Maurice Ravel - Piano Concerto in G major (Orchestral Score)
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- čas přidán 15. 12. 2019
- - Composer: Joseph-Maurice Ravel (7 March 1875 -- 28 December 1937)
- Orchestra: London Symphony Orchestra
- Conductor: Pierre Boulez
- Soloist: Krystian Zimermani
- Year of recording: 1994- 4
- Recording Venue: Masonic Auditorium, Cleveland, Ohio
Piano Concerto in G major, written in 1929-1931.
00:23 - I. Allegramente
09:02 - II. Adagio assai
18:25 - III. Presto
The piano was Ravel's favorite instrument, and of his two extraordinary concertos, the Piano Concerto in G major was, in his opinion, "more Ravelian." Indeed, the two works are profoundly different, but without being, as Vladimir Jankélévitch observed in his book about the composer, more (or less) Ravelian than the other. Nevertheless, Ravel's opinion should not be dismissed, for it reflects his personal predilection, and, as any listener can tell, the work literally overflows with exuberance, delight, and verve. The Concerto may have been conceived in 1928, the year Ravel received his honorary doctorate from the University of Oxford. While some commentators have found the source of this Concerto in Ravel's Rhapsody on Basque themes Zazpiak bat, a project which remained unfinished, Robert de Fragny remembered that the composer had remarked that the dazzling opening theme came to him during a train ride from Oxford to London in 1928. In 1929, despite failing health, Ravel talked about a world tour on which he would perform his Concerto. While the world tour never materialized, the composer's life was sufficiently hectic, as he received a commission to compose another piano concerto, the Piano Concerto in D major (for the left hand).
Completed in November 1931, the concerto was premiered in January 1932, in a legendary performance by Marguerite Long. The sensations that this work conjures up, right from the beginning, are brightness and boundless energy. Opening with a whiplash sound, the first movement, Allegramente, proceeds rapidly, from an initial burst of light, composed of a lively piccolo tune threading through crystalline, harp-like piano figuration, to the incisive ending, traversing the many truly magical, even mysterious, moments of repose, when the piano indulges in dreamy, languid soliloquies. Delighting in the piano's expressive potential, Ravel fully employs the instrument's sonority, weaving, for example, a trill into a melody. The piano's rich and subtle discourse is magnificently matched by the orchestra, which, appearing in many guises, mimics and complements the piano, reinforcing the sensation of relentless energy by sharp, metallic, insistent statements by the trumpet. Ravel's splendid orchestration, which tempts the listener to experience this work as a brilliant, and almost self-sufficient, demonstration of sheer musical color, reflects the composer's interest in jazz, evidenced by trombone glissandi and similar effects. However, the jazz elements are profoundly Ravelian, which means that they hardly strike the listener as out of context. The remarkable second movement introduces an introspective, soulful atmosphere, seemingly quite remote from the bustle of the previous movement. A simply stated solo piano theme, of a disarming yet profoundly soulful simplicity, suggesting, perhaps, the image of a solitary promenade in the moonlight, yields to a timeless flute theme which expresses feelings of longing, sorrow, and subdued, yet clearly stated, passion. The final movement, as the piano wends its way through a series of shrieks and wails, executed by woodwind and brass instruments, affects the listener as a mounting wave of sound. A sudden, abrupt exclamation concludes the seductive cacophony of this climactic movement, and the listener experiences a desire to revisit the enchanted landscape of a musical work whose limpid formal structure contains a seemingly boundless world -- without a trace of creative fatigue or ambivalence -- of elegantly turned musical ideas.
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ラヴェル ピアノ協奏曲 ト長調 - Hudba
![Maurice Ravel - Piano Concerto for the left hand [With Orchestral Score]](http://i.ytimg.com/vi/flNyZuI1NrY/mqdefault.jpg)
00:23 - I. Allegramente
09:02 - II. Adagio assai
18:25 - III. Presto
I’m obsessed. Before finding this recording, I was never satisfied, felt like there was always something missing in the playing. When I first listened to this I felt like Zimerman hit all the right notes (ha). His command of color, timing, and tone is so perfectly Ravelian (his tone at the start, and the glissandos following, perfect). I can’t stop listening.
What a perfect description. My thoughts exactly
Did you listen to the Arturo Benedetti Michelangeli recording I think it is also with London Symphony Orchestra? I had a record of it and loved it very much, a great recording.
man that lyrical passage of the begginig of the 1st movement is terrific!
you sir did an awesome job. Boulez and Zimmerman, in score format... this is the best
Many great recordings of this great concerto. But this one remains my favorite. Not that the others are bad - some really, really great ones among them! Fray, Michelangeli, Aimard - but Zimerman + Boulez ... just perfect!
Oh man what a great recording
Indeed
ツィマーマンの的確な奏法解釈と楽譜でラヴェルの音響効果としての意図が伝わってきました。ありがとうございます！
Through Zimmerman's precise interpretation and the score, we better understand Ravel's acoustic intention. Thank you!
great, at least one person who makes a score video! thank you, i enjoy looking at a score while listening. you made my day!
This concerto shows very well why Ravel is one of the most import composers of the 20th century.
grandious!
Best piano concerto ever
I just saw Jean-Yves Thibaudet play this with the Orchestre Suisse-Romande in Geneva. He was dressed head to toe in Westwood!
I think this is the 🐐 of music, especially mvt. 2!
Très instructif, en plus d'être magnifique. Et quelle interprétation ! L'une de mes préférées avec celle de Martha Argerich dirigée par Emmanuel Krivine, qui n'a rien à voir d'ailleurs ;)
Zimmerman is incredible… I love his piano performance. P. Boulez did a great work in the orchestration as well.
Motivo 1 (Rítmico y folklórico) 0:23
Motivo 2 (Folklore español) 1:03
Motivo 3 (Corriente Americano) 1:23
Motivo 4 (Melodía contrastante y expresiva) 2:12
Good song
12:03 is absolutely magical!
It is like it is when God responds to your thoughts or your tears.............
Cool
17:13 ..................... ............................ .................................
Esto es como la ingravidez ha de sonar🤩🪂🛸🛰️😍
the bassoon part got me like o_o
Lol I’m scared to play it
@@nyancs7098 which, the semis in mvt 3 or the super high stuff in the first?
@@somebody9033 my alt high e fingering just doesn’t work lol and the semiquavers just look silly
As a composer just from reading the score while listening, I thought it would be unplayable, never thought the bassoon could handle such speed. But I suppose it is an extremely difficult bassoon part :-)
@@nilsfrederking62 I play the bassoon and we NEED interesting parts - a good bassonist can just play as complicated stuff as flutes and clarinets ;)
7:25
What is Frusta?
Whip, sometimes referred to as Slapstick
4:21 8:30 18:37
20:23 내가 가장 좋아하는 바순 솔로
4:11
Did Ravel actually named the Concerto "G Major'"? Apart from the beginning, this is not very used... The 2nd mov. is a bit E major
It was either that or calling it the Both-Hands Concerto 🙃
Bruh what clarinet player hurt this man
8:25