Maurice Ravel Chansons madécasses, Opp. 78 Vídeos
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2024-04-07
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Didier Henry Maurice Ravel Philippe Pierlot Pierlot Jean Luc Bourre 2013
Provided to YouTube by NAXOS of America Chansons madecasses: No. 3. Il est doux · Didier Henry Ravel: Kaddisch ℗ 2013 Maguelone Music Released on: 2013-06-04 Artist: Didier Henry Artist: Philippe Pierlot Artist: Jean-Luc Bourre Artist: Angeline Pondepeyre Composer: Maurice Ravel Auto-generated by YouTube.
Provided to YouTube by Nonesuch/Warner Records Sonata for Violin & Cello +••.••(...)) : Lent · Maurice Ravel Maurice Ravel: Chansons Madecasses/Two Piano Pieces/Violin & Cello Sonata ℗ 1978 Elektra/Asylum/Nonesuch Records for the United States and WEA International Inc. for the world outside of the United States. Violin: Isidore Cohen Engineer: Joanna Nickrenz Engineer: Marc J. Aubort Cello: Timothy Eddy Composer: Maurice Ravel Auto-generated by YouTube.
Kozena Maurice Ravel Malcolm Martineau Debussy Poulenc Satie Jane Bathori Elizabeth Sprague Coolidge 1875 1925 1926 1937
Chansons madécasses +••.••(...)): I. Nahandove 00:00 II. Aoua 06:10 III. Il est doux 10:16 Ravel, Maurice +••.••(...)) -composer Magdalena Kozená -mezzosoprano Paul Edmund Daviesc-flute Jiri Barta -cello Malcolm Martineau -piano Score: available at imslp.org Playlist "The art of French song: Faure, Debussy, Ravel, Poulenc, Satie...": (http•••) Description by Meredith Gailey: During the final phase of Maurice Ravel's career, he experienced hampered creativity and a confused emotional state - which in the years that followed evolved into a preoccupation with economy of means and ensemble combinations. For example, the Chansons madécasses (Madagascar Songs), with their unique chamber ensemble, was, as Ravel indicated, "a kind of quartet in which the voice plays the part of the main instrument." The vocal line is uncharacteristic of Ravel's detached and objective style; instead the song sensuously and frightfully declares its message. The texts, taken from the eighteenth century Creole poet Evariste-Desire de Parny, are a cry for liberation from colonialism, exploitation, and slavery as they occurred in Madagascar. "Nahandove" depicts the erotic seduction of a native woman, in which Ravel uses the cello in counterpoint to the flute and piano. "Aoua!" is the frightful warning of the deceiving and dangerous white men; it opens with shrieks of the song's title, made on descending minor thirds. The vocal line is supported by dissonant piano crunches, while a tam-tam effect is made by the resonances of the piano and low notes of the flute. "Aoua!" was probably the most discussed of the three songs. When it was sung by Jane Bathori in 1925, at a concert in the Paris Salle Majestic, it was well received, except by a few members of the audience, who found the song's message especially disturbing because fighting was occurring in Morocco. The song comes to a bitter ending where the singer again proclaims "mefiez-vous des blancs" ("Don't trust the whites"). "Il est doux," featuring exotic timbres, returns to the earlier sexual lure. The first complete performance of the three songs was in 1926. Elizabeth Sprague Coolidge, an American patroness of chamber music, made only one suggestion when she commissioned the songs, in regards to the instrumentation of the accompaniment; the choice of text reveals Ravel's interest in the exotic. Ravel stated that he viewed the years shortly before and during which the Chansons madécasses were written as a turning point in his career. In that time he turned from harmonic techniques to "the spirit of melody." The composer revealed in a late interview that these three songs were his favorites.
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