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Martha Argerich: Ravel - Piano Concerto in G Major | Nobel Prize Concert 2009
From the Stockholm Concert Hall,
The Nobel Prize Concert with the Crown Princess, Victoria
Martha Argerich - piano
The Royal Stockholm Philharmonic Orchestra
Yuri Temirkanov - conductor
Maurice Ravel - Piano Concerto in G Major
0:00 I. Allegramente
8:40 II. Adagio assai
18:44 III. Presto
Click here to watch the full Nobel Prize Concert: https://goo.gl/7thmTX
Click here to compare Martha Argerich's interpretation with David Fray's: https://youtu.be/cJOW5mlhH_Y
Subscribe to EuroArts: https://goo.gl/jrui3M
As part of the official Nobel Week, the world’s most renowned artists are gathering each year to pay tribute to the Nobel Laureates. The 2009 concert offered a special highlight in the series with Martha Argerich performing Ravel’s Piano Concerto in G Major by Maurice Ravel under Yuri...
published: 30 Jun 2018
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Ravel: Piano Concerto in G Major, M. 83 - II. Adagio assai
Provided to YouTube by Universal Music Group
Ravel: Piano Concerto in G Major, M. 83 - II. Adagio assai · Krystian Zimerman · The Cleveland Orchestra · Pierre Boulez · Maurice Ravel
Ravel: Piano Concertos; Valses nobles et sentimentales
℗ 1998 Deutsche Grammophon GmbH, Berlin
Released on: 1998-01-01
Producer: Roger Wright
Producer: Dr. Marion Thiem
Producer, Recording Producer: Helmut Burk
Studio Personnel, Balance Engineer: Rainer Maillard
Studio Personnel, Recording Engineer: Klaus Behrens
Studio Personnel, Recording Engineer: Stephan Flock
Studio Personnel, Recording Engineer: Reinhard Lagemann
Editor: Jürgen Bulgrin
Composer: Maurice Ravel
Auto-generated by YouTube.
published: 30 Jul 2018
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Maurice Ravel - Piano Concerto for the Left Hand
- Composer: Joseph-Maurice Ravel (7 March 1875 -- 28 December 1937)
- Orchestra: Orchestre de la Société des Concerts du Conservatoire
- Conductor: André Cluytens
- Soloist: Samson François
- Year of recording: 1959
Piano Concerto in D major (for the left hand), written in 1929-1931.
Between 1929 and 1931, Ravel, despite his failing health, worked feverishly, his imagination as powerful as ever. Among the works completed during this period are the two piano concertos: this extraordinary work and the scintillating Piano Concerto in G major [uploaded on this channel].
This concerto was commissioned by the prominent Austrian pianist Paul Wittgenstein, brother of the celebrated philosopher Ludwig Wittgenstein, who had lost his right arm due to a wound sustained in World War I. It is indeed...
published: 04 Feb 2016
-
Jean-Yves Thibaudet - Ravel - Piano Concerto in G major
Support us on Patreon and get more content: https://www.patreon.com/classicalvault
---
Maurice Ravel
Piano Concerto in G major
1 Allegramente
2 Adagio assai
3 Presto
Jean-Yves Thibaudet, piano
Gustav Mahler Jugendorchester
Philippe Jordan. conductor
Live recording. London, Proms 2013
published: 04 Nov 2013
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Seong-Jin Cho: Ravel Piano Concerto in G major(with the BPO and Sir Simon Rattle, 2017)
Berliner Philharmoniker conducted by Sir Simon Rattle
November 4, 2017 Berliner Philharmonie
00:00 I. Allegrament
09:05 II. Adagio assai
18:25 III. Presto
published: 10 Oct 2021
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Maurice Ravel - Piano Concerto in G major
- Composer: Joseph-Maurice Ravel (7 March 1875 -- 28 December 1937)
- Orchestra: Philharmonia Orchestra
- Conductor: Ettore Gracis
- Soloist: Arturo Benedetti Michelangeli
- Year of recording: 1957
Piano Concerto in G major, written in 1929-1931.
00:00 - I. Allegramente
08:37 - II. Adagio assai
18:02 - 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 ...
published: 15 Nov 2015
-
Ravel: Piano Concerto for the Left Hand in D Major, M. 82
Provided to YouTube by Universal Music Group
Ravel: Piano Concerto for the Left Hand in D Major, M. 82 · Krystian Zimerman · London Symphony Orchestra · Pierre Boulez · Maurice Ravel
Ravel: Piano Concertos; Valses nobles et sentimentales
℗ 1998 Deutsche Grammophon GmbH, Berlin
Released on: 1998-01-01
Producer: Roger Wright
Producer: Dr. Marion Thiem
Producer, Recording Producer: Helmut Burk
Studio Personnel, Balance Engineer: Rainer Maillard
Studio Personnel, Recording Engineer: Klaus Behrens
Studio Personnel, Recording Engineer: Stephan Flock
Studio Personnel, Recording Engineer: Reinhard Lagemann
Editor: Jürgen Bulgrin
Composer: Maurice Ravel
Auto-generated by YouTube.
published: 30 Jul 2018
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Ravel : Concerto en sol (Martha Argerich / Orchestre national de France / Emmanuel Krivine)
Martha Argerich interprète le Concerto pour piano et orchestre en sol majeur de Maurice Ravel aux côtés de l’Orchestre National de France, dirigé par Emmanuel Krivine.
Enregistré le 5 octobre 2017 à l’Auditorium de la Maison de la Radio (Paris).
#MauriceRavel #argerich #OrchestreNationalDeFrance #piano
00:00 - Début du concert
01:11 - 1er mouvement : Allegramente
09:30 - 2ème mouvement : Adagio assai
18:46 - 3ème mouvement : Presto
25:37 - Encore 1: Kreisler - Schon Rosmarin
28:47 - Encore 2: Scarlatti - Sonata K141 in D minor
La composition du Concerto pour piano en sol majeur de Ravel est contemporaine de celle de son Concerto pour la main gauche, en 1929. Le premier est « solaire et turbulent », le second « sombre et désespéré », note le musicologue Nicolas Southon.
A la fois po...
published: 03 May 2018
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Maurice Ravel - Piano Concerto in G major (Orchestral Score)
- 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, an...
published: 16 Dec 2019
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Yuja Wang - Ravel G Major Piano Concerto plus encores
Yuja Wang plays Ravel's piano concerto in G minor with Orchestra dell'Accademia Nazionale di Santa Cecilia in Rome in June 2016. Lionel Bringuier conducting.
Encores: Carmen Variations (Horowitz), Melody (Guck/Sgambati)
published: 02 Jan 2017
23:40
Martha Argerich: Ravel - Piano Concerto in G Major | Nobel Prize Concert 2009
From the Stockholm Concert Hall,
The Nobel Prize Concert with the Crown Princess, Victoria
Martha Argerich - piano
The Royal Stockholm Philharmonic Orchestra
Y...
From the Stockholm Concert Hall,
The Nobel Prize Concert with the Crown Princess, Victoria
Martha Argerich - piano
The Royal Stockholm Philharmonic Orchestra
Yuri Temirkanov - conductor
Maurice Ravel - Piano Concerto in G Major
0:00 I. Allegramente
8:40 II. Adagio assai
18:44 III. Presto
Click here to watch the full Nobel Prize Concert: https://goo.gl/7thmTX
Click here to compare Martha Argerich's interpretation with David Fray's: https://youtu.be/cJOW5mlhH_Y
Subscribe to EuroArts: https://goo.gl/jrui3M
As part of the official Nobel Week, the world’s most renowned artists are gathering each year to pay tribute to the Nobel Laureates. The 2009 concert offered a special highlight in the series with Martha Argerich performing Ravel’s Piano Concerto in G Major by Maurice Ravel under Yuri Temirkanov, this time leading the Royal Stockholm Philharmonic Orchestra. Members of the Swedish Royal Family as well as guests of the Nobel Foundation are also attending the highly acclaimed event, which gathers internationally renowned artists and conductors each year.
https://wn.com/Martha_Argerich_Ravel_Piano_Concerto_In_G_Major_|_Nobel_Prize_Concert_2009
From the Stockholm Concert Hall,
The Nobel Prize Concert with the Crown Princess, Victoria
Martha Argerich - piano
The Royal Stockholm Philharmonic Orchestra
Yuri Temirkanov - conductor
Maurice Ravel - Piano Concerto in G Major
0:00 I. Allegramente
8:40 II. Adagio assai
18:44 III. Presto
Click here to watch the full Nobel Prize Concert: https://goo.gl/7thmTX
Click here to compare Martha Argerich's interpretation with David Fray's: https://youtu.be/cJOW5mlhH_Y
Subscribe to EuroArts: https://goo.gl/jrui3M
As part of the official Nobel Week, the world’s most renowned artists are gathering each year to pay tribute to the Nobel Laureates. The 2009 concert offered a special highlight in the series with Martha Argerich performing Ravel’s Piano Concerto in G Major by Maurice Ravel under Yuri Temirkanov, this time leading the Royal Stockholm Philharmonic Orchestra. Members of the Swedish Royal Family as well as guests of the Nobel Foundation are also attending the highly acclaimed event, which gathers internationally renowned artists and conductors each year.
- published: 30 Jun 2018
- views: 1399707
9:23
Ravel: Piano Concerto in G Major, M. 83 - II. Adagio assai
Provided to YouTube by Universal Music Group
Ravel: Piano Concerto in G Major, M. 83 - II. Adagio assai · Krystian Zimerman · The Cleveland Orchestra · Pierre ...
Provided to YouTube by Universal Music Group
Ravel: Piano Concerto in G Major, M. 83 - II. Adagio assai · Krystian Zimerman · The Cleveland Orchestra · Pierre Boulez · Maurice Ravel
Ravel: Piano Concertos; Valses nobles et sentimentales
℗ 1998 Deutsche Grammophon GmbH, Berlin
Released on: 1998-01-01
Producer: Roger Wright
Producer: Dr. Marion Thiem
Producer, Recording Producer: Helmut Burk
Studio Personnel, Balance Engineer: Rainer Maillard
Studio Personnel, Recording Engineer: Klaus Behrens
Studio Personnel, Recording Engineer: Stephan Flock
Studio Personnel, Recording Engineer: Reinhard Lagemann
Editor: Jürgen Bulgrin
Composer: Maurice Ravel
Auto-generated by YouTube.
https://wn.com/Ravel_Piano_Concerto_In_G_Major,_M._83_Ii._Adagio_Assai
Provided to YouTube by Universal Music Group
Ravel: Piano Concerto in G Major, M. 83 - II. Adagio assai · Krystian Zimerman · The Cleveland Orchestra · Pierre Boulez · Maurice Ravel
Ravel: Piano Concertos; Valses nobles et sentimentales
℗ 1998 Deutsche Grammophon GmbH, Berlin
Released on: 1998-01-01
Producer: Roger Wright
Producer: Dr. Marion Thiem
Producer, Recording Producer: Helmut Burk
Studio Personnel, Balance Engineer: Rainer Maillard
Studio Personnel, Recording Engineer: Klaus Behrens
Studio Personnel, Recording Engineer: Stephan Flock
Studio Personnel, Recording Engineer: Reinhard Lagemann
Editor: Jürgen Bulgrin
Composer: Maurice Ravel
Auto-generated by YouTube.
- published: 30 Jul 2018
- views: 585899
18:24
Maurice Ravel - Piano Concerto for the Left Hand
- Composer: Joseph-Maurice Ravel (7 March 1875 -- 28 December 1937)
- Orchestra: Orchestre de la Société des Concerts du Conservatoire
- Conductor: André Cluyte...
- Composer: Joseph-Maurice Ravel (7 March 1875 -- 28 December 1937)
- Orchestra: Orchestre de la Société des Concerts du Conservatoire
- Conductor: André Cluytens
- Soloist: Samson François
- Year of recording: 1959
Piano Concerto in D major (for the left hand), written in 1929-1931.
Between 1929 and 1931, Ravel, despite his failing health, worked feverishly, his imagination as powerful as ever. Among the works completed during this period are the two piano concertos: this extraordinary work and the scintillating Piano Concerto in G major [uploaded on this channel].
This concerto was commissioned by the prominent Austrian pianist Paul Wittgenstein, brother of the celebrated philosopher Ludwig Wittgenstein, who had lost his right arm due to a wound sustained in World War I. It is indeed a tragic irony that Ravel, who also served his country in World War I, and Wittgenstein were enemies in this terrible conflict. Nevertheless, Ravel, fascinated by the technical challenge of composing a concerto for the left hand, approached the project with immense interest and enthusiasm. In addition, Ravel admired Wittgenstein's determination to continue his career as a concert pianist. Piano works for the left hand were certainly not a novelty, as compositions by Scriabin, Alkan, Godowsky and Lyapunov attest, but Ravel wanted to create a unique work which would not merely demonstrate how a pianist can compensate for a physical handicap. He wished to compose a work which would stand out as a unique piano concerto. The outcome of Ravel's efforts is one of the great piano concertos of the twentieth century.
However, the Concerto, completed in October or November of 1931, failed to please Wittgenstein, who only gradually developed an appreciation for Ravel's work. Furthermore, when the Austrian pianist premiered the work in Vienna, in 1932, he took certain liberties with the score, to the composer's extreme consternation. Despite Ravel's frustration, he conducted the orchestra in Wittgenstein's Paris premiere of the Concerto in 1933. Because Wittgenstein had sole rights on the work for six years, Ravel had to wait until 1937 to hear a performance (by Jacques Février), which satisfied him.
The work, which is really in one movement, begins deep in the bass register, with the contrabassoon, along with the basses, presenting a subdued theme, which elicits a mournful response from the horns. The initial mournful mood is gradually, almost imperceptibly, transformed into an insistent, somewhat manic, musical idea. The piano enters with a simple statement, creating pentatonic resonances, which disappear, but remain in the background. As the initial somber atmosphere lifts, the piano gradually establishes a mood of exquisite lyricism, which pervades the middle section. Ravel's writing is so subtle and technically ingenious that the listener hears a gentle melody with a hypnotically diaphanous, but seemingly elaborate, accompaniment; it is easy to forget that one hand does all the playing. The energy behind the third section, in which the piano engages the orchestra, often mimicking particular instrumental sonorities, profoundly differs from the wave-like, fluid, ascending motion of the Concerto in G major; here, the energy is discontinuous, manifesting itself in obstinate, repetitive figurations and phrases which, if only for brief moments, conjure up the spirit of his Boléro. At the same time, Ravel devotes truly marvelous pages to the piano, particularly in the cadenza-like part of the final section, in which the left hand leads an engaging and richly developed melody into a glowing orchestral finale.
The piano concerto is dedicated: "à Paul Wittgenstein".
https://wn.com/Maurice_Ravel_Piano_Concerto_For_The_Left_Hand
- Composer: Joseph-Maurice Ravel (7 March 1875 -- 28 December 1937)
- Orchestra: Orchestre de la Société des Concerts du Conservatoire
- Conductor: André Cluytens
- Soloist: Samson François
- Year of recording: 1959
Piano Concerto in D major (for the left hand), written in 1929-1931.
Between 1929 and 1931, Ravel, despite his failing health, worked feverishly, his imagination as powerful as ever. Among the works completed during this period are the two piano concertos: this extraordinary work and the scintillating Piano Concerto in G major [uploaded on this channel].
This concerto was commissioned by the prominent Austrian pianist Paul Wittgenstein, brother of the celebrated philosopher Ludwig Wittgenstein, who had lost his right arm due to a wound sustained in World War I. It is indeed a tragic irony that Ravel, who also served his country in World War I, and Wittgenstein were enemies in this terrible conflict. Nevertheless, Ravel, fascinated by the technical challenge of composing a concerto for the left hand, approached the project with immense interest and enthusiasm. In addition, Ravel admired Wittgenstein's determination to continue his career as a concert pianist. Piano works for the left hand were certainly not a novelty, as compositions by Scriabin, Alkan, Godowsky and Lyapunov attest, but Ravel wanted to create a unique work which would not merely demonstrate how a pianist can compensate for a physical handicap. He wished to compose a work which would stand out as a unique piano concerto. The outcome of Ravel's efforts is one of the great piano concertos of the twentieth century.
However, the Concerto, completed in October or November of 1931, failed to please Wittgenstein, who only gradually developed an appreciation for Ravel's work. Furthermore, when the Austrian pianist premiered the work in Vienna, in 1932, he took certain liberties with the score, to the composer's extreme consternation. Despite Ravel's frustration, he conducted the orchestra in Wittgenstein's Paris premiere of the Concerto in 1933. Because Wittgenstein had sole rights on the work for six years, Ravel had to wait until 1937 to hear a performance (by Jacques Février), which satisfied him.
The work, which is really in one movement, begins deep in the bass register, with the contrabassoon, along with the basses, presenting a subdued theme, which elicits a mournful response from the horns. The initial mournful mood is gradually, almost imperceptibly, transformed into an insistent, somewhat manic, musical idea. The piano enters with a simple statement, creating pentatonic resonances, which disappear, but remain in the background. As the initial somber atmosphere lifts, the piano gradually establishes a mood of exquisite lyricism, which pervades the middle section. Ravel's writing is so subtle and technically ingenious that the listener hears a gentle melody with a hypnotically diaphanous, but seemingly elaborate, accompaniment; it is easy to forget that one hand does all the playing. The energy behind the third section, in which the piano engages the orchestra, often mimicking particular instrumental sonorities, profoundly differs from the wave-like, fluid, ascending motion of the Concerto in G major; here, the energy is discontinuous, manifesting itself in obstinate, repetitive figurations and phrases which, if only for brief moments, conjure up the spirit of his Boléro. At the same time, Ravel devotes truly marvelous pages to the piano, particularly in the cadenza-like part of the final section, in which the left hand leads an engaging and richly developed melody into a glowing orchestral finale.
The piano concerto is dedicated: "à Paul Wittgenstein".
- published: 04 Feb 2016
- views: 533931
20:50
Jean-Yves Thibaudet - Ravel - Piano Concerto in G major
Support us on Patreon and get more content: https://www.patreon.com/classicalvault
---
Maurice Ravel
Piano Concerto in G major
1 Allegramente
2 Adagio assa...
Support us on Patreon and get more content: https://www.patreon.com/classicalvault
---
Maurice Ravel
Piano Concerto in G major
1 Allegramente
2 Adagio assai
3 Presto
Jean-Yves Thibaudet, piano
Gustav Mahler Jugendorchester
Philippe Jordan. conductor
Live recording. London, Proms 2013
https://wn.com/Jean_Yves_Thibaudet_Ravel_Piano_Concerto_In_G_Major
Support us on Patreon and get more content: https://www.patreon.com/classicalvault
---
Maurice Ravel
Piano Concerto in G major
1 Allegramente
2 Adagio assai
3 Presto
Jean-Yves Thibaudet, piano
Gustav Mahler Jugendorchester
Philippe Jordan. conductor
Live recording. London, Proms 2013
- published: 04 Nov 2013
- views: 461897
25:05
Seong-Jin Cho: Ravel Piano Concerto in G major(with the BPO and Sir Simon Rattle, 2017)
Berliner Philharmoniker conducted by Sir Simon Rattle
November 4, 2017 Berliner Philharmonie
00:00 I. Allegrament
09:05 II. Adagio assai
18:25 III. Presto
Berliner Philharmoniker conducted by Sir Simon Rattle
November 4, 2017 Berliner Philharmonie
00:00 I. Allegrament
09:05 II. Adagio assai
18:25 III. Presto
https://wn.com/Seong_Jin_Cho_Ravel_Piano_Concerto_In_G_Major(With_The_Bpo_And_Sir_Simon_Rattle,_2017)
Berliner Philharmoniker conducted by Sir Simon Rattle
November 4, 2017 Berliner Philharmonie
00:00 I. Allegrament
09:05 II. Adagio assai
18:25 III. Presto
- published: 10 Oct 2021
- views: 169673
21:58
Maurice Ravel - Piano Concerto in G major
- Composer: Joseph-Maurice Ravel (7 March 1875 -- 28 December 1937)
- Orchestra: Philharmonia Orchestra
- Conductor: Ettore Gracis
- Soloist: Arturo Benedett...
- Composer: Joseph-Maurice Ravel (7 March 1875 -- 28 December 1937)
- Orchestra: Philharmonia Orchestra
- Conductor: Ettore Gracis
- Soloist: Arturo Benedetti Michelangeli
- Year of recording: 1957
Piano Concerto in G major, written in 1929-1931.
00:00 - I. Allegramente
08:37 - II. Adagio assai
18:02 - 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 (like his "Daphnis and Chloe", uploaded on this channel), 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 blue notes, 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.
The concerto is dedicated "à Marguerite Long".
https://wn.com/Maurice_Ravel_Piano_Concerto_In_G_Major
- Composer: Joseph-Maurice Ravel (7 March 1875 -- 28 December 1937)
- Orchestra: Philharmonia Orchestra
- Conductor: Ettore Gracis
- Soloist: Arturo Benedetti Michelangeli
- Year of recording: 1957
Piano Concerto in G major, written in 1929-1931.
00:00 - I. Allegramente
08:37 - II. Adagio assai
18:02 - 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 (like his "Daphnis and Chloe", uploaded on this channel), 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 blue notes, 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.
The concerto is dedicated "à Marguerite Long".
- published: 15 Nov 2015
- views: 755127
18:16
Ravel: Piano Concerto for the Left Hand in D Major, M. 82
Provided to YouTube by Universal Music Group
Ravel: Piano Concerto for the Left Hand in D Major, M. 82 · Krystian Zimerman · London Symphony Orchestra · Pierre...
Provided to YouTube by Universal Music Group
Ravel: Piano Concerto for the Left Hand in D Major, M. 82 · Krystian Zimerman · London Symphony Orchestra · Pierre Boulez · Maurice Ravel
Ravel: Piano Concertos; Valses nobles et sentimentales
℗ 1998 Deutsche Grammophon GmbH, Berlin
Released on: 1998-01-01
Producer: Roger Wright
Producer: Dr. Marion Thiem
Producer, Recording Producer: Helmut Burk
Studio Personnel, Balance Engineer: Rainer Maillard
Studio Personnel, Recording Engineer: Klaus Behrens
Studio Personnel, Recording Engineer: Stephan Flock
Studio Personnel, Recording Engineer: Reinhard Lagemann
Editor: Jürgen Bulgrin
Composer: Maurice Ravel
Auto-generated by YouTube.
https://wn.com/Ravel_Piano_Concerto_For_The_Left_Hand_In_D_Major,_M._82
Provided to YouTube by Universal Music Group
Ravel: Piano Concerto for the Left Hand in D Major, M. 82 · Krystian Zimerman · London Symphony Orchestra · Pierre Boulez · Maurice Ravel
Ravel: Piano Concertos; Valses nobles et sentimentales
℗ 1998 Deutsche Grammophon GmbH, Berlin
Released on: 1998-01-01
Producer: Roger Wright
Producer: Dr. Marion Thiem
Producer, Recording Producer: Helmut Burk
Studio Personnel, Balance Engineer: Rainer Maillard
Studio Personnel, Recording Engineer: Klaus Behrens
Studio Personnel, Recording Engineer: Stephan Flock
Studio Personnel, Recording Engineer: Reinhard Lagemann
Editor: Jürgen Bulgrin
Composer: Maurice Ravel
Auto-generated by YouTube.
- published: 30 Jul 2018
- views: 75128
32:54
Ravel : Concerto en sol (Martha Argerich / Orchestre national de France / Emmanuel Krivine)
Martha Argerich interprète le Concerto pour piano et orchestre en sol majeur de Maurice Ravel aux côtés de l’Orchestre National de France, dirigé par Emmanuel K...
Martha Argerich interprète le Concerto pour piano et orchestre en sol majeur de Maurice Ravel aux côtés de l’Orchestre National de France, dirigé par Emmanuel Krivine.
Enregistré le 5 octobre 2017 à l’Auditorium de la Maison de la Radio (Paris).
#MauriceRavel #argerich #OrchestreNationalDeFrance #piano
00:00 - Début du concert
01:11 - 1er mouvement : Allegramente
09:30 - 2ème mouvement : Adagio assai
18:46 - 3ème mouvement : Presto
25:37 - Encore 1: Kreisler - Schon Rosmarin
28:47 - Encore 2: Scarlatti - Sonata K141 in D minor
La composition du Concerto pour piano en sol majeur de Ravel est contemporaine de celle de son Concerto pour la main gauche, en 1929. Le premier est « solaire et turbulent », le second « sombre et désespéré », note le musicologue Nicolas Southon.
A la fois poétique, envolée et formelle, l’œuvre fait référence à deux maîtres du concerto pour piano. A travers son deuxième mouvement, Ravel s’inspire directement du Larghetto tiré du Quintette avec clarinette de Mozart, compositeur qui demeure sa principale référence en termes de forme. Il se nourrit aussi de la musique de Saint-Saëns, modèle de virtuosité et d’éclat pianistique, et de celle de Liszt, avec son Concerto pour piano n°1.
Classique par sa forme en trois mouvements (Allegramente, Adagio assai et Presto), l’œuvre n’en est pas moins extrêmement moderne par ses emprunts au jazz, en particulier dans les deux derniers mouvements. L’Adagio est « comme improvisé », il « fait usage de la blue note et rappelle le récent jazz symphonique de Gershwin. » Le Presto mêle quant à lui jazz et folklore dans une course effrénée entre le piano et l’orchestre.
10 choses que vous ne savez peut être pas sur Ravel:
https://www.francemusique.fr/musique-classique/10-petites-choses-que-vous-ne-savez-peut-etre-pas-sur-ravel-33496
Le concerto en sol par Fazil Say :
https://www.youtube.com/watch?v=J9O_JwYuhWo
Biographie de Maurice Ravel
https://www.francemusique.fr/personne/maurice-ravel?xtmc=maurice%20ravel&xtnp=1&xtcr=1
-----------------------
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https://wn.com/Ravel_Concerto_En_Sol_(Martha_Argerich_Orchestre_National_De_France_Emmanuel_Krivine)
Martha Argerich interprète le Concerto pour piano et orchestre en sol majeur de Maurice Ravel aux côtés de l’Orchestre National de France, dirigé par Emmanuel Krivine.
Enregistré le 5 octobre 2017 à l’Auditorium de la Maison de la Radio (Paris).
#MauriceRavel #argerich #OrchestreNationalDeFrance #piano
00:00 - Début du concert
01:11 - 1er mouvement : Allegramente
09:30 - 2ème mouvement : Adagio assai
18:46 - 3ème mouvement : Presto
25:37 - Encore 1: Kreisler - Schon Rosmarin
28:47 - Encore 2: Scarlatti - Sonata K141 in D minor
La composition du Concerto pour piano en sol majeur de Ravel est contemporaine de celle de son Concerto pour la main gauche, en 1929. Le premier est « solaire et turbulent », le second « sombre et désespéré », note le musicologue Nicolas Southon.
A la fois poétique, envolée et formelle, l’œuvre fait référence à deux maîtres du concerto pour piano. A travers son deuxième mouvement, Ravel s’inspire directement du Larghetto tiré du Quintette avec clarinette de Mozart, compositeur qui demeure sa principale référence en termes de forme. Il se nourrit aussi de la musique de Saint-Saëns, modèle de virtuosité et d’éclat pianistique, et de celle de Liszt, avec son Concerto pour piano n°1.
Classique par sa forme en trois mouvements (Allegramente, Adagio assai et Presto), l’œuvre n’en est pas moins extrêmement moderne par ses emprunts au jazz, en particulier dans les deux derniers mouvements. L’Adagio est « comme improvisé », il « fait usage de la blue note et rappelle le récent jazz symphonique de Gershwin. » Le Presto mêle quant à lui jazz et folklore dans une course effrénée entre le piano et l’orchestre.
10 choses que vous ne savez peut être pas sur Ravel:
https://www.francemusique.fr/musique-classique/10-petites-choses-que-vous-ne-savez-peut-etre-pas-sur-ravel-33496
Le concerto en sol par Fazil Say :
https://www.youtube.com/watch?v=J9O_JwYuhWo
Biographie de Maurice Ravel
https://www.francemusique.fr/personne/maurice-ravel?xtmc=maurice%20ravel&xtnp=1&xtcr=1
-----------------------
⭐ NOUVEAU ⭐ comprendre et explorer la musique avec la nouvelle chaîne YouTube de France Musique : https://www.youtube.com/@francemusique
🔔 Pensez à vous abonner pour découvrir d’autres vidéos France Musique !
https://www.youtube.com/channel/UCiPYZkZeNbYTQZKNMlB0Gsw?sub_confirmation=1
Découvrez tout France Musique :
► Site internet - https://www.radiofrance.fr/francemusique
► Espace Concerts - https://www.radiofrance.fr/concerts
► Newsletters - https://www.radiofrance.fr/francemusique/newsletters
Suivez-nous sur les réseaux sociaux :
► Facebook - https://facebook.com/FranceMusique
► Twitter - https://twitter.com/francemusique?lang=fr
► Instagram - https://www.instagram.com/francemusique/?hl=fr
► TikTok - https://www.tiktok.com/@francemusique?lang=fr
- published: 03 May 2018
- views: 662295
22:28
Maurice Ravel - Piano Concerto in G major (Orchestral Score)
- Composer: Joseph-Maurice Ravel (7 March 1875 -- 28 December 1937)
- Orchestra: London Symphony Orchestra
- Conductor: Pierre Boulez
- Soloist: Krystian Zim...
- 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.
---
ラヴェル ピアノ協奏曲 ト長調
https://wn.com/Maurice_Ravel_Piano_Concerto_In_G_Major_(Orchestral_Score)
- 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.
---
ラヴェル ピアノ協奏曲 ト長調
- published: 16 Dec 2019
- views: 68767
29:17
Yuja Wang - Ravel G Major Piano Concerto plus encores
Yuja Wang plays Ravel's piano concerto in G minor with Orchestra dell'Accademia Nazionale di Santa Cecilia in Rome in June 2016. Lionel Bringuier conducting.
E...
Yuja Wang plays Ravel's piano concerto in G minor with Orchestra dell'Accademia Nazionale di Santa Cecilia in Rome in June 2016. Lionel Bringuier conducting.
Encores: Carmen Variations (Horowitz), Melody (Guck/Sgambati)
https://wn.com/Yuja_Wang_Ravel_G_Major_Piano_Concerto_Plus_Encores
Yuja Wang plays Ravel's piano concerto in G minor with Orchestra dell'Accademia Nazionale di Santa Cecilia in Rome in June 2016. Lionel Bringuier conducting.
Encores: Carmen Variations (Horowitz), Melody (Guck/Sgambati)
- published: 02 Jan 2017
- views: 327925