Orenstein 1991, p. 136
- ^ James 1987, p. 30
- ^ Orenstein 1991, p. 137
- ^ Orenstein 1991, p. 138
- ^ a b Orenstein 1991, p. 208
- ^ Orenstein 1991, p. 209
- ^ Orenstein 1991, p. 139
- ^ Orenstein 1991, p. 92
- ^ a b Orenstein 1991, p. 87
- ^ Orenstein 1991, p. 120
- ^ Orenstein 1991, p. 123
- ^ Orenstein 1991, p. 125
- ^ Weinstein 1988. Abstract: Follows Ravel's life and career through the presentation of his many works by the Montreal Symphony Orchestra.
- ^ Weinstein 2001. Abstract: The film portrays the inner being of a great artist who was rendered incapable of communicating with the outside world. For the last five years of his life, Maurice Ravel was the victim of his own lamentable circumstances. Afflicted with aphasia and apraxia, his brain produced music, but he was unable to write it down.
References[link]
- Amaducci, L.; E. Grassi, and F. Boller (January 2002). "Maurice Ravel and right-hemisphere musical creativity: influence of disease on his last musical works?". European Journal of Neurology 9 (1): 75–82. DOI:10.1046/j.1468-1331.2002.00351.x. ISSN 13515101. PMID 11784380.
- Blakeslee, Sandra (April 8, 2008). "A Disease That Allowed Torrents of Creativity". New York Times. http://www.nytimes.com/2008/04/08/health/08brai.html. Retrieved August 10, 2008.
- Henley, Jon (April 25, 2001). "Poor Ravel". The Guardian (UK). http://www.guardian.co.uk/g2/story/0,3604,477906,00.html. Retrieved August 12, 2008.
- James, Burnett (1987). Ravel. Omnibus Press. ISBN 978-0-7119-0987-8. http://books.google.com/books?id=JaOpHQyYEHkC.
- Jankélévitch, Vladimir (1995) (in French). Ravel. Solfèges (Nouv. éd., rev. et augm ed.). Paris: Seuil. ISBN 2-02-023490-4. OCLC 33209653.
- Kavanaugh, Patrick (1996). "Orchestra Music". Music of the Great Composers: A Listener's Guide to the Best of Classical Music. Grand Rapids, MI: Zondervan. ISBN 0-310-20807-6. OCLC 34149901. http://books.google.com/?id=qSFD5A6r3QEC&pg=PA56&vq=ravel.
- Kelly, Barbara L.. "Ravel, Maurice". Grove Music Online. http://www.oxfordmusiconline.com/subscriber/article/grove/music/52145. Retrieved December 9, 2009.
- Lamaze, David (2009). "The Watchmaker's Heart". thebookedition.com. http://le-cygne-de-ravel.com/indexEng.html. Retrieved September 23, 2010.
- Orenstein, Arbie (1991). Ravel: man and musician. Courier Dover Publications. ISBN 0-486-26633-8. http://books.google.com/books?id=1b_JlAZLiZAC.
- Ravel, Maurice (1989) (in French). Lettres, écrits, entretiens. Orenstein, Arbie, ed.. Paris: Flammarion. ISBN 2-08-066103-5. OCLC 20025651.
- Schonberg, Harold C. (1981). The Lives of the Great Composers (revised ed.). New York, London: W.W. Norton. ISBN 0-393-01302-2. OCLC 6278261.
- Siegel, Michele (March 1, 2009). "Florence Meyer Blumenthal". Jewish Women: A Comprehensive Historical Encyclopedia. http://jwa.org/encyclopedia/article/blumenthal-florence-meyer. Retrieved September 23, 2010.
- Smith, Jane Stuart; Betty Carlson (1995). The Gift of Music: Great Composers and Their Influence (3 ed.). Wheaton IL: Crossway Books. p. 272. ISBN 0-89107-869-X. OCLC 32820672.
- Weinstein, Larry (Director) (1988). Ravel (Videotape). Toronto: Rhombus Media. OCLC 156633524.
- Weinstein, Larry (Director) (2001). Ravel's Brain (Videotape). Oley, PA: Bullfrog Films. Produced by Rhombus Media. ISBN 1-56029-904-5. OCLC 48513895.
Further reading[link]
- "Maurice Ravel". Biography Resource Center (Subscription required) (Farmington Hills, MI: Thomson Gale) 25 (Contemporary Musicians). 1999.
- Ivry, Benjamin (2000). Maurice Ravel: a Life. New York: Welcome Rain. ISBN 1-56649-152-5. OCLC 44172900.
- Larner, Gerald (1996). Maurice Ravel. London: Phaidon. ISBN 0-7148-3270-7. OCLC 35985736.
- Marnat, Marcel (1986, rev 1995). Maurice Ravel. Paris: Fayard. ISBN 2-213-01685-2. OCLC 419729751.
- Mawer, Deborah, ed. (2000). The Cambridge Companion to Ravel. Cambridge Companions to Music. Cambridge: Cambridge University Press. ISBN 0-521-64856-4. OCLC 59558270.
- Nichols, Roger (2011). Ravel. New Haven and London: Yale University Press. ISBN 0-300-10882-6.
External links[link]
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Wikimedia Commons has media related to: Maurice Ravel |
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Wikiquote has a collection of quotations related to: Maurice Ravel |
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Wikisource has the text of a 1922 Encyclopædia Britannica article about Maurice Ravel. |
Free Scores[link]
- Free scores by Maurice Ravel at the International Music Score Library Project
- Free scores by Maurice Ravel in the Choral Public Domain Library (ChoralWiki)
- Free scores by Maurice Ravel in the Werner Icking Music Archive (WIMA)
- www.kreusch-sheet-music.net – Free Scores by Ravel
Miscellaneous[link]
- Maurice Ravel Frontispice at www.maurice-ravel.net
- Epitonic.com: Maurice Ravel featuring a track from Miroirs and Gaspard De La Nuit
- Works by or about Maurice Ravel in libraries (WorldCat catalog)
- Maurice Ravel at Find a Grave
- The mystery of the missing Bolero millions – an artist's rights saga! – and a tale of greed?
- Many quotations about Ravel's personality
- Maurice Ravel "Vocalise Etude en form de Habanera" sung by Varda Kotler.
Recordings[link]
- Piano Rolls (The Reproducing Piano Roll Foundation)
- Maurice Ravel on Wikilivres
| Persondata | |
|---|---|
| Name | Ravel, Maurice |
| Alternative names | |
| Short description | |
| Date of birth | 1875 |
| Place of birth | Ciboure, France |
| Date of death | 1937 |
| Place of death | Paris |
http://wn.com/Maurice_Ravel
This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Maurice_Ravel
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This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
Leonard Bernstein (
/ˈbɜrnstaɪn/ US dict: bûrn′·stīn;[1] August 25, 1918 – October 14, 1990) was an American composer, conductor, author, music lecturer and pianist. He was among the first conductors born and educated in the United States of America to receive worldwide acclaim. According to The New York Times, he was "one of the most prodigiously talented and successful musicians in American history."[2]
His fame derived from his long tenure as the music director of the New York Philharmonic, from his conducting of concerts with most of the world's leading orchestras, and from his music for West Side Story, as well as Candide, Wonderful Town, On the Town and his own Mass.
Bernstein was also the first conductor to give numerous television lectures on classical music, starting in 1954 and continuing until his death. In addition, he was a skilled pianist,[3] often conducting piano concertos from the keyboard.
As a composer he wrote in many styles encompassing symphonic and orchestral music, ballet, film and theatre music, choral works, opera, chamber music and pieces for the piano. Many of his works are regularly performed around the world, although none has matched the tremendous popular and commercial success of West Side Story.
Contents |
Biography[link]
Early life[link]
He was born Louis Bernstein in Lawrence, Massachusetts, the son of Ukranian Jewish parents Jennie (née Resnick) and Samuel Joseph Bernstein, a hair-dressing supplies wholesaler originating from Rovno (now Ukraine).[4][5] Despite his surname he was not related to film composer Elmer Bernstein, but the two men were friends, and even shared a certain physical similarity.[6] Within the world of professional music, they were distinguished from each other by the use of the nicknames Bernstein West (Elmer) and Bernstein East (Leonard).[7]
His family spent their summers at their vacation home in Sharon, Massachusetts. His grandmother insisted that his first name be Louis, but his parents always called him Leonard, which they preferred. He officially changed his name to Leonard when he was fifteen, shortly after his grandmother's death.[8] To his friends and many others he was simply known as "Lenny."
His father, Sam Bernstein, was a businessman and owner of a bookstore in downtown Lawrence; it is standing today on the corners of Amesbury and Essex Streets. Sam initially opposed young Leonard's interest in music. Despite this, the elder Bernstein took him to orchestra concerts in his teenage years and eventually supported his music education. At a very young age, Bernstein listened to a piano performance and was immediately captivated; he subsequently began learning the piano seriously when the family acquired his cousin Lillian Goldman's unwanted piano. As a child, Bernstein attended the Garrison Grammar School and Boston Latin School.[9] As a child he was very close to his younger sister Shirley, and would often play entire operas or Beethoven symphonies with her at the piano. He had a variety of piano teachers in his youth including Helen Coates who later became his secretary.
After graduation from Boston Latin School in 1935, Bernstein attended Harvard University, where he studied music with, amongst others, Edward Burlingame Hill and Walter Piston, the author of many harmony and counterpoint textbooks. Although he majored in music with a final year thesis (1939) entitled "The Absorption of Race Elements into American Music" (reproduced in his book Findings), Bernstein's main intellectual influence at Harvard was probably the aesthetics Professor David Prall, whose multidisciplinary outlook on the arts Bernstein shared for the rest of his life. One of his friends at Harvard was philosopher Donald Davidson, with whom he played piano four hands. Bernstein wrote and conducted the musical score for the production Davidson mounted of Aristophanes' play The Birds in the original Greek. Bernstein reused some of this music in the ballet Fancy Free. During his time at Harvard he was briefly an accompanist for the Harvard Glee Club.[10] Bernstein also mounted a student production of The Cradle Will Rock, directing its action from the piano as the composer Marc Blitzstein had done at the premiere. Blitzstein, who heard about the production, subsequently became a friend and influence (both musically and politically) on Bernstein.
Bernstein also met the conductor Dimitri Mitropoulos at this time. Although he never taught Bernstein, Mitropoulos's charisma and power as a musician was a major influence on Bernstein's eventual decision to take up conducting. Mitropoulos was not stylistically that similar to Bernstein, but he probably influenced some of Bernstein's later habits such as his conducting from the keyboard, his initial practice of conducting without a baton and perhaps his interest in Mahler. The other important influence that Bernstein first met during his Harvard years was composer Aaron Copland, whom he met at a concert and then at a party afterwards on Copland's birthday in 1938. At the party Bernstein played Copland's Piano Variations, a thorny work Bernstein loved without knowing anything about its composer until that evening. Although he was not formally Copland's student as such, Bernstein would regularly seek advice from Copland in the following years about his own compositions and would often cite him as "his only real composition teacher".[11]
After completing his studies at Harvard in 1939 (graduating with a B.A. cum laude), he enrolled at the Curtis Institute of Music in Philadelphia. During his time at Curtis, Bernstein studied conducting with Fritz Reiner (who anecdotally is said to have given Bernstein the only "A grade" he ever awarded), piano with Isabelle Vengerova,[12] orchestration with Randall Thompson, counterpoint with Richard Stöhr, and score reading with Renée Longy Miquelle.[13] Unlike his years at Harvard, Bernstein appears not to have greatly enjoyed the formal training environment of Curtis, although often in his later life he would mention Reiner when discussing important mentors.[11]
1940–1950[link]
After he left Curtis, Bernstein lived in New York. He shared a flat with his friend Adolph Green and often accompanied Green, Betty Comden and Judy Holliday in a comedy troupe called The Reviewers who performed in Greenwich Village. He took jobs with a music publisher, transcribing music or producing arrangements under the pseudonym Lenny Amber (the German meaning of his name in English). During this period in New York City, Bernstein enjoyed an exuberant social life that included relationships with both men and women. In 1940, Bernstein began his study at the Boston Symphony Orchestra's summer institute, Tanglewood, in the conducting class of the orchestra's conductor, Serge Koussevitzky.
Bernstein's friendships with Copland (who was very close to Koussevitsky) and Mitropoulos were important in him being recommended for a place in the class. Other students in the class included Lukas Foss who also became a lifelong friend. Koussevitsky perhaps did not teach Bernstein much basic conducting technique (which he had already developed under Reiner), but instead became a sort of father figure to him, and was perhaps the major influence on Bernstein's emotional way of interpreting music. Bernstein later became Koussevitzky's conducting assistant[14] and would later dedicate his second symphony, "The Age of Anxiety", to him.[15]
On November 14, 1943, having recently been appointed assistant conductor of the New York Philharmonic Orchestra, he made his major conducting debut at sudden notice—and without any rehearsal—after Bruno Walter came down with the flu. The next day, The New York Times carried the story on their front page and their editorial remarked, "It's a good American success story. The warm, friendly triumph of it filled Carnegie Hall and spread far over the air waves."[16] He became instantly famous because the concert was nationally broadcast, and afterwards started to appear as a guest conductor with many US orchestras. The program included works by Schumann, Miklos Rozsa, Wagner and Richard Strauss's Don Quixote with soloist Joseph Schuster, solo cellist of the orchestra. Before the concert Bernstein briefly spoke to Bruno Walter, who discussed particular difficulties in the works he was to perform. It is possible to hear this concert (apart from the Wagner work) on a recording of the CBS radio broadcast that has been issued on CD by the orchestra.
_-_1944_-_foto_van_Vechten2.jpg)
From 1945 to 1947 Bernstein was the Music Director of the New York City Symphony Orchestra, which had been founded the previous year by the conductor Leopold Stokowski. The orchestra (with support from the Mayor) was aimed at a different audience with more modern programs and cheaper tickets than the New York Philharmonic.
In addition to becoming known as a conductor, Bernstein also emerged as a composer in the same period. In January 1944 he conducted the premiere of his Jeremiah Symphony in Pittsburgh. His score to the ballet Fancy Free choreographed by Jerome Robbins opened in New York in April 1944 and this was later developed into the musical On the Town with lyrics by Comden and Green that opened on Broadway in December 1944.
After World War II, Bernstein's career on the international stage began to flourish. In 1946 he made his first trip to Europe conducting various orchestras and recorded Ravel's Piano Concerto in G as soloist and conductor with the Philharmonia Orchestra. In 1946, he conducted opera for the first time, with the American première at Tanglewood of Benjamin Britten's Peter Grimes, which had been a Koussevitzky commission. That same year, Arturo Toscanini invited Bernstein to guest conduct two concerts with the NBC Symphony Orchestra, one of which again featured Bernstein as soloist in the Ravel concerto.[17]
In 1947, Bernstein conducted in Tel Aviv for the first time, beginning a lifelong association with Israel. The next year he conducted an open air concert for troops at Beersheba in the middle of the desert during the Arab-Israeli war. In 1957, he conducted the inaugural concert of the Mann Auditorium in Tel Aviv; he subsequently made many recordings there. In 1967, he conducted a concert on Mt. Scopus to commemorate the reunification of Jerusalem. During the 1970s, Bernstein recorded his symphonies and other works with the Israel Philharmonic for Deutsche Grammophon.
In 1949, he conducted the world première of the Turangalîla-Symphonie by Olivier Messiaen, with the Boston Symphony Orchestra. Part of the rehearsal for the concert was released on CD by the orchestra. When Koussevitzky died two years later, Bernstein became head of the orchestral and conducting departments at Tanglewood, holding this position for many years.
1951–1959[link]
After much personal struggle and a turbulent on-off engagement, he married the Chilean actress Felicia Cohn Montealegre on September 10, 1951. One suggestion is that he chose to marry partly to dispel rumors about his private life to help secure a major conducting appointment, following advice from his mentor Dimitri Mitropoulos about the conservative nature of orchestra boards.[18] Bernstein's sexuality has been a matter of speculation and debate. Arthur Laurents (Bernstein's collaborator in West Side Story) said that Bernstein was "a gay man who got married. He wasn't conflicted about it at all. He was just gay."[19] Shirley Rhoades Perle, another friend of Bernstein's, said that she thought "he required men sexually and women emotionally."[20] But the early years of his marriage seem to have been happy, and no one has suggested they didn't love one another. They had three children, Jamie, Alexander, and later Nina.[21] There are reports though that Bernstein did sometimes have brief extramarital liaisons with young men, which several family friends have said his wife knew about.[20]
In 1951, Bernstein conducted the New York Philharmonic in the world première of the Symphony No. 2 of Charles Ives, which was written around half a century earlier but had never been previously performed. Throughout his career Bernstein often talked about the music of Ives, who died in 1954. The composer, old and frail, was unable (or some reports say "unwilling") to attend the concert, but his wife did. He reportedly listened to a radio broadcast of it on a radio in his kitchen some days later. A recording of the "premiere" was released in a 10 CD box set Bernstein LIVE by the orchestra, but the notes indicate it was a repeat performance from three days later, and this is perhaps what Ives heard. In any case, reports also differ on Ives's exact reaction, but some suggest he was thrilled and danced a little jig. Bernstein recorded the 2nd symphony with the orchestra in 1958 for Columbia and 1987 for Deutsche Grammophon. There is also a 1987 performance with the Bavarian Radio Symphony Orchestra available on DVD.
Bernstein was a visiting music professor from 1951 to 1956 at Brandeis University, and he founded the Creative Arts Festival there in 1952.[22] He conducted various productions at the first festival including the premiere of his opera Trouble in Tahiti and Blitzstein's English version of Kurt Weill's Threepenny Opera. The festival was named after him in 2005, becoming the Leonard Bernstein Festival of the Creative Arts. In 1953 he was the first US conductor to appear at La Scala in Milan, conducting Maria Callas in Cherubini's Medea. The same year he produced his score to the musical Wonderful Town at very short notice, working again with his old friends Comden and Green, who wrote the lyrics.
In 1954 Bernstein made the first of his television lectures for the CBS arts program Omnibus. The live lecture, entitled "Beethoven’s Fifth Symphony", involved Bernstein explaining the work with the aid of musicians from the former NBC Symphony Orchestra (recently renamed the "Symphony of the Air") and a giant page of the score covering the floor. Bernstein subsequently performed concerts with the orchestra and recorded his Serenade for Violin with Isaac Stern. Further Omnibus lectures followed from 1955 to 1958 (later on ABC and then NBC) covering jazz, conducting, American musical comedy, modern music, J.S. Bach, and grand opera. These programs were made available in the USA in a DVD set in 2010.
In late 1956, Bernstein conducted the New York Philharmonic in concerts that were to have been conducted by Guido Cantelli, who had tragically died in an air crash in Paris. This was the first time Bernstein had conducted the orchestra in subscription concerts since 1951. Partly due to these appearances, Bernstein was named the music director of the New York Philharmonic in 1957, replacing Dimitri Mitropoulos. He began his tenure in that position in 1958, having held the post jointly with Mitropoulos from 1957 to 1958. In 1958, Bernstein and Mitropoulos took the New York Philharmonic on tour to South America. In his first season in sole charge, Bernstein included a season-long survey of American classical music. Themed programming of this sort was fairly novel at that time compared to the present day. Bernstein held the music directorship until 1969 (with a sabbatical in 1965) although he continued to conduct and make recordings with the orchestra for the rest of his life and was appointed "laureate conductor".
He became a well-known figure in the United States through his series of fifty-three televised Young People's Concerts for CBS, which grew out of his Omnibus programs. His first Young People's Concert was televised a few weeks after his tenure began as principal conductor of the New York Philharmonic. He became as famous for his educational work in those concerts as for his conducting. The Bernstein Young People's Concerts were the first and probably the most influential series of music appreciation programs ever produced on television, and they were highly acclaimed by critics.[23] Some of Bernstein's music lectures were released on records, with at least one winning a Grammy award. The programs were shown in many countries around the world, often with Bernstein dubbed into other languages. Twenty-five of them were released on DVD by Kultur Video.
Prior to taking over the New York Philharmonic, Bernstein produced the music for two shows. The first was for the operetta Candide, which was first performed in 1956 with a libretto by Lillian Hellman based on Voltaire's novel. The second was Bernstein's collaboration with the choreographer Jerome Robbins, the writer Arthur Laurents, and the lyricist Stephen Sondheim to produce the musical West Side Story. The first three had worked on it intermittently since Robbins first suggested the idea in 1949. Finally, with the addition of Sondheim to the team and a period of concentrated effort, it received its Broadway premiere in 1957 and has since proven to be Bernstein's most popular and enduring score.
In 1959, he took the New York Philharmonic on a tour of Europe and the Soviet Union, portions of which were filmed by CBS. A highlight of the tour was Bernstein's performance of Dmitri Shostakovich's Fifth Symphony, in the presence of the composer, who came on stage at the end to congratulate Bernstein and the musicians. In October, when Bernstein and the orchestra returned to the US, they recorded the symphony for Columbia. He recorded it for a second time with the orchestra on tour in Japan in 1979. Bernstein seems to have limited himself to only conducting certain Shostakovich symphonies, namely the numbers 1, 5, 6, 7, 9, and 14. He made two recordings of Shostakovich's Leningrad Symphony, one with the New York Philharmonic in the 1960s and another one recorded live in 1988 with the Chicago Symphony Orchestra, the only recording he ever made with them (including Shostakovich's Symphony No. 1).
1960–1969[link]
In 1960 Bernstein and the New York Philharmonic held a Mahler Festival to mark the centenary of the composer's birth. Bernstein, Walter and Mitropoulos conducted performances. The composer's widow, Alma, attended some of Bernstein's rehearsals. In 1960 Bernstein also made his first commercial recording of a Mahler symphony (the fourth) and over the next seven years he made the first complete cycle of recordings of all nine of Mahler's completed symphonies. (All featured the New York Philharmonic except the 8th Symphony which was recorded with the London Symphony Orchestra following a concert in the Royal Albert Hall in London in 1966.) The success of these recordings, along with Bernstein's concert performances and television talks, was an important part of the revival of interest in Mahler in the 1960s, especially in the US.
Other non-US composers that Bernstein championed to some extent at the time include the Danish composer Carl Nielsen (who was perhaps then only a little known in the US) and Jean Sibelius, whose popularity had perhaps by then started to fade. Bernstein eventually recorded a complete cycle in New York of Sibelius's symphonies and three of Nielsen's symphonies (Nos. 2, 4, and 5), as well as conducting recordings of his violin, clarinet and flute concertos. He also recorded Nielsen's 3rd Symphony with the Royal Danish Orchestra after a critically acclaimed public performance in Denmark. Bernstein championed US composers, especially those that he was close to like Aaron Copland, William Schuman and David Diamond. He also started to more extensively record his own compositions for Columbia Records. This included his three symphonies, his ballets and the Symphonic Dances from West Side Story with the New York Philharmonic. He also conducted an LP of his 1944 musical On The Town, the first (almost) complete recording of the original featuring several members of the original Broadway cast, including Betty Comden and Adolph Green. (The 1949 film version only contains four of Bernstein's original numbers.)
In one oft-reported incident, in April 1962 Bernstein appeared on stage before a performance of the Brahms Piano Concerto No. 1 in D minor with the pianist Glenn Gould. During rehearsals, Gould had argued for tempi much broader than normal, which did not reflect Bernstein's concept of the music. Bernstein gave a brief address to the audience starting with "Don't be frightened; Mr Gould is here..." and going on to "In a concerto, who is the boss (audience laughter)—the soloist or the conductor?" (Audience laughter grows louder). The answer is, of course, sometimes the one and sometimes the other, depending on the people involved."[24] This speech was subsequently interpreted by Harold C. Schonberg, music critic for The New York Times, as abdication of personal responsibility and an attack on Gould, whose performance Schonberg went on to criticize heavily. Bernstein always denied that this had been his intent and has stated that he made these remarks with Gould's blessing.[25] Throughout his life, he professed admiration and friendship for Gould. Schonberg was often (though not always) harshly critical of Bernstein as a conductor during his tenure as Music Director. However his views were not shared by the audiences (with many full houses) and probably not by the musicians themselves (who had greater financial security arising from Bernstein's many TV and recording activities amongst other things).
In 1962 the New York Philharmonic moved from Carnegie Hall to Philharmonic Hall (now Avery Fisher Hall) in the new Lincoln Center. The move was not without controversy because of acoustic problems with the new hall. Bernstein conducted the gala opening concert featuring vocal works by Mahler, Beethoven and Vaughan Williams, and the premiere of Aaron Copland's Connotations, a serial-work that was merely politely received. During the interval Bernstein kissed the cheek of the President's wife Jacqueline Kennedy, a break with protocol that was commented on at the time. In 1961 Bernstein had conducted at President John F. Kennedy's pre-inaugural gala, and he was an occasional guest in the Kennedy White House. He also conducted at the funeral mass in 1968 for the late President Kennedy's brother Robert Kennedy.
In 1964 Bernstein conducted Franco Zeffirelli's production of Verdi's Falstaff at the Metropolitan Opera in New York. In 1966 he made his debut at the Vienna State Opera conducting Luchino Visconti's production of the same opera with Dietrich Fischer-Dieskau as Falstaff. During his time in Vienna he also recorded the opera for Columbia Records and conducted his first subscription concert with the Vienna Philharmonic (which is made up of players from the Vienna State Opera) featuring Mahler's Das Lied von der Erde with Fischer-Dieskau and James King. He returned to the State Opera in 1968 for a production of Der Rosenkavalier and in 1970 for Otto Schenk's production of Beethoven's Fidelio. Sixteen years later, at the State Opera, Bernstein conducted his sequel to Trouble in Tahiti, A Quiet Place. with the ORF orchestra. Bernstein's final farewell to the State Opera happened accidentally in 1989: following a performance of Modest Mussorgsky's Khovanshchina, he unexpectedly entered the stage and embraced conductor Claudio Abbado in front of a cheering audience.
With his commitment to the New York Philharmonic and his many other activities, Bernstein had little time for composition during the 1960s. The two major works he produced at this time were his Kaddish Symphony dedicated to the recently assassinated President John F. Kennedy and the Chichester Psalms which he produced during a sabbatical year he took from the Philharmonic in 1965 to concentrate on composition. To try to have more time for composition was probably a major factor in his decision to step down as Music Director of the Philharmonic in 1969, and to never accept such a position anywhere again.
1970–1979[link]
After stepping down from the New York Philharmonic, Bernstein continued to appear with them in most years until his death, and he toured with them to Europe in 1976 and to Asia in 1979. He also strengthened his relationship with the Vienna Philharmonic Orchestra – he conducted all nine completed Mahler symphonies with them (plus the adagio from the 10th) in the period from 1967 to 1976. All of these were filmed for Unitel with the exception of the 1967 Mahler 2nd, which instead Bernstein filmed with the London Symphony Orchestra in Ely Cathedral in 1973. In the late 1970s Bernstein conducted a complete Beethoven symphony cycle with the Vienna Philharmonic, and cycles of Brahms and Schumann were to follow in the 1980s. Other orchestras he conducted on numerous occasions in the 1970s include the Israel Philharmonic, the Orchestre National de France, and the Boston Symphony Orchestra.
In 1970 Bernstein wrote and narrated a ninety-minute program filmed on location in and around Vienna as a celebration of Beethoven's 200th birthday. It featured parts of Bernstein's rehearsals and performance for the Otto Schenk production of Fidelio, Bernstein playing the 1st piano concerto and the Ninth Symphony with the Vienna Philharmonic and the young Placido Domingo amongst the soloists. The program was first telecast in 1970 on Austrian and British television, and then on CBS in the US on Christmas Eve 1971. The show, originally entitled Beethoven's Birthday: A Celebration in Vienna, won an Emmy and was issued on DVD in 2005.
Like many of his friends and colleagues, Bernstein had been involved in various left wing causes and organizations since the 1940s. He was blacklisted by the US State Department and CBS in the early 1950s, but unlike others his career was not greatly affected, and he was never required to testify before the House Un-American Activities Committee.[26] His political life received substantial press coverage though in 1970 due to a gathering hosted at his Manhattan apartment. Bernstein and his wife held the event seeking to raise awareness and money for the defense of several members of the Black Panther Party against a variety of charges.[27] The New York Times initially covered the gathering as a lifestyle item, but later posted an editorial harshly unfavorable to Bernstein following generally negative reaction to the widely publicized story.[28][29] This reaction culminated in June 1970 with the appearance of "Radical Chic: That Party at Lenny's", an essay by satirist Tom Wolfe featured on the cover of the New York Magazine.[30] The article contrasted the Bernsteins' comfortable lifestyle in one of the world's most expensive neighborhoods with the anti-establishment politics of the Black Panthers. It led to the popularization of "radical chic" as a critical term.[31] Both Bernstein and his wife Felicia responded to the criticism, arguing that they were motivated not by a shallow desire to express fashionable sympathy but by their concern for civil liberties.[32][33]
Bernstein's major compositions during the 1970s were probably his MASS: A Theatre Piece for Singers, Players, and Dancers; his score for the ballet Dybbuk; his orchestral vocal work Songfest; and his US bicentenary musical 1600 Pennsylvania Avenue written with lyrics by Alan Jay Lerner which was his first real theatrical flop, and last original Broadway show. The world premiere of Bernstein's MASS took place on September 8, 1971. Commissioned by Jacqueline Kennedy for the opening of the John F. Kennedy Center for the Performing Arts in Washington, D.C., it was partly intended as an anti-war statement. Hastily written in places, the work represented a fusion not only of different religious traditions (Latin liturgy, Hebrew prayer and plenty of contemporary English lyrics) but also of different musical styles including classical and rock music. It was originally a target of criticism from the Roman Catholic Church on the one hand, and contemporary music critics who objected to its Broadway/populist elements on the other. In the present day it is perhaps seen as less blasphemous and more a piece of its era – in 2000 it was even performed in the Vatican.
In 1972 Bernstein recorded Bizet's Carmen, with Marilyn Horne in the title role and James McCracken as Don Jose, after leading several stage performances of the opera at the Metropolitan Opera. The recording was one of the first in stereo to use the original spoken dialogue between the sung portions of the opera, rather than the musical recitatives that were composed by Ernest Guiraud after Bizet's death. The recording was Bernstein's first for Deutsche Grammophon and won a Grammy.
Bernstein was appointed in 1973 to the Charles Eliot Norton Chair as Professor of Poetry at his alma mater, Harvard University, and delivered a series of six televised lectures on music with musical examples played by the Boston Symphony Orchestra. Taking the title from a Charles Ives work, he called the series "The Unanswered Question"; it was a set of interdisciplinary lectures in which he borrowed terminology from contemporary linguistics to analyze and compare musical construction to language. The lectures are presently available in both book and DVD form. The DVD video was not taken directly from the lectures at Harvard, rather they were recreated again at the WGBH studios for filming. This appears to be the only surviving Norton lectures available to the general public in video format. Noam Chomsky wrote in 2007 on the Znet forums about the linguistic aspects of the lecture: "I spent some time with Bernstein during the preparation and performance of the lectures. My feeling was that he was onto something, but I couldn't really judge how significant it was."
A major period of upheaval in Bernstein's personal life began in 1976 when he took the decision that he could no longer repress his homosexuality and he left his wife Felicia for a period to live with the writer Tom Cothran. The next year she was diagnosed with lung cancer and eventually Bernstein moved back in with her and cared for her until she died on June 16, 1978.[18] Cothran himself died of AIDS in 1981. Bernstein is reported to have often spoken of his terrible guilt over his wife's death.[18] Most biographies of Bernstein describe that his lifestyle became more excessive and his personal behavior sometimes cruder after her death. However his public standing and many of his close friendships appear to have remained unaffected, and he resumed his busy schedule of musical activity.
In 1978, Bernstein returned to the Vienna State Opera to conduct a revival of the Otto Schenk production of Fidelio, now featuring Gundula Janowitz and Rene Kollo in the lead roles. At the same time, Bernstein made a studio recording of the opera for Deutsche Grammophon and the opera itself was filmed by Unitel and released on DVD by Deutsche Grammophon in late 2006. In May 1978, the Israel Philharmonic played two US concerts under his direction to celebrate the 30th anniversary of the founding of the Orchestra under that name. On consecutive nights, the Orchestra, with the Choral Arts Society of Washington, performed Beethoven's Ninth Symphony and Bernstein's Chichester Psalms at the Kennedy Center in Washington, D.C., and at Carnegie Hall in New York.
In 1979, Bernstein conducted the Berlin Philharmonic Orchestra for the first and only time, in two charity concerts for Amnesty International involving performances of Mahler's Ninth Symphony. The invitation for the concerts had come from the orchestra and not from its principal conductor Herbert von Karajan. There has been speculation about why Karajan never invited Bernstein to conduct his orchestra. (Karajan did conduct the New York Philharmonic during Bernstein's tenure.) The full reasons will probably never be known – reports suggest they were on friendly terms when they met, but sometimes practiced a little mutual one-upmanship.[18] One of the concerts was broadcast on radio and was posthumously released on CD by Deutsche Grammophon.
1980–1990[link]
Bernstein received the Kennedy Center Honors award in 1980. For the rest of the 1980s he continued to conduct, teach, compose and produce the occasional TV documentary. His most significant compositions of the decade were probably his opera A Quiet Place which he wrote with Stephen Wadsworth and which premiered (in its original version) in Houston in 1983; his Divertimento for Orchestra; his Halil for flute and orchestra, his Concerto for Orchestra "Jubilee Games"; and his song cycle Arias and Barcarolles, which was named after a comment President Dwight D. Eisenhower had made to him in 1960.
In 1982 in the US, PBS aired an 11-part series of Bernstein's late 1970s films for Unitel of the Vienna Philharmonic playing all nine Beethoven symphonies and various other works. Bernstein gave spoken introduction and actor Maximilian Schell was also featured on the programs, reading from Beethoven's letters. The original films have since been released on DVD by Deutsche Grammophon. In addition to conducting in New York, Vienna and Israel, Bernstein was a regular guest conductor of other orchestras in the 1980s. These included the Royal Concertgebouw Orchestra in Amsterdam with whom he recorded Mahler's First, Fourth, and Ninth Symphonies amongst other works; the Bavarian Radio Symphony Orchestra in Munich with whom he recorded Wagner's Tristan und Isolde, Haydn's Creation, Mozart's Requiem and Mass in C Minor; and the orchestra of Accademia Nazionale di Santa Cecilia in Rome with whom he recorded some Debussy and Puccini's La Boheme.
In 1982, he and Ernest Fleischmann founded the Los Angeles Philharmonic Institute as a summer training academy along the lines of Tanglewood. Bernstein served as Artistic Director and taught conducting there until 1984. Around the same time he performed and recorded some of his own works with the Los Angeles Philharmonic for Deutsche Grammophon. Bernstein was also at the time a committed supporter of Nuclear Disarmament. In 1985 he took the European Community Youth Orchestra in a "Journey for Peace" tour around Europe and to Japan.
In 1985, he conducted a recording of West Side Story, the first time he had conducted the entire work. The recording, featuring what some critics felt were miscast opera singers such as Kiri Te Kanawa, José Carreras, and Tatiana Troyanos in the leading roles, was nevertheless an international bestseller. A TV documentary showing the making of the recording was made at the same time and is available on DVD.
In his later years, Bernstein's life and work was celebrated around the world (as it has been since his death). The Israel Philharmonic celebrated his involvement with them at Festivals in Israel and Austria in 1977. In 1986 the London Symphony Orchestra mounted a Bernstein Festival in London with one concert that Bernstein himself conducted attended by the Queen. In 1988 Bernstein's 70th birthday was celebrated by a lavish televised gala at Tanglewood featuring many performers who had worked with him over the years.
In December 1989 Bernstein conducted live performances and recorded in the studio his operetta Candide with the London Symphony Orchestra. The recording starred Jerry Hadley, June Anderson, Adolph Green and Christa Ludwig in the leading roles. The use of opera singers in some roles perhaps fitted the style of operetta better than some critics had thought was the case for West Side Story, and the recording (released posthumously in 1991) was universally praised. One of the live concerts from the Barbican Centre in London is available on DVD. Candide had had a troubled history, with many re-writes and writers involved. Bernstein's concert and recording were based on a "final" version that had been first performed by Scottish Opera in 1988. The opening night (which Bernstein attended in Glasgow) was conducted by Bernstein's former student John Mauceri.
On December 25, 1989, Bernstein conducted Beethoven's Symphony No. 9 in East Berlin's Schauspielhaus (Playhouse) as part of a celebration of the fall of the Berlin Wall. He had conducted the same work in West Berlin the previous day. The concert was broadcast live in more than twenty countries to an estimated audience of 100 million people. For the occasion, Bernstein reworded Friedrich Schiller's text of the Ode to Joy, substituting the word Freiheit (freedom) for Freude (joy).[34] Bernstein, in his spoken introduction, said that they had "taken the liberty" of doing this because of a "most likely phony" story, apparently believed in some quarters, that Schiller wrote an "Ode to Freedom" that is now presumed lost. Bernstein added, "I'm sure that Beethoven would have given us his blessing."
In the summer of 1990, Bernstein and Michael Tilson Thomas founded the Pacific Music Festival in Sapporo, Japan. Like his earlier activity in Los Angeles, this was a summer training school for musicians modeled on Tanglewood, and is still in existence. Bernstein was already at this time suffering from the lung disease that would lead to his death. In his opening address Bernstein said that he had decided to devote what time he had left to education. A video showing Bernstein speaking and rehearsing at the first Festival is available on DVD in Japan.
Bernstein made his final performance as a conductor at Tanglewood on August 19, 1990, with the Boston Symphony playing Benjamin Britten's "Four Sea Interludes" from Peter Grimes, and Beethoven's Seventh Symphony.[35] He suffered a coughing fit in the middle of the Beethoven performance which almost caused the concert to break down. The concert was later issued on CD by Deutsche Grammophon.
He announced his retirement from conducting on October 9, 1990,[36] and died of pneumonia and a pleural tumor five days later. He was 72 years old.[2] A longtime heavy smoker, he had battled emphysema from his mid-50s. On the day of his funeral procession through the streets of Manhattan, construction workers removed their hats and waved, yelling "Goodbye, Lenny."[37] Bernstein is buried in Green-Wood Cemetery, Brooklyn, New York, next to his wife and with a copy of Mahler's Fifth lying across his heart.[38]
Social activism[link]
While Bernstein is very well known for his music compositions and conducting he is also known for his outspoken political views and his strong desire to further social change. His first aspirations for social change were made apparent in his producing (as a student) a recently banned opera, The Cradle Will Rock, about disparagement between the working and upper class. As he went on in his career Bernstein would go on to fight for everything from the influences of "American Music" to the disarming of nuclear weapons.[39]
Philanthropy[link]
Among the many awards Bernstein earned throughout his life one allowed him to make one of his philanthropic dreams a reality. He had for a long time wanted to develop an international school to help promote the integration of arts into education. When he won the Japan Arts Association award for lifetime achievement,[40] he used the 100 thousand dollars that came with the award to build such a school in Nashville, that would strive to teach teachers how to better integrate music, dance, and theater into the school system which was "not working".[41] Unfortunately, the school was not able to open until shortly after Bernstein's death.
Influence and characteristics as a conductor[link]
Bernstein was one of the major figures in orchestral conducting in the second half of the 20th century. He was held in high regard amongst many musicians, including the members of the Vienna Philharmonic Orchestra, evidenced by his honorary membership; the London Symphony Orchestra, of which he was President; and the Israel Philharmonic Orchestra, with which he appeared regularly as guest conductor. He was probably the main conductor from the 1960s onwards who acquired a sort of superstar status similar to that of Herbert von Karajan, although unlike Karajan he conducted relatively little opera and part of Bernstein's fame was based on his role as a composer. As the first American-born music director of the New York Philharmonic, his rise to prominence was a factor in overcoming the perception of the time that the top conductors were necessarily trained in Europe.
Bernstein's conducting was characterized by extremes of emotion with the rhythmic pulse of the music conveyed visually through his balletic podium manner. Musicians often reported that his manner in rehearsal was the same as in concert. As he got older his performances tended to be overlaid to a greater extent with a personal expressiveness which often divided critical opinion. Extreme examples of this style can be found in his Deutsche Grammophon recordings of Nimrod from Elgar's Enigma Variations (1982), the end of Mahler's 9th Symphony (1985), and the finale of Tchaikovsky's Pathetique Symphony (1986), where in each case the tempos are well below those typically chosen.
Bernstein performed a wide repertoire from the baroque era to the 20th century, although perhaps from the 1970s onwards he tended to focus more on music from the romantic era. He was considered especially accomplished with the works of Gustav Mahler and with American composers in general, including George Gershwin, Aaron Copland, Charles Ives, Roy Harris, William Schuman, and of course himself. Some of his recordings of works by these composers would likely appear on many music critics' lists of recommended recordings. A list of his other well-thought-of recordings would probably include individual works from Haydn, Beethoven, Berlioz, Schumann, Liszt, Nielsen, Sibelius, Stravinsky, Hindemith, and Shostakovich, among others.[42] His recordings of Rhapsody in Blue (full-orchestra version) and An American in Paris for Columbia Records, released in 1959, are considered definitive by many, although Bernstein cut the Rhapsody slightly, and his more 'symphonic' approach with slower tempi is quite far from Gershwin's own conception of the piece, evident from his two recordings. (Oscar Levant, Earl Wild, and others come closer to Gershwin's own style.) Bernstein never conducted Gershwin's Piano Concerto in F, or Porgy and Bess, although he did discuss the latter in his article Why Don't You Run Upstairs and Write a Nice Gershwin Tune?, originally published in The New York Times and later reprinted in his 1959 book The Joy of Music.
In addition to being an active conductor, Bernstein was a very influential teacher of conducting. During his many years of teaching at Tanglewood and elsewhere, he directly taught or mentored many conductors who are performing now, such as Marin Alsop, Herbert Blomstedt, Edo de Waart, Alexander Frey, Paavo Järvi, John Mauceri, Eiji Oue, Seiji Ozawa (who made his US TV debut as the guest conductor on one of the Young People's Concerts), Carl St.Clair, Michael Tilson Thomas, and Jaap van Zweden. He also undoubtedly influenced the career choices of many US musicians who grew up watching his television programmes in the 1950s and 60s.
Recordings[link]
Bernstein recorded extensively from the 1950s until just a few months before his death. Aside from a few early recordings in the mid-1940s for RCA Victor, Bernstein recorded primarily for Columbia Masterworks Records, especially when he was music director of the New York Philharmonic. His typical pattern of recording at that time was to record major works in the studio immediately after they were presented in the orchestra's subscription concerts, with any spare time used to record short orchestral showpieces and similar works. Many of these performances were digitally remastered and reissued by Sony as part of their 100 Volume, 125 CDs "Royal Edition" and their later "Bernstein Century" series. In 2010 many of these recordings were repackaged in a 60 CD "Bernstein Symphony Edition".
His later recordings (starting with Bizet's Carmen in 1972) were mostly made for Deutsche Grammophon, though he would occasionally return to the Columbia Masterworks label. Notable exceptions include recordings of Gustav Mahler's Song of the Earth and Mozart's 15th piano concerto and "Linz" symphony with the Vienna Philharmonic Orchestra for Decca Records (1966); Berlioz's Symphonie fantastique and Harold in Italy (1976) for EMI; and Wagner's Tristan und Isolde (1981) for Philips Records, a label that like Deutsche Grammophon was part of PolyGram at that time. Unlike his studio recordings for Columbia Masterworks, most of his later Deutsche Grammophon recordings were taken from live concerts (or edited together from several concerts with additional sessions to correct errors). Many replicate repertoire that he recorded in the 1950s and 60s.
In addition to his audio recordings, many of Bernstein's concerts from the 1970s onwards were recorded on motion picture film by the German film company Unitel. This included a complete cycle of the Mahler symphonies (with the Vienna Philharmonic and London Symphony Orchestra), as well as complete cycles of the Beethoven, Brahms and Schumann symphonies recorded at the same series of concerts as the audio recordings by Deutsche Grammophon. Many of these films appeared on Laserdisc and are now on DVD.
In total Bernstein was awarded 16 Grammys for his recordings in various categories including several for recordings released after his death. He was also awarded a Lifetime Achievement Grammy in 1985.
Influence and characteristics as a composer[link]
Bernstein was an eclectic composer whose music fused elements of jazz, Jewish music, theatre music and the work of older composers like Aaron Copland, Igor Stravinsky, Darius Milhaud, George Gershwin, and Marc Blitzstein. Some of his works, especially his score for West Side Story, helped bridge the gap between classical and popular music. His music was rooted in tonality but in some works like his Kaddish Symphony and the opera A Quiet Place he mixed in 12-tone elements. Bernstein himself said his main motivation for composing was "to communicate" and that all his pieces, including his symphonies and concert works, "could in some sense be thought of as 'theatre' pieces."[43] According to the League of American orchestras,[44] he was the second most frequently performed American composer by US orchestras in 2008-9 behind Copland, and he was the 16th most frequently performed composer overall by US orchestras. (Some performances were probably due to the 90th anniversary of his birth in 2008.) His most popular pieces were the Overture to Candide, the Symphonic Dances from West Side Story, the Serenade for Violin, Strings, Harp and Percussion and the Three Dance Episodes from On the Town. His shows West Side Story, On the Town, Wonderful Town and Candide are regularly performed, and his symphonies and concert works are programmed from time to time by orchestras around the world. Since his death many of his works have been commercially recorded by artists other than himself. The Serenade, which has been recorded more than 10 times, is probably his most recorded work not taken from an actual theatre piece.
Despite the fact that he was a popular success as a composer, Bernstein himself is reported to have been disillusioned that some of his more serious works were not rated more highly by critics, and that he himself had not been able to devote more time to composing because of his conducting and other activities.[37] Professional criticism of Bernstein's music often involves discussing the degree to which he created something new as art versus simply skillfully borrowing and fusing together elements from others. In the late 1960s, Bernstein himself reflected that his eclecticism was in part due to his lack of lengthy periods devoted to composition, and that he was still seeking to enrich his own personal musical language in the manner of the great composers of the past, all of whom had borrowed elements from others.[45] Perhaps the harshest criticism he received from some critics in his lifetime though was directed at works like his Kaddish Symphony, his MASS and the opera A Quiet Place, where they found the underlying message of the piece or the text as either mildly embarrassing, clichéd or offensive. Despite this, all these pieces have been performed, discussed and reconsidered since his death.
Although he taught conducting, Bernstein was not a teacher of composition as such, and he has no direct composing heirs. Perhaps the closest are composers like John Adams who from the 1970s onwards indirectly adopted elements of his eclectic, theatrical style.
Works[link]
Ballet[link]
- Fancy Free, 1944
- Facsimile – Choreographic Essay for Orchestra, 1946
- Dybbuk (ballet), 1974
Opera[link]
- Trouble in Tahiti, 1952
- Candide, 1956 (new libretto in 1973, operetta final revised version in 1989)
- A Quiet Place, 1983
Musicals[link]
- On The Town, 1944
- Wonderful Town, 1953
- West Side Story, 1957
- The Race to Urga (incomplete), 1969
- "By Bernstein" (a Revue), 1975
- 1600 Pennsylvania Avenue, 1976
- "A Party with Betty Comden and Adolph Green", 1977
- The Madwoman of Central Park West, (contributed to) 1979
Incidental music and other theatre[link]
- Peter Pan, 1950
- The Lark, 1955
- The Firstborn, 1958
- Mass (theatre piece for singers, players and dancers), 1971
- "Side by Side by Sondheim"* 1976
Film scores[link]
- On the Town, 1949 (only part of his music was used)
- On the Waterfront, 1954
- West Side Story, 1961
Orchestral[link]
- Symphony No. 1, Jeremiah, 1942
- Fancy Free and Three Dance Variations from "Fancy Free,", concert premiere 1946
- Three Dance Episodes from "On the Town," concert premiere 1947
- Symphony No. 2, The Age of Anxiety, (after W. H. Auden) for Piano and Orchestra, 1949 (revised in 1965)
- Serenade for Solo Violin, Strings, Harp and Percussion (after Plato's "Symposium"), 1954
- Prelude, Fugue, and Riffs for Solo Clarinet and Jazz Ensemble, 1949
- Symphonic Suite from "On the Waterfront", 1955
- Symphonic Dances from "West Side Story", 1961
- Symphony No. 3, Kaddish, for Orchestra, Mixed Chorus, Boys' Choir, Speaker and Soprano Solo, 1963 (revised in 1977)
- Dybbuk, Suites No. 1 and 2 for Orchestra, concert premieres 1975
- Songfest: A Cycle of American Poems for Six Singers and Orchestra, 1977
- Three Meditations from "Mass" for Violoncello and Orchestra, 1977
- Slava! A Political Overture for Orchestra, 1977
- Divertimento for Orchestra, 1980
- Halil, nocturne for Solo Flute, Piccolo, Alto Flute, Percussion, Harp and Strings, 1981
- Concerto for Orchestra, 1989 (Originally Jubilee Games from 1986, revised in 1989)
Choral[link]
- Hashkiveinu for Cantor (tenor), Mixed Chorus and Organ, 1945
- Missa Brevis for Mixed Chorus and Countertenor Solo, with Percussion, 1988
- Chichester Psalms for Boy Soprano (or Countertenor), Mixed Chorus, and Orchestra, 1965 (Reduced version for Organ, Harp and Percussion)
Chamber music[link]
- Piano Trio, 1937, Boosey & Hawkes
- Sonata for Clarinet and Piano, 1939
- Brass Music, 1959
- Dance Suite, 1988
Vocal music[link]
- I Hate Music: A cycle of Five Kids Songs for Soprano and Piano, 1943
- Big Stuff, sung by Billie Holiday
- La Bonne Cuisine: Four Recipes for Voice and Piano, 1948
- Silhouette (Galilee), 1951
- Two Love Songs, 1960
- So Pretty, 1968
- Piccola Serenata, 1988
- Arias and Barcarolles for Mezzo-Soprano, Baritone and Piano four-hands, 1988
Piano music[link]
- Music for Two Pianos, 1937
- Piano Sonata, 1938
- 7 Anniversaries, 1944
- 4 Anniversaries, 1948
- 5 Anniversaries, 1952
- Bridal Suite, 1960
- Moby Diptych, 1981 (republished as Anniversaries nos. 1 and 2 in Thirteen Anniversaries)
- Touches, 1981
- 13 Anniversaries, 1988
Other music[link]
- Other occasional works, written as gifts and other forms of memorial and tribute
- "The Skin of Our Teeth": An aborted work from which Bernstein took material to use in his "Chichester Psalms"
- "Simhu Na" (arrangement of traditional song)
- "Waltz for Mippy III" for Tuba and Piano
- "Elegy for Mippy II" for Trombone alone
- "Elegy for Mippy I" for Horn and Piano
- "Rondo for Lifey" for Trumpet and Piano
- "Fanfare for Bima" for Brass Quartet: composed in 1947 as a birthday tribute to Koussevitzky using the tune he whistled to call his cocker spaniel[46]
- "Shivaree: A Fanfare" for Double Brass Ensemble and Percussion. 1970. Commissioned by and dedicated to the Metropolitan Museum of Art in New York in honor of its Centenary. Musical material later used in "Mass."
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This list is incomplete; you can help by expanding it.
Bibliography[link]
- Bernstein, Leonard (1993 – reprinting) [1982]. Findings. New York: Anchor Books. ISBN 0-385-42437-X.
- Bernstein, Leonard (1993 – reprinting) [1966]. The Infinite Variety of Music. New York: Anchor Books. ISBN 0-385-42438-8.
- Bernstein, Leonard (2004 – reprinting) [1959]. The Joy of Music. Pompton Plains, New Jersey: Amadeus Press. ISBN 1-57467-104-9.
- Bernstein, Leonard (2006 – reprinting) [1962]. Young People's Concerts. Milwaukee; Cambridge: Amadeus Press. ISBN 1-57467-102-2.
- Bernstein, Leonard. [1976] The Unanswered Question: Six Talks at Harvard, Harvard University Press. ISBN 0-674-92001-5.
Videography[link]
- The Unanswered Question: Six Talks at Harvard. West Long Branch, New Jersey: Kultur Video. VHS ISBN 1-56127-570-0. DVD ISBN 0-7697-1570-2. (videotape of the Charles Eliot Norton Lectures given at Harvard in 1973.)
- Leonard Bernstein's Young People's Concerts with the New York Philharmonic. West Long Branch, New Jersey: Kultur Video. DVD ISBN 0-7697-1503-6.
- Bernstein on Beethoven: A Celebration in Vienna/Beethoven: Piano Concerto No. 1. West Long Branch, Kultur Video. DVD
- Leonard Bernstein: Omnibus – The Historic TV Broadcasts ,2010, E1 Ent.
- Bernstein: Reflections (1978), Euroarts.
- Bernstein/Beethoven (1982), Deustche Grammophon, DVD
- Bernstein Conducts "West Side Story" (1985) (retitled The Making of West Side Story in re-releases) Deutsche Grammophon, DVD
- "The Rite of Spring" in Rehearsal
Awards[link]
Main article: List of Leonard Bernstein awards
- Fellow of the American Academy of Arts and Sciences, 1951[47]
- Sonning Award (Denmark), 1956
- Ditson Conductor's Award, 1958
- George Peabody Medal – Johns Hopkins University, 1980
- Ernst von Siemens Music Prize 1987
- Royal Philarmonic Society Gold Medal (UK), 1987
- Knight Grand Cross Order of Merit (Italy), 1989
- Grammy Award for Best Album for Children
- Grammy Award for Best Orchestral Performance
- Grammy Award for Best Choral Performance
- Grammy Award for Best Opera Recording
- Grammy Award for Best Classical Vocal Performance
- Grammy Award for Best Instrumental Soloist(s) Performance
- Grammy Award for Best Classical Contemporary Composition
- Grammy Award for Best Classical Album
- Grammy Lifetime Achievement Award
- Tony Award for Best Musical
- Special Tony Award
- Japan Arts Association Lifetime Achievement Award
- Gramophone Hall of Fame entrant[48]
Further reading[link]
- Burton, Humphrey (1994). Leonard Bernstein. New York: Doubleday. ISBN 0-385-42345-4.
- Gottlieb, Jack (ed.) (1992). Leonard Bernstein's Young People's Concerts (revised ed.). New York: Anchor Books. ISBN 0-385-42435-3.
- Bernstein, Burton; Haws, Barbara, eds. (2008). Leonard Bernstein: American Original. Contains chapters by Alan Rich, Paul Boyer, Carol J. Oja, Tim Page, Burton Bernstein, Jonathan Rosenberg, Joseph Horowitz, Bill McGlaughlin, James M. Keller, and John Adams. New York: HarperCollins. ISBN 0-06-153786-1.
- Chapin, Schuyler (1992). Leonard Bernstein: Notes from a Friend. New York: Walker. ISBN 0-8027-1216-9.
- Rozen, Brian D. (1997). The Contributions of Leonard Bernstein to Music Education: An Analysis of his 53 Young People's Concerts. Thesis (PhD). Rochester, New York: University of Rochester. OCLC 48156751.
- Laird, Paul R. (2002). Leonard Bernstein: A Guide to Research. New York: Routledge. ISBN 0-8153-3517-2. (online at Google Books)
References[link]
- ^ Karlin, Fred (1994) (recording). Listening to Movies 8. New York City: Schirmer. p. 264. Bernstein's pronunciation of his own name as he introduces his Peter and the Wolf.
- ^ a b Henahan, Donal (October 15, 1990). "Leonard Bernstein, 72, Music's Monarch, Dies". New York Times. http://query.nytimes.com/gst/fullpage.html?res=9C0CE0DA1F3DF936A25753C1A966958260. Retrieved February 11, 2009. "Leonard Bernstein, one of the most prodigally talented and successful musicians in American history, died yesterday evening at his apartment at the Dakota on the Upper West Side of Manhattan. He was 72 years old. Mr. Bernstein's spokeswoman, Margaret Carson, said he died of a heart attack caused by progressive lung failure."
- ^ Laird, Paul R. Leonard Bernstein: A Guide to Research. Routledge, 2002. p. 10.
- ^ Dougary, Ginny (March 13, 2010). "Leonard Bernstein: ‘charismatic, pompous – and a great father'". The Times (UK). http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/music/classical/article7059407.ece. Retrieved March 12, 2010.
- ^ Oliver, Myrna (October 15, 1990). "Leonard Bernstein Dies; Conductor, Composer Music: Renaissance man of his art was 72. The longtime leader of the N.Y. Philharmonic carved a niche in history with `West Side Story.'". Los Angeles Times. http://pqasb.pqarchiver.com/latimes/access/60165868.html?dids=60165868:60165868&FMT=ABS&FMTS=ABS:FT&type=current&date=Oct+15%2C+1990&author=MYRNA+OLIVER&pub=Los+Angeles+Times+(pre-1997+Fulltext)&desc=Leonard+Bernstein+Dies%3B+Conductor%2C+Composer+Music%3A+Renaissance+man+of+his+art+was+72.+The+longtime+leader+of+the+N.Y.+Philharmonic+carved+a+niche+in+history+with+%60West+Side+Story.'&pqatl=google. Retrieved March 12, 2010.
- ^ "Great Escape composer dies at 82". BBC News. August 19, 2004. http://news.bbc.co.uk/1/hi/entertainment/film/3578820.stm.
- ^ "Introduction". Bernstein West. http://www.bernsteinwest.com/elmerbernstein1.html. Retrieved May 3, 2012.
- ^ Peyser, Joan (1987). Bernstein, a biography. New York: Beech Tree Books. pp. 22–24. ISBN 0-688-04918-4.
- ^ Peyser (1987), p. 34.
- ^ Peyser (1987), p. 39–40.
- ^ a b See for instance Bernstein's 1980 TV Documentary, Teachers and Teaching available on a Deutsche Grammophon DVD.
- ^ Peyser (1987) (Bernstein complained later that she taught him an incorrect piano technique), pp. 38–9.
- ^ "Bernstein Chronology". http://www.leonardbernstein.com/lifeswork/timeline/timeline01.asp.
- ^ "About Bernstein". Leonard Bernstein Official Site. http://www.leonardbernstein.com/about.php. Retrieved January 15, 2007.
- ^ "Leonard Bernstein – Biography". Sony Classical. http://www.sonyclassical.com/artists/bernstein/bio.html. Retrieved January 15, 2007.
- ^ Deems Taylor (July 25, 2007), Pathétique, Music-Appreciation Records
- ^ Arturo Toscanini: the NBC years – Google Books. Google Books. 2002. ISBN 978-1-57467-069-1. http://books.google.com/?id=wBD_ujAW520C&pg=PA85&lpg=PA85&dq=Leonard+Bernstein,+NBC+Symphony,+Mortimer+Frank#v=onepage&q=Leonard%20Bernstein&f=false. Retrieved September 20, 2010.
- ^ a b c d Burton,Humphrey (1994). Leonard Bernstein. New York: Doubleday.
- ^ Charles Kaiser, The Gay Metropolis, New York City: 1940–1996.
- ^ a b Meryle Secrest (1995), Leonard Bernstein: A Life.
- ^ Peyser (1987), pp. 196, 204, 322.
- ^ The Official Leonard Bernstein Web Site. http://www.leonardbernstein.com/about.php.
- ^ "Young People's Concerts". Leonard Bernstein. http://www.leonardbernstein.com/ypc_publications.htm. Retrieved September 20, 2010.
- ^ Transcription of Bernstein's Glenn Gould Introduction (from a Rutgers University webpage).
- ^ Glenn Gould: Variations, Ed. John McGreevy (1983).
- ^ Seldes, Barry (2009). Leonard Bernstein: The Political Life of an American Musician. University of California Press.
- ^ "Radical Chic". Hope for America: Performers, Politics and Pop Culture. Library of Congress. http://myloc.gov/Exhibitions/hopeforamerica/causesandcontroversies/polarization/ExhibitObjects/RadicalChic.aspx. Retrieved December 12, 2010.
- ^ "False Note on Black Panthers". The New York Times. January 16, 1970.
- ^ Wolfe, Tom. "Tom Wolfe on Radical Chic and Leonard Bernstein's Party for the Black Panthers". Radical Chic: That Party at Lenny's. New York. http://nymag.com/news/features/46170/index15.html. Retrieved December 11, 2010.
- ^ Wolfe, Tom (June 8, 1970). "Radical Chic: that Party at Lenny's". New York. http://nymag.com/docs/07/05/070529radical_chic.pdf. Retrieved March 1, 2010.
- ^ "Leonard Bernstein: A political life". The Economist. May 28, 2009. http://www.economist.com/node/13726549. Retrieved December 12, 2010.
- ^ Bernstein, Felicia M. (January 21, 1970). "Letters to the Editor of The Times: Panthers' Legal Aid". The New York Times.
- ^ "The Social Activist". Bernstein: The Best of All Possible Worlds. Carnegie Hall Corporation. http://www.carnegiehall.org/bernstein/leonardbernstein/socialactivist.aspx. Retrieved December 12, 2010.
- ^ Naxos (2006). "Ode To Freedom – Beethoven: Symphony No. 9 (NTSC)". Naxos.com Classical Music Catalogue. http://www.naxos.com/catalogue/item.asp?item_code=2072038. Retrieved November 26, 2006.
- ^ Garrison Keillor (August 25, 2003). "The Writer's Almanac". American Public Media. http://writersalmanac.publicradio.org/programs/2003/08/25. Retrieved January 17, 2007.
- ^ Name * (October 14, 2009). "» Died On This Date (October 14, 1990) Leonard Bernstein / World Renowned Composer The Music's Over". Themusicsover.wordpress.com. http://themusicsover.wordpress.com/2009/10/14/leonard-bernstein/. Retrieved May 3, 2012.
- ^ a b See the TV Documentary: Leonard Bernstein: Reaching for the Note originally shown in the series American Masters on PBS in the US, now on DVD.
- ^ Davis, Peter G. (May 17, 2011). "When Mahler Took Manhattan." Retrieved 2011-5-18. "Small wonder that Bernstein is buried with the score of Mahler’s Fifth Symphony placed over his heart."
- ^ Bernstein:The Best of All Possible Worlds. "Causes and Effecting Change". http://www.carnegiehall.org/bernstein/leonardbernstein/essays/nr_socialactivist.html.
- ^ "Temple Emanuel". http://www.emanuelnyc.org/composer.php?composer_id=28.
- ^ Harrison, Eric (1993). "The maestro's legacy reverberates in Nashville : Leonard Bernstein's dream of creating a center that integrates the arts and the classroom is in full swing". Los Angeles Times (Los Angeles). http://articles.latimes.com/1993-08-09/news/mn-22033_1_leonard-bernstein. Retrieved Oct 11, 2011.
- ^ Holmes, John L. (1982). Conductors on Record. UK: Greenwood Press. ISBN 0-313-22990-2.
- ^ In the 1978 Peter Rosen documentary Leonard Bernstein: Reflections, now available on a Medici Arts DVD.
- ^ Retrieved January 21, 2011.
- ^ Gruen, John and Heyman, Ken (1968).The Private World of Leonard Bernstein. New York: The Viking Press.
- ^ Copland, Aaron and Perlis, Vivian (1984). Copland Since 1943, p119.
- ^ "Book of Members, 1780–2010: Chapter B". American Academy of Arts and Sciences. http://www.amacad.org/publications/BookofMembers/ChapterB.pdf. Retrieved June 24, 2011.
- ^ "Leonard Bernstein (composer, conductor and pianist)". Gramophone. http://www.gramophone.co.uk/HallofFame/ArtistPage/Bernstein.
External links[link]
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Wikimedia Commons has media related to: Leonard Bernstein |
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Wikiquote has a collection of quotations related to: Leonard Bernstein |
- Official website
- Discography
- The Leonard Bernstein Collection at the Library of Congress Music Division
- Leonard Bernstein discography at MusicBrainz
- Discography at SonyBMG Masterworks
- Bernstein's Boston, a Harvard University research project
- FBI file on Leonard Bernstein
- Leonard Bernstein Festival of the Creative Arts
- Gay Great – Leonard Bernstein
- Radical Chic, a book by Tom Wolfe describing a gathering at Bernstein's apartment of New York's social elite and the Black Panther Party.
- Leonard Bernstein: A Total Embrace of Music, written by Peter Gutmann, music journalist.
- Arias and Barcarolles, The Leonard Bernstein Pages
- Leonard Bernstein at the Internet Movie Database
- Leonard Bernstein at the Internet Broadway Database
- Leonard Bernstein at the Internet Off-Broadway Database
- Leonard Bernstein's maximum card from Israel
- Obituary, New York Times, October 15, 1990
- Leonard Bernstein: American Original (HarperCollins, 2008) Chapters by Alan Rich, Paul Boyer, Carol J. Oja, Tim Page, Burton Bernstein, Jonathan Rosenberg, Joseph Horowitz, Bill McGlaughlin, James M. Keller, John Adams
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| Persondata | |
|---|---|
| Name | Bernstein, Leonard |
| Alternative names | Bernstein, Louis |
| Short description | Composer, conductor, pedagogue, pianist, writer |
| Date of birth | August 25, 1918 |
| Place of birth | Lawrence, Massachusetts, United States |
| Date of death | October 14, 1990 |
| Place of death | New York City, New York, U.S. |
http://wn.com/Leonard_Bernstein
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This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
 |
This biographical article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. Please improve this article by introducing more precise citations. (August 2010) |
 |
This article is written like a personal reflection or essay rather than an encyclopedic description of the subject. Please help improve it by rewriting it in an encyclopedic style. (August 2010) |
Angela Hewitt, OC OBE (born July 26, 1958) is a Canadian classical pianist. She holds British nationality through her father, Godfrey, who was the organist and choirmaster at Christ Church Cathedral in Ottawa, Ontario for almost fifty years.
Career[link]
Angela Hewitt began her piano studies at the age of three with her mother, performed in public at four, and won her first scholarship at five. In addition to the piano, she studied violin with Walter Prystawski, recorder with Wolfgang Grunsky, and ballet with Nesta Toumine in Ottawa. Her first full-length recital was in The Royal Conservatory of Music in Toronto at the age of nine where she studied from 1964 to 1973 with Earle Moss and Myrtle Guerrero. She then went on to be the student of French pianist, Jean-Paul Sevilla at the University of Ottawa. She placed first in the Gian Battista Viotti competition in 1978 and also in that year won the piano category of the CBC Talent Festival. She was also a prize-winner in the Bach Competitions of Leipzig (1976) and Washington, DC (1975), the Schumann Competition in Zwickau (1977), the Casagrande Competition in Terni (1976), the Dino Ciani Competition at La Scala in Milan (1980), and the Casadesus Competition in Cleveland (1979). In 1985 her international career was launched when she was awarded First Prize in the Toronto International Bach Piano Competition, a unique event held in memory of Glenn Gould. Part of her win was a recording with Deutsche Grammophon of works by J.S. Bach which was nominated for a Gramophone Award.
Angela Hewitt has performed around the world in recital and as soloist with orchestra. Her recordings on the Hyperion label are best sellers and show her extensive repertoire. She is most well known for her cycle of Bach recordings which she began in 1994 and finished in 2005—covering all the major keyboard works of J.S. Bach. These have now been released by Hyperion as a box set of fifteen CDs. Her discography also includes works by Couperin, Rameau, Messiaen, Chabrier, Ravel, Schumann, Beethoven and Chopin. In 2010 she recorded her first disc of Mozart concertos with the Orchestra da Camera di Mantova which will be released in 2011.[dated info]
Angela Hewitt’s entire 2007-2008 season was devoted to performances of the complete Bach Well-Tempered Clavier in major cities all over the world, including London (Royal Festival Hall), New York (Carnegie Hall), Los Angeles, Berkeley, Portland, Vancouver, Denver, Ottawa, Toronto, Mexico City, Bogota, Singapore, Tokyo, Seoul, Macao, Sydney, Melbourne, Warsaw, Milan, Lisbon, Venice, Bilbao, Zurich, Stuttgart, Glasgow, Pretoria, and Hong Kong. A special DVD lecture-recital entitled Bach Performance on the Piano was released by Hyperion to coincide with the tour. Before the end of the tour, she re-recorded the work which was released by Hyperion in 2009 to great critical acclaim from around the world.
In July 2005, Angela Hewitt launched her own Trasimeno Music Festival in the heart of Umbria near Perugia. Now an annual event, it draws an international audience to the Castle of the Knights of Malta in Magione, on the shores of Lake Trasimeno. Seven concerts in seven days feature Hewitt as a recitalist, chamber musician, song accompanist, and conductor, working with both established and young artists of her choosing.
After living in Paris from 1978 to 1985, Angela Hewitt has made London her main residence. She also has homes in Ottawa and Umbria, Italy. In 2000, she was made an Officer of the Order of Canada (OC).[1] She was created an Officer of the Order of the British Empire (OBE) on June 17, 2006. Angela Hewitt was named Gramophone Artist of the Year in 2006, received the MIDEM Classical Award for Instrumentalist of the Year in 2010, and awarded the first ever BBC Radio 3 Listener’s Award (Royal Philharmonic Society Awards) in 2003. She is also a fellow of the Royal Society of Canada, and has honorary degrees from the University of Ottawa, the University of Toronto, Queen's University (Kingston), the Open University (London), Mount Saint Vincent University (Halifax), and the University of Saskatchewan.
References[link]
- ^ "[Order of Canada citation for Angela Hewitt"]. Archived from the original on 15 May 2012. http://www.webcitation.org/67h4ctzlB. Retrieved 15 May 2012.
External links[link]
| Persondata | |
|---|---|
| Name | Hewitt, Angela |
| Alternative names | |
| Short description | Canadian classical pianist |
| Date of birth | July 26, 1958 |
| Place of birth | |
| Date of death | |
| Place of death | |
http://wn.com/Angela_Hewitt
This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Angela_Hewitt
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
| André Rieu | |
|---|---|
 Rieu in Atlantic City, NJ, in 2007 |
|
| Background information | |
| Birth name | André Léon Marie Nicolas Rieu |
| Born | (1949-10-01) 1 October 1949 (age 62) |
| Origin | Maastricht, Netherlands |
| Genres | Waltz |
| Occupations | Conductor, violinist |
| Instruments | Violin |
| Years active | 1978–present |
| Labels | Denon Records , Philips |
| Website | www.andrerieu.com |
| Notable instruments | |
| Stradivarius violin (1667)[1] | |
André Léon Marie Nicolas Rieu (born 1 October 1949) is a Dutch violinist, conductor, and composer best known for creating the waltz-playing Johann Strauss Orchestra.
Contents |
Early life and studies[link]
The name Rieu is of French Huguenot origin.[1] He began studying violin at the age of five. His father, of the same name, was conductor of the Maastricht Symphony Orchestra. From a very young age he developed a fascination with orchestra. He studied violin at the Conservatoire Royal in Liège and at the Conservatorium Maastricht, (1968–1973). His teachers included Jo Juda and Herman Krebbers. From 1974 to 1977, he attended the Music Academy in Brussels, studying with André Gertler, getting his degree "Premier Prix" from the Brussels Royal Conservatory.[2]
Career[link]
At University he performed the Gold And Silver Waltz by Franz Lehár. Encouraged by the audience reaction he decided to pursue the waltz form. Rieu formed the Maastricht Salon Orchestra and performed as a violinist with the Limburg Symphony Orchestra. In 1987, he created the Johann Strauss Orchestra and his own production company. Since then, his melodramatic stage performances and rock-star demeanor have for some been associated with a revival of the waltz music category. André Rieu plays a 1667 Stradivarius violin.[1]
In April 2009 (Dublin)/June 2009 (UK), he made a cameo appearance as himself on "Ramsay Street" in the long-running Australian soap opera Neighbours.[3]
Johann Strauss Orchestra[link]
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The examples and perspective in this article or section might have an extensive bias or disproportional coverage towards one or more specific regions. Please improve this article or discuss the issue on the talk page. |
The Orchestra began in 1998 with 21 members but now performs with between 80 and 150 musicians. At the time the Orchestra first toured Europe, there emerged a renewed interest in waltz music. The revival began in the Netherlands and was ignited by their recording of the Second Waltz from Shostakovich's Jazz Suites. As a result, Rieu became known as the waltz King.
Rieu and his orchestra have performed throughout Europe, in North America, and Japan. Winning a number of awards including two World Music Awards, their recordings have gone gold and platinum in many countries, including 8-times Platinum in the Netherlands. In September 2007 Rieu performed in Australia for the first time solo, without his Orchestra at the Eastland shopping centre in the Melbourne suburb of Ringwood playing "My Way" and "Waltzing Matilda"—and the next day appeared at Sydney's Arena Cove, Warringah Mashopping with the same set. Rieu and orchestra returned to Australia in November as part of his world tour. Rieu and his orchestra played 3 concerts at Melbourne's Telstra Dome from 13–15 November and continued their tour throughout Perth, Sydney, Brisbane and Adelaide, through to December 2008. The concert theme is 'A Romantic Vienna Night' and the set comprises a life-size reproduction of the Viennese imperial Schönbrunn Palace, complete with 2 ice-skating rinks, 2 Fountains, and a ballroom dance floor situated above and behind the Orchestra. Rieu's largest concert attendance to date in Australia was 38,000 on Saturday 15 November in Melbourne. The Perth concert did not feature the replica of the Viennese Palace as it was stated in the press because it would not fit into the front doors of Subiaco Oval.
He records both DVD and CD repertoire at his own recording studios in Maastricht in a wide range of classical music as well as popular and folk music plus music from well-known soundtracks and musical theatre. His lively orchestral presentations, in tandem with incessant marketing, have attracted worldwide audiences to this subgenre of classical music.
Some of his orchestra's performances have been broadcast in the United Kingdom and the United States on the PBS television network[4] such as the 2003 airing of Andre Rieu Live in Dublin, filmed in Dublin, Ireland, and 2005's André Rieu Live in Tuscany filmed in the Piazza Della Repubblica in the village of Cortona in Tuscany.
Reception[link]
Eamon Kelly writing in The Australian newspaper, in an article that discusses the controversy that Rieu engenders, said: "He depicts his critics as members of a stuffy musical elite with narrow aesthetic tastes, yet regularly demeans in interviews music that is not to his taste and classical musicians who choose not to perform in his manner."[5]
Of Rieu's popularity and the debate in the media over criticism of him, Eamon Kelly says: "It is disappointing to see professional journalists indulging in cheap, inaccurate stereotypes to dismiss criticism of Rieu."[5] But he goes on to add: "Equally misguided are those who cursorily dismiss Rieu. Rieu's live and recorded performances have brought joy to millions of people. Few in his audiences are regular classical music attendees and it could be seen as promising that, via Rieu, they are listening to standards of the classical canon. The fact that Rieu's focus is on highly accessible, enjoyable repertoire is not an argument against his musical credentials."[5]
Eamon Kelly further adds, after hearing the orchestra perform, that there is "no cause" for Rieu's boast his orchestra was "superior to the many other orchestras that specialise in ... Viennese and popular classical repertoire." Additionally, he found that in musical terms "the performance did not surpass playing standards in Australia's major symphony orchestras". He did add that the "oboist, Arthur Cordewener, provided the most impressive musical performance with a sublime introduction to an otherwise unremarkable performance of [Ravel's] Boléro."[5]
David Templeton, writing in the magazine All Things Strings says:
Ironically, it is Rieu’s own success that has earned him a horse-drawn carriage full of criticism, a pot-shot laden backlash aimed chiefly at the calculated emotionalism and theatrical flourishes of his performances, which, according to many, only cheapen the classical-music experience. Classical radio stations avoid his music as they might avoid a leper in the mall, though—let’s just say it plain and clear—Rieu is a superb violinist.[6]
Chris Boyd, a critic writing for Melbourne's Herald Sun newspaper, finds that he could not give a general criticism of the playing of Rieu, as, except for "a clean and lyrical solo in Waltzing Matilda", his main stage function was apparently "blarney and delegation". However, Boyd also comments that the quality of the artists that Rieu works with is "extraordinary". Boyd assesses the low points of the concert as the "Three Tenors-style" rendition of "Nessun dorma" which he finds was an "abomination", while saying the concert's highlights included "a sugar-shock sweet rendition" of "O mio babbino caro" as well as Strauss's Emperor Waltz and Blue Danube, Clarke's Trumpet Voluntary and the Boléro.[7]
Personal life[link]
He is married to Marjorie, who works with him full-time as production manager, and has two sons, Marc and Pierre. He speaks (in order of fluency) Dutch, English, German, French, Italian and Spanish.
Honours[link]
- Knight of the Order of the Netherlands Lion (Netherlands, 2002)
- Honorary Medal of the Province of Limburg (Netherlands, 2009)
- Knight of the Ordre des Arts et des Lettres (France, 2009)
Selected discography[link]
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References[link]
- ^ a b c "Interview on German TV". http://www.andrerieutranslations.com/translations/Beckman-interview.html. Retrieved 30 Aug 2011.
- ^ "André Rieu". classicfm.co.uk. http://www.classicfm.co.uk/music/artists/p-s/andre-rieu/. Retrieved 2012-01-28.
- ^ Andre Rieu on Neighbours, YouTube video
- ^ "Andre Rieu: The Flying Dutchman (2005)". The New York Times. http://movies.nytimes.com/movie/335433/Andre-Rieu-The-Flying-Dutchman/overview. Retrieved 18 August 2008.
- ^ a b c d "Andre Rieu's Music Is A Great Polariser". The Australian. http://www.theaustralian.com.au/news/arts/musics-great-polariser/story-e6frg8n6-1111118052071. Retrieved 25 November 2015.
- ^ "Waltz Violinist Andre Rieu Profiled". http://www.stringsmagazine.com/article/default.aspx?articleid=22542. Retrieved 14 August 2010.
- ^ "Tie Me Kanga-Rieu Down, Sport: André Rieu's World Domination Tour". http://chrisboyd.blogspot.com/2008/11/tie-me-kanga-rieu-down-sport-andr-rieus.html. Retrieved 27 March 2010.
External links[link]
- André Rieu (official website)
- Official André Rieu Facebook page
- André Rieu on Twitter
- Official André Rieu YouTube Channel
- André Rieu's Official Australian website
- André Rieu (C Music TV Biography)
- André Rieu at Allmusic
- The Magic of Andre Rieu
| Persondata | |
|---|---|
| Name | Rieu, Andre |
| Alternative names | |
| Short description | |
| Date of birth | 1 October 1949 |
| Place of birth | |
| Date of death | |
| Place of death | |
http://wn.com/André_Rieu
This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/André_Rieu
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
