Maurice Ravel Trois poèmes de Stéphane Mallarmé, Opp. 64 Videos
Letzte Aktualisierung
2024-03-29
Aktualisieren
Joseph Maurice Ravel Forsberg Paulsson Lindström Otter Igor Stravinsky Florent Schmitt Erik Satie Arnold Schoenberg Maurice Delage Jane Bathori Inghelbrecht Claude Debussy 1875 1896 1912 1913 1914 1927 1937 1994
- Composer: Joseph-Maurice Ravel (7 March 1875 / 28 December 1937) - Performers: Matti Hirvikangas (viola), Ulf Forsberg (violin), Nils-Erik Sparf (violin), Per Billman (bass clarinet), Per Billman (clarinet), Lars Paulsson (clarinet), Peter Rydström (piccolo), Peter Rydström (flute), Andreas Alin (flute), Bengt Forsberg (piano), Mats Lindström (cello) - Soloist: Anne Sofie von Otter (mezzo soprano) - Year of recording: 1994 Trois poèmes de Stéphane Mallarmé, song cycle for voice & ensemble (or piano), written in 1913. 00:00 - I. Soupir [à Igor Stravinsky] 04:22 - II. Placet futile [à Florent Schmitt] 08:55 - III. Surgi de la croupe et du bond [à Erik Satie] In a 1927 interview, Maurice Ravel said of the symbolist poet Stéphane Mallarmé that he "exorcised our language, like the magician that he was. He has released the winged thoughts, the unconscious daydreams from their prison." Mallarmé had been an immense influence on a variety of artists, including Ravel, who had set his first Mallarmé poem, Sainte, in 1896 and returned to the poet's work in 1913 with the Trois poèmes. Around that time Ravel had heard Igor Stravinsky's Trois poésies de la lyrique japonaise +••.••(...)), and was particularly impressed by Stravinsky's arrangement, in which the singer was backed by an ensemble of piano, string quartet, two flutes, and two clarinets. Stravinsky, in turn, had been much influenced by Arnold Schoenberg's notorious Pierrot lunaire (1912), with its similar instrumentation. On completing his songs, which employed the same instrumental layout as Stravinsky's, Ravel envisioned what he called a "scandalous concert," featuring his songs along with Stravinsky's and Schoenberg's. That concert did take place, although with songs by Maurice Delage replacing the Schoenberg, under the auspices of the Société Musicale Indépendante on 14 January 1914. Soprano Jane Bathori, one of the best known French singers of her day, was featured, along with an ensemble conducted by Désiré-Emile Inghelbrecht. The increasing angularity and dissonance of Ravel's Trois poèmes reflects the increasingly dissociative imagery of the three Mallarmé poems. The first song, "Soupir" (Sigh), is in two parts, the first slow and delicate (evoking the poet's "white fountains"), the second more spacious and evanescent. The vocal line becomes more a bit more jagged in "Placet futile" (Futile Petition), a gently melancholy love song. And with the third and final song, "Surgi de la croupe et du bond" (Risen from the Crupper and Leap), Ravel comes as close to the atonality of Arnold Schoenberg as he ever would. This setting of what Ravel once called "the strangest, if not the most hermetic" of Mallarmé's sonnets is still and mysterious, with a very spare accompaniment. Coincidentally, at the very time that Ravel was composing his Trois poèmes, Claude Debussy was also setting three of Mallarmé's poems (both were perhaps inspired by a new complete edition of Mallarmé's poetry which had just been published). Not only that, but they had both chosen to set two of the same poems; Debussy called this a "phenomenon of autosuggestion worthy of communication to the Academy of Medicine."
Maurice Ravel Nora Gubisch Altinoglu Debussy Jane Bathori Inghelbrecht Igor Stravinsky Florent Schmitt Erik Satie Ris Berger Ensemble Intercontemporain 1896 1913 1914
Ensemble Intercontemporain. Nora Gubisch Soprano Dir.Alain Altinoglu Trois poèmes de Stéphane Mallarmé Three songs by Ravel (written in 1913), to texts by Mallarmé, one of his favourite poets. (He had previously set the song Sainte in 1896.) It was a strange coincidence that Debussy also wrote settings of three Mallarmé poems at exactly the same time, selecting two of the same poems as Ravel: Soupir and Placet futile. The first performance was given to the Société Musicale Indépendante in Paris (14.i.1914) by Jane Bathori with the conductor D.-E. Inghelbrecht. The songs are dedicated as follows: I. Soupir to Igor Stravinsky II. Placet futile to Florent Schmitt III. Surgi de la croupe et du bond to Erik Satie The accompaniment is scored for piccolo, flute, clarinet, bass clarinet, string quartet, and piano - the same forces as required for Stravinsky's Three Japanese lyrics with which the Mallarmé settings were first performed. 1)Mon âme vers ton front où rêve, ô calme soeur, Un automne jonché de taches de rousseur, Et vers le ciel errant de ton oeil angélique Monte, comme dans un jardin mélancolique, Fidèle, un blanc jet d'eau soupire vers l'Azur! / Vers l'azur attendri d'octobre pâle et pur Qui mire aux grands bassins sa langueur infinie Et laisse, sur l'eau morte où la fauve agonie Des feuilles erre au vent et creuse un froid sillon, Se trainer le soleil jaune d'un long rayon. 2)Princesse! à jalouser le destin d'une Hébé Qui point sur cette tasse au baiser de vos lèvres; J'use mes feux mais n'ai rang discret que d'abbé Et ne figurerai même nu sur le Sèvres. Comme je ne suis pas ton bichon embarbé Ni la pastille ni du rouge, ni jeux mièvres Et que sur moi je sens ton regard clos tombé Blonde dont les coiffeurs divins sont des orfèvres! Nommez-nous... toi de qui tant de ris framboisés Se joignent en troupeau d'agneaux apprivoisés Chez tous broutant les voeux et bêlant aux délires, Nommez-nous... pour qu'Amour ailé d'un éventail M'y peigne flûte aux doigts endormant ce bercail, Princesse, nommez-nous berger de vos sourires. 3)Surgi de la croupe et du bond D'une verrerie éphémère Sans fleurir la veillée amère Le col ignoré s'interrompt. Je crois bien que deux bouches n'ont Bu, ni son amant ni ma mère, Jamais à la même chimère, Moi, sylphe de ce froid plafond! Le pur vase d'aucun breuvage Que l'inexhaustible veuvage Agonise mais ne consent, Naïf baiser des plus funèbres! À rien expirer annonçant Une rose dans les ténèbres.
Maurice Ravel Piccinini Lombardi Christian Immler Farinelli Marot 1893 1932
Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Google Play): (http•••) More Information: (http•••) Brilliant Classics Spotify: (http•••) Brilliant Classics Facebook: (http•••) Composer: Maurice Ravel Artist: Monica Piccinini soprano Elisabetta Lombardi mezzo-soprano Sophie Marilley mezzo-soprano Christian Immler baritone Filippo Farinelli piano Claudia Giottoli flute Giacomo Menna cello Ecu Ensemble Marco Momi conductor French composer Maurice Ravel may be well known for his instrumental music, in particular the orchestral work Boléro, but it is his vocal compositions that fully encapsulate the shimmering colours of early‐20th century music. Spanning an important period of Ravel’s career, from 1893 up to 1932, this release is an integral recording of Ravel’s songs, with both piano accompaniment and Ravel’s original scoring for ensemble. 00:00:00 Ballade de la reine morte d’aimer in D Minor, M. 4 00:04:27 Un grand sommeil noir in C-Sharp Minor, M. 6 00:08:47 Sainte in G Minor, M. 9 00:11:02 Chanson du rouet in E Major, M. 15 00:16:00 Si morne ! in F-Sharp Minor, M. 16 00:20:47 Épigrammes de Clément Marot, M. 21: I. D’Anne qui me jecta de la neige. Très lent in G-Sharp Minor 00:23:41 Épigrammes de Clément Marot, M. 10: II. D’Anne jouant de l’espinette. Très léger et d'un rythme précis in C-Sharp Minor 00:25:34 Manteau de fleurs, M. 39: Modéré in D-Sharp Minor 00:29:26 Shéhérazade, M. 41/1: I. Asie 00:39:49 Shéhérazade, M. 41/2: II. La flûte enchantée 00:42:56 Shéhérazade, M. 41/3: III. L’Indifférent 00:46:53 Cinq mélodies populaires grecques, M.A 9: I. Chanson de la mariée. Modéré in G Minor 00:48:29 Cinq mélodies populaires grecques, M.A. 10: II. Là-bas, vers l’église. Andante G-Sharp Minor 00:49:55 Cinq mélodies populaires grecques, M.A. 4: III. Quel galant m’est comparable. Allegro in G Major 00:50:49 Cinq mélodies populaires grecques, M.A 5: IV. Chanson des cueilleuses de lentisques. Lento in A Major 00:53:36 Cinq mélodies populaires grecques, M.A 11: V. Tout gai!. Allegro in B-Flat Major 00:54:36 Noël des jouets in E Minor-E Major, M. 47: Pas vite 00:57:53 Les grands vents venus d’outremer, M. 48: Modéré, très agité in E-Flat Major 01:00:18 Histoires naturelles, M. 50: I. Le paon. Sans hâte et noblemen in F Major 01:05:08 Histoires naturelles, M. 50: Le grillon. Placide in A Minor 01:08:38 Histoires naturelles, M. 50: Le cygne. Lent in B Major 01:11:57 Histoires naturelles, M. 50: Le martin-pêcheur. On ne peut plus lent in F-Sharp Major 01:14:54 Histoires naturelles, M. 50: La pintade. Assez vite in E Major 01:18:25 Vocalise-étude en forme de habanera, M. 51: I. Presque lent et avec indolence in G Minor 01:21:39 Sur l’herbe, M. 53: I. Modéré in C-Sharp Major 01:24:07 Tripatos, M.A 13: "Mains qui n'ont pas pu le soleil" 01:25:47 Chants populaires, M.A 17/1: I. Chanson espagnole. Andantino in B-Flat Major 01:28:18 Chants populaires, M.A 17/2: II. Chanson française. Allegretto in C Major 01:30:27 Chants populaires, M.A 17/3: III. Chanson italienne. Largamente, quasi piacere, portando le note in E-Flat Major 01:31:40 Chants populaires, M.A 17/4: IV. Chanson hébraïque. Allegro moderato 01:36:28 Chants populaires, M.A 17/5: V.Chanson ecossaise 01:31:29 Trois poèmes de Stéphane Mallarmé, M. 64/1: I. Soupir. Lent in G Major 01:43:38 Trois poèmes de Stéphane Mallarmé, M. 64/2: II. Placet futile. Très modéré in F Major 01:47:39 Trois poèmes de Stéphane Mallarmé, M. 64/3: III. Surgi de la croupe et du bond. Lent in C Major 01:50:42 Deux Mélodies hébraïques, M.A 22/1: Kaddisch. Lent in C Major 01:55:17 Deux Mélodies hébraïques, M.A 22/2: L’Énigme éternelle. Tranquillo in E Major 01:57:11 Trois Chansons, M. 69: I. Nicolette. Allegro moderato in A Minor 01:59:15 Trois Chansons, M. 69: II.Trois beaux oiseaux du Paradis. Moderato in F Minor 02:01:57 Trois Chansons, M. 69: III. Ronde. Allegro in A Major 02:03:53 Ronsard à son âme, M. 75 02:06:41 Chansons madécasses, M. 78: I. Nahandove. Andante quasi allegretto 02:12:24 Chansons madécasses, M. 78: II. Aoua. Andante 02:16:38 Chansons madécasses, M. 78: IIl. Il est doux. Lento 02:20:39 Rêves, M. 79 02:22:07 Don Quichotte à Dulcinée, M. 85: I. Chanson Romanesque. Moderato in B-Flat Minor, B-Flat Major 02:24:27 Don Quichotte à Dulcinée, M. 85: II. Chanson épique. Molto moderato in F Major 02:27:39 Don Quichotte à Dulcinée, M. 85: III. Chanson à boire. Allegro in C Major
Nicht mehr?
Jeden Tag sucht soclassiq nach neuen Artikeln, Videos, Konzerten und so weiter über klassische Musik und Oper, ihre Künstler, Veranstaltungsorte, Orchester....
Trois poèmes de Stéphane Mallarmé, Opp. 64 ? Wir haben noch nicht viele Inhalte zu diesem Thema gesammelt, aber wir suchen weiter.
oder
- Die größten klassischen Lieder und Lieder
- Wesentliche Arbeiten: romantische Ära • moderne & zeitgenössische Ära
- Indizes (in alphabetischer Reihenfolge): T...