Maurice Ravel Vidéos
compositeur français
10
Commémorations 2025 (Naissance: Maurice Ravel)
- piano, piano-forte
- opéra, musique classique, musique impressionniste
- France
- chef ou cheffe d'orchestre, pianiste, compositeur ou compositrice
streaming
Dernière mise à jour
2024-04-24
Actualiser
Isaac Albéniz Zaragoza Ravel Respighi Rachmaninoff
This new recording presents the two Suites Espanola, including popular works like Cadiz and Asturias (with its unique guitar imitations), as well as the third Suite Ancienne, which contains baroque dance forms in romantic disguise. Purchase or streaming (Spotify, Apple Music, Amazon Music, Naxos, Presto): (http•••) More Information: (http•••) Our music is available for sync licensing in videos, films, tv-shows, games, advertising and more. For more information and to request a license go to: (http•••) Composer: Isaac Albéniz Artist: Sebastian Stanley (piano) The first volume of Sebastian Stanley’s Albéniz survey was greeted with enthusiasm for the repertoire and praise for the interpretations in the pages of Fanfare and elsewhere: ‘He is tender and sentimental in the lyrical moments, animated and energetic in his attack elsewhere. He clearly loves the music, and dispatches it with unapologetic flair.’ His sequel opens with the First Suite Española which contains several of the composer’s most colourful and best-known pieces. It begins with the vibrant guitar-strumming textures and Moorish harmonies of ‘Granada (Serenata)’ and continues with his own interpretation of a dance from his native Catalonia. Evocations of Seville, Cadiz and Asturias all spring from the pages with the sharp colours of a Goya canvas, and the suite comes to an exotic, sensuous conclusion with a Cuban habanera. The Second Suite Española is much smaller and less well-known. Its two movements are evocations of Zaragoza and (once more) Seville. Sebastian Stanley includes two further landscapes in sound: the Zambra granadina (Danse orientale) evokes flamenco dance that features a haunting melody to a seductively syncopated accompaniment. The rolled chords of Cádiz (Gaditana) suggest the strumming of guitars, setting the scene for an animated copla dance. The neoclassical side of Albéniz comes to the fore with the third of his Suites Anciennes – consisting of a graceful Minuet and sprightly Gavotte – which anticipate similar projects to revive Baroque forms in modern guise by Ravel and Respighi. As a reminder of the incomparable richness of the finest Spanish piano music,’ Sebastian Stanley’s Albéniz series should invite the attention of curious listeners and pianophiles alike. Social media links: Facebook: (http•••) Spotify: (http•••) Brilliant Classics: Facebook: (http•••) Spotify: (http•••) Instagram: (http•••) TikTok: (http•••) Tracklist: Suite espanola No. 1, Op. 47: 0:00:00 I. Granada 0:05:09 II. Cataluna 0:07:45 III. Sevilla 0:12:38 IV. Cadiz 0:17:09 V. Asturias 0:23:50 VI. Aragon 0:28:59 VII. Castilla 0:32:08 VIII. Cuba Suite espanola No. 2, Op. 97: 0:38:12 I. Zaragoza 0:42:07 II. Sevilla Suite ancienne No. 3: 0:49:20 I. Minuetto 0:52:57 II. Gavota 0:56:55 Zambra granadina (danse orientale) 1:00:14 Cadiz (gaditana) Spotify Playlists: Most Popular Piano Classics: (http•••) Top 50 Rachmaninoff: (http•••) Best Piano Music: (http•••) Peaceful and Relaxing Piano Music: (http•••) Beautiful Piano Nocturnes: (http•••) Thank you for watching this video by Brilliant Classics, we hope you enjoyed it! Don’t forget to share it and subscribe to our YouTube channel. And visit our channel for more of the greatest composers. We upload daily with complete albums and compilations with the best classical music. (http•••) #Albinez #Suite #PianoMusic #ClassicalMusic #Piano #Music #PianoMusic #SoloPiano #PianoSolo #ClassicalPiano #PianoClassics #BrilliantClassics
Debussy Ravel Bach Shostakovich Ramos Cayabyab Bautista Sims Montenegro 1830 1909 2021
Bedroom Concerto #1 2021, Dominic Laxamana. All rights reserved. In partial fulfillment of the requirements of MuP 196 Playing time: 47 minutes Bedroom Concerto #1 is a seven-movement opus for orchestra, granulated samples, and synthesized melodic and percussion instruments. It is a work that can be performed live in the concert hall, but due to limited resources accentuated by the Covid-19 lockdown, the recording for my graduation recital is created with MIDI programming and sampled playback. The accessibility of computer programs and recording equipment allows one to create his/her own cost-efficient large work created specifically for listening at home or on the go. The melodic weaving between synthesizer presets and orchestra is an extension of the impressionist orchestration innovated by Debussy and Ravel. Klangfarbenmelodie (tone-color melody) is also incorporated. Melodic synthesizers are assigned modulating timbres for smoothly shifting instrumentation via mod wheel automations. Regarding other elements of music, polyrhythms are used to create time-based textures. Chromaticism is employed for tonal obfuscation. The structure of the piece is a dialogue between musique concrète and a more familiar convention of orchestral music. A recurring motif, based on the pelog scale of the Indonesian gamelan, is heard throughout the whole opus in various transmutations. The theory of evolution serves as my narrative basis, with a specific focus on mankind’s struggle to live in harmony with nature. I. Prologue (02:17) The first movement prologue starts in the key of G# minor but the latter part is a musique concrète work created with the same orchestral renderings of the first part of the prologue, only to be cut, stretched, spliced, pitch-shifted, and filtered through various granular synthesizer effects (I used Hadron Granular Synthesizer). II. Sonata (06:45) Keeping with the tradition of symphonies and concertos (though not placed as the first movement), a sonata form in D# minor takes form as the second movement. III. Interlude 1 (18:30) The third movement, a concrète interlude, still utilizes the same orchestral samples as the prologue, but spliced and pitch shifted to anticipate motifs of the other movements (such as the subject of the succeeding fugue). The interlude ends with samples that are spliced to mimic the interlocking patterns of the Philippine gangsa commonly heard in the Cordillera highlands. IV. Fuga (23:56) The fourth movement is a fugue in C# minor. The contrapuntal basis for the fugue has a subject and three countersubjects. The four voices are spread across the performing groups. Instead of keeping a constant time signature like the fugues of Bach and Shostakovich, this fugue has shifting time signatures with callbacks to established motifs. The structure of the movement is one mise-en-scène exposition and eleven episodes of free counterpoint interjected with several codettas and strettos. V. Interlude 2 (34:16) The fifth movement, which is the second concrète interlude, is a recap of the primordial listening of the previous concrète sections after an exhibition of harmonies that humans have evolved to develop and appreciate. The inclusion of this interlude is a mere reflection of humanity being a synthesis of the past and present, whose future is determined by both its willpower and its uncontrollable probabilities. VI. Time Mandala (37:04) The sixth movement, Time Mandala, is chronologically the first conceived movement of the concerto. It is based on a derived pelog scale of the Indonesian gamelan and the idea had been expanded into the other orchestral movements. VII. Epilogue (48:16) The final movement is a concrète epilogue that features the whole orchestral recording of the prologue, albeit the recording being spliced and reversed, signifying the work has come full circle. Credits: Public domain clips provided by Pixabay.com Public domain photos of the cosmos by NASA Bob’s Electric Theatre (1909), dir. Segundo de Chomón Recital poster by Patricia Ramos Instagram: (http•••) Facebook: (http•••) Acknowledgements: UP College of Music, Diliman, Quezon City UP CMu College of the Office Secretary UP Conemus Prof. Josefino “Chino” Toledo Dr. Verne de la Peña Dr. Maria Christine Muyco Dr. Marie Jocelyn Marfil Prof. Mary Katherine Cabral Dr. Jonas Baes Dr. Beverly Shangkuan-Cheng Ms. Cristina Maria Cayabyab Kuya Jec Bautista Sims family Bongosia family Montenegro family Dr. Rodel Noreli E. Lorenzo Dr. Albert Magcalas Mang Fred’s MusiKolektibo Mga tambay sa gilid ng College of Music Last but not least, my family
Theo Hoffman Hoffman Ravel Ravinia Festival 1875 1906 1937 2022
RAVEL (1875–1937) Histoires Naturelles (1906) 1. Le paon 2. Le grillon 3. Le cygne 4. Le martin-pêcheur 5. La pintade Theo Hoffman, baritone Kunal Lahiry, piano Performed live at the Ravinia Festival on August 8, 2022
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