- published: 30 Jun 2018
- views: 1399707
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remove the playlistPiano Concerto (ravel)
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remove the playlistConcerto For Piano And Wind Instruments (stravinsky)
- remove the playlistPiano Concerto (ravel)
- remove the playlistConcerto For Piano And Wind Instruments (stravinsky)
Piano Concerto (Dvořák)
The Concerto for Piano and Orchestra in G minor, Op. 33, was the first of three concertos that Antonín Dvořák completed—it was followed by a violin concerto and then a cello concerto—and the piano concerto is probably the least known and least performed.
As the eminent music critic Harold C. Schonberg put it, Dvořák wrote "an attractive Piano Concerto in G minor with a rather ineffective piano part, a beautiful Violin Concerto in A minor, and a supreme Cello Concerto in B minor".
Background
Dvořák composed his piano concerto from late August through 14 September 1876. Its autograph version contains many corrections, erasures, cuts and additions, the bulk of which were made in the piano part. The work was premiered in Prague on 24 March 1878, with the orchestra of the Prague Provisional Theatre conducted by Adolf Čech with the pianist Karel Slavkovsky.
While working on the concerto, Dvořák himself realized that he had not created a virtuosic piece in which the piano does battle with the orchestra. Dvořák wrote: "I see I am unable to write a Concerto for a virtuoso; I must think of other things." What Dvořák composed instead was a symphonic concerto in which the piano plays a leading part in the orchestra, rather than opposed to it.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Piano_Concerto_(Dvořák)
Piano Concerto (Ravel)
Maurice Ravel's Piano Concerto in G major was composed between 1929 and 1931. The concerto is in three movements and is heavily influenced by jazz, which Ravel had encountered on a concert tour of the United States in 1928.
Background
The concerto was deeply infused with jazz idioms and harmonies, which, at the time, were highly popular in Paris as well as the United States, where Ravel was traveling on a piano tour. Ravel remarked that "The most captivating part of jazz is its rich and diverting rhythm. ...Jazz is a very rich and vital source of inspiration for modern composers and I am astonished that so few Americans are influenced by it." After his well-received tour, Ravel wanted to give the first public performance of this new work himself. However, health issues precluded this possibility, with his preparatory practice of Liszt's and Chopin's etudes leading to fatigue. He then planned a premiere for March 9, 1931, in Amsterdam, but these plans also were canceled due to his work on the Concerto for the Left Hand, his many public appearances, and his performances of his other works.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Piano_Concerto_(Ravel)
Concerto for Piano and Wind Instruments (Stravinsky)
The Concerto for Piano and Wind Instruments was written by Igor Stravinsky in Paris in 1923–24. This work was revised in 1950.
It was composed four years after the Symphonies of Wind Instruments, which he wrote upon his arrival in Paris after his stay in Switzerland. These two compositions are from Stravinsky's neoclassical period, and represent a departure from the composer's previous Russian style of The Rite of Spring.
This concerto numbers among many works for piano written about the same time to be played by the composer himself. This is also true of Capriccio for Piano and Orchestra (1929), his Sonata of 1924 and his Serenade in A (1925). He kept the performance rights to himself for a number of years, wanting the engagements for playing this work for himself, as well as urgently desiring to keep "incompetent or Romantic hands" from "interpreting" the piece before undiscriminating audiences.
Orchestration
The orchestra is scored for two flutes, piccolo, two oboes, cor anglais, two clarinets, two bassoons (second bassoon doubling contrabassoon), four horns, four trumpets, three trombones and tuba and accompanied by timpani, cymbals. Although combining winds and piano was unusual at the time, the form had been explored earlier in the twentieth century and would be explored later.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Concerto_for_Piano_and_Wind_Instruments_(Stravinsky)
Podcasts:
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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 -
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 -
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 -
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 -
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 -
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 -
Arturo Benedetti Michelangeli - Ravel Piano Concerto
Ravel: Concerto in Sol per pianoforte e orchestra Arturo Benedetti Michelangeli London Symphony Orchestra - Sergiu Celibidache 1982 sobriofestival.com
published: 21 May 2012 -
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 -
Ravel - Piano Concerto in G [Seong-Jin Cho]
Maurice Ravel M. 83, Piano Concerto in G major Performer : Seong-Jin Cho 00:00 I. Allegramente 06:00 Cadenza 06:56 I. Allegramente 08:37 II. Adagio assai 18:27 III. Presto Original Video : https://youtu.be/qJFLrGQMJZ4?si=AOcWWJi9aDABu8li
published: 14 Jun 2024 -
Martha Argerich: Ravel - Concerto for Piano and Orchestra (Orchestre National de France)
From Alte Oper Frankfurt, 1990 Pianist Martha Argerich and the Orchestre National de France under the baton of Charles Dutoit Are you a Martha Argerich fan? Don't miss this intimate documentary on Martha Argerich, recorded by her daughter Stéphanie Argerich on @Euroarts: https://youtu.be/WV2jPWyQOqE You may also find it with Spanish subtitles: https://youtu.be/22PvxFcMFxA Subscribe to wocomoMUSIC: https://goo.gl/ahZRzC Follow us on Facebook: http://www.facebook.com/wocomo Maurice Ravel - Concerto for Piano and Orchestra in G Major 0:00 Intro 0:44 I. Allegramente 9:00 II. Adagio assai 17:55 III. Presto © Licensed by Digital Classics Distribution
published: 29 Oct 2020
developed with YouTube
23:40
Martha Argerich: Ravel - Piano Concerto in G Major | Nobel Prize Concert 2009
- Order: Reorder
- Duration: 23:40
- Uploaded Date: 30 Jun 2018
- views: 1399707
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.
25:05
Seong-Jin Cho: Ravel Piano Concerto in G major(with the BPO and Sir Simon Rattle, 2017)
- Order: Reorder
- Duration: 25:05
- Uploaded Date: 10 Oct 2021
- views: 169673
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
- Order: Reorder
- Duration: 21:58
- Uploaded Date: 15 Nov 2015
- views: 755127
- 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
20:50
Jean-Yves Thibaudet - Ravel - Piano Concerto in G major
- Order: Reorder
- Duration: 20:50
- Uploaded Date: 04 Nov 2013
- views: 461897
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
29:17
Yuja Wang - Ravel G Major Piano Concerto plus encores
- Order: Reorder
- Duration: 29:17
- Uploaded Date: 02 Jan 2017
- views: 327925
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
9:23
Ravel: Piano Concerto in G Major, M. 83 - II. Adagio assai
- Order: Reorder
- Duration: 9:23
- Uploaded Date: 30 Jul 2018
- views: 585899
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
25:52
Arturo Benedetti Michelangeli - Ravel Piano Concerto
- Order: Reorder
- Duration: 25:52
- Uploaded Date: 21 May 2012
- views: 580264
Ravel: Concerto in Sol per pianoforte e orchestra
Arturo Benedetti Michelangeli
London Symphony Orchestra - Sergiu Celibidache
1982
sobriofestival.com
Ravel: Concerto in Sol per pianoforte e orchestra
Arturo Benedetti Michelangeli
London Symphony Orchestra - Sergiu Celibidache
1982
sobriofestival.com
https://wn.com/Arturo_Benedetti_Michelangeli_Ravel_Piano_Concerto
Ravel: Concerto in Sol per pianoforte e orchestra
Arturo Benedetti Michelangeli
London Symphony Orchestra - Sergiu Celibidache
1982
sobriofestival.com
- published: 21 May 2012
- views: 580264
32:54
Ravel : Concerto en sol (Martha Argerich / Orchestre national de France / Emmanuel Krivine)
- Order: Reorder
- Duration: 32:54
- Uploaded Date: 03 May 2018
- views: 662295
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 !
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Découvrez tout France Musique :
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- published: 03 May 2018
- views: 662295
22:27
Ravel - Piano Concerto in G [Seong-Jin Cho]
- Order: Reorder
- Duration: 22:27
- Uploaded Date: 14 Jun 2024
- views: 757
Maurice Ravel
M. 83, Piano Concerto in G major
Performer : Seong-Jin Cho
00:00 I. Allegramente
06:00 Cadenza
06:56 I. Allegramente
08:37 II. Adagio assai
18:27...
Maurice Ravel
M. 83, Piano Concerto in G major
Performer : Seong-Jin Cho
00:00 I. Allegramente
06:00 Cadenza
06:56 I. Allegramente
08:37 II. Adagio assai
18:27 III. Presto
Original Video : https://youtu.be/qJFLrGQMJZ4?si=AOcWWJi9aDABu8li
https://wn.com/Ravel_Piano_Concerto_In_G_Seong_Jin_Cho
Maurice Ravel
M. 83, Piano Concerto in G major
Performer : Seong-Jin Cho
00:00 I. Allegramente
06:00 Cadenza
06:56 I. Allegramente
08:37 II. Adagio assai
18:27 III. Presto
Original Video : https://youtu.be/qJFLrGQMJZ4?si=AOcWWJi9aDABu8li
- published: 14 Jun 2024
- views: 757
23:15
Martha Argerich: Ravel - Concerto for Piano and Orchestra (Orchestre National de France)
- Order: Reorder
- Duration: 23:15
- Uploaded Date: 29 Oct 2020
- views: 74141
From Alte Oper Frankfurt, 1990
Pianist Martha Argerich and the Orchestre National de France under the baton of Charles Dutoit
Are you a Martha Argerich fan? Don...
From Alte Oper Frankfurt, 1990
Pianist Martha Argerich and the Orchestre National de France under the baton of Charles Dutoit
Are you a Martha Argerich fan? Don't miss this intimate documentary on Martha Argerich, recorded by her daughter Stéphanie Argerich on @Euroarts: https://youtu.be/WV2jPWyQOqE
You may also find it with Spanish subtitles: https://youtu.be/22PvxFcMFxA
Subscribe to wocomoMUSIC: https://goo.gl/ahZRzC
Follow us on Facebook: http://www.facebook.com/wocomo
Maurice Ravel - Concerto for Piano and Orchestra in G Major
0:00 Intro
0:44 I. Allegramente
9:00 II. Adagio assai
17:55 III. Presto
© Licensed by Digital Classics Distribution
https://wn.com/Martha_Argerich_Ravel_Concerto_For_Piano_And_Orchestra_(Orchestre_National_De_France)
From Alte Oper Frankfurt, 1990
Pianist Martha Argerich and the Orchestre National de France under the baton of Charles Dutoit
Are you a Martha Argerich fan? Don't miss this intimate documentary on Martha Argerich, recorded by her daughter Stéphanie Argerich on @Euroarts: https://youtu.be/WV2jPWyQOqE
You may also find it with Spanish subtitles: https://youtu.be/22PvxFcMFxA
Subscribe to wocomoMUSIC: https://goo.gl/ahZRzC
Follow us on Facebook: http://www.facebook.com/wocomo
Maurice Ravel - Concerto for Piano and Orchestra in G Major
0:00 Intro
0:44 I. Allegramente
9:00 II. Adagio assai
17:55 III. Presto
© Licensed by Digital Classics Distribution
- published: 29 Oct 2020
- views: 74141
-
Igor Stravinsky - Piano Concerto [Concerto for piano and wind instruments] [With score]
Composer: Igor Fyodorovich Stravinsky (17 June 1882 -- 6 April 1971) Piano: Alexander Toradze Orchestra: Rotterdam Philharmonic Orchestra Conductor: Valery Gergiev Concerto for piano and wind instruments, written between 1923-1924 00:00 - I. Largo - Allegro - Più mosso - Maestoso 07:46 - II. Largo - Più mosso - Tempo primo 16:13 - III. Allegro - Agitato - Lento - Stringendo In the early 1920s, the recent war having wreaked havoc on his personal finances, Igor Stravinsky set about ensuring the future security of his family by exploring avenues of musical life more immediately lucrative. One result of this was a rich series of works featuring the pianoforte in a solo role, designed quite specifically with Stravinsky himself as the pianist. In 1921, he fashioned three extracts from the ba...
published: 08 Jan 2017 -
I. Stravinsky: Concerto for piano and windinstruments
Igor Stravinsky (1882 – 1971) Concerto for piano and windinstruments (1923/24) Musikfest Berlin Rundfunk-Sinfonieorchester Berlin Vladimir Jurowski, conductor Tamara Stefanovich, piano Berliner Philharmonie, Main Hall 4 Sept 2021
published: 27 Oct 2021 -
Stravinsky, Piano Concerto - Gergiev, Toradze, Rotterdam Philharmonic Orchestra
Valery Gergiev conducts the Rotterdam Philharmonic Orchestra: Stravinsky's Piano Concerto. Piano: Alexander Toradze
published: 14 May 2013 -
UMich Symphony Band - Igor Stravinsky - Concerto for Piano and Wind Instruments (1924, rev. 1950)
University of Michigan Symphony Band Igor Stravinsky Concerto for Piano and Wind Instruments (1924, revised 1950) Michael Haithcock, conductor Liz Ames, piano September 27, 2019 "ALMOST BAROQUE" Hill Auditorium University of Michigan Ann Arbor, MI recorded and filmed by Dave Schall and Cory Robinson (www.daveschallacoustic.com)
published: 05 Oct 2019 -
Stravinsky: Concerto for piano and wind instruments (1924) with full score
Performers: Philippe Entremont (piano), Robert Craft (conductor), Columbia Symphony Orchestra 0:00 Largo - Allegro - Maestoso 7:11 Largo 14:09 Allegro Programme notes by Steve Lacoste for the LA Phil: When Stravinsky moved from Switzerland to France in June of 1920, the composer could little foresee the tremendous changes that were to occur in both his personal and artistic lives. In February 1921 he met the artist Vera de Bosset (Mme. Serge Sudeikin), who was to become his companion for 50 years, the first 18 of which caused the composer to lead a double life with regards to his wife and family. In the artistic realm, Stravinsky, now a Russian exile as a result of the Bolshevik Revolution, found himself in a Paris dominated intellectually by the French neo-catholic movement known as neo...
published: 28 Jan 2024 -
Igor Stravinsky Concerto for Piano and Wind Instruments
Pianist Dror Biran CCM Wind Symphony Conductor Kevin Holzman
published: 06 Apr 2021 -
Stravinsky Concerto for Piano and Wind Instruments | Lahav's Keynotes
In Lahav's Keynotes, Chief Conductor Lahav Shani elaborates on pieces he performs. In this edition we hear more about Stravinsky's Concerto for Piano and Wind Instruments: "This piece is of a completely different style of anything we heard before by Stravinsky. It shows how much he has developed in his mind as composer."
published: 17 Sep 2020 -
Vazsonyi Plays Stravinsky Concerto for Piano and Wind Instruments
BBC Symphony Orchestra Bernhard Klee, conductor (1936) Balint Vazsonyi, piano (1936-2003) Igor Stravinsky (1882-1971) Concerto for Piano and Wind Instruments (1923-4, revised 1950) 1. Largo - Allegro - Piu mosso - Maestoso - Largo del principo 2. Largo - Piu mosso - Doppia valore - Tempo primo 3. Allegro - Agitato - Lento - Strigendo Digitally colored version of Zachery Veach's intaglio etching of Picasso's Stravinsky sketch. By Zachary Veach (labquest)
published: 15 Jan 2012 -
Stravinsky: Concerto for Piano and Wind Instruments | The Orchestra Now
The Orchestra Now (TŌN) performs Stravinsky's Concerto for Piano and Wind Instruments with conductor Leon Botstein and pianist Blair McMillen in a livestreamed, physically distanced concert from the Fisher Center at Bard on April 10, 2021. https://theorchestranow.org 0:11 Largo—Allegro (slow & dignified, then fast) 8:20 Largo (slow & dignified) 15:02 Allegro (fast) Igor Stravinsky Born: 6/18/1882 in Oranienbaum, Russia Died: 4/6/1971 at age 88 in New York City Written: 1923–24, at age 41; revised in 1950 Premiered: 5/22/1924 at the Paris Opéra; Serge Koussevitzky, conductor; Stravinsky, piano Concert notes by TŌN bass trombonist Jack E. Noble at https://www.theorchestranow.org/stravinskys-concerto-for-piano-and-wind-instruments.
published: 22 Jun 2021
developed with YouTube
21:14
Igor Stravinsky - Piano Concerto [Concerto for piano and wind instruments] [With score]
- Order: Reorder
- Duration: 21:14
- Uploaded Date: 08 Jan 2017
- views: 138057
Composer: Igor Fyodorovich Stravinsky (17 June 1882 -- 6 April 1971)
Piano: Alexander Toradze
Orchestra: Rotterdam Philharmonic Orchestra
Conductor: Valery Ger...
Composer: Igor Fyodorovich Stravinsky (17 June 1882 -- 6 April 1971)
Piano: Alexander Toradze
Orchestra: Rotterdam Philharmonic Orchestra
Conductor: Valery Gergiev
Concerto for piano and wind instruments, written between 1923-1924
00:00 - I. Largo - Allegro - Più mosso - Maestoso
07:46 - II. Largo - Più mosso - Tempo primo
16:13 - III. Allegro - Agitato - Lento - Stringendo
In the early 1920s, the recent war having wreaked havoc on his personal finances, Igor Stravinsky set about ensuring the future security of his family by exploring avenues of musical life more immediately lucrative. One result of this was a rich series of works featuring the pianoforte in a solo role, designed quite specifically with Stravinsky himself as the pianist. In 1921, he fashioned three extracts from the ballet Petrushka into the Trois Mouvements de Petrouchka for Arthur Rubinstein. Finding, however, that he could not successfully bring off so technically demanding a work, the composer made certain that all of his forthcoming pianoforte compositions lay well within the realm of his own technical capabilities. The Concerto for Piano and Winds was composed in 1923-1924 for performance at one of Koussevitzky's Paris Concerts. It is the first representative in a new line of works that would eventually reach into the last decade of his active life, though by the time of Movements in 1959, Stravinsky was no longer in a position to give the premiere himself. In addition, the concerto is the first large-scale concert work to put to use Stravinsky's "new" neo-Classical style. Since the premiere at the Paris Opera House on May 22, 1924, it has become one of his best-known and most dearly loved works.
Perhaps the most immediately striking aspect of the concerto, ignoring the strong affinities that the basic musical gestures have to those of the Baroque era, is the removal of the string section from the ensemble. Only the string basses remain, Stravinsky having decided that the same all-wind ensemble that he had already used in the Symphonies of Wind Instruments, the Octet, and, for all intents and purposes, the opera Mavra better complemented the timbre of the pianoforte.
The work is in three movements: 1) Largo - Allegro; 2) Larghissimo; and 3) Allegro. After the mock-grandiose, fundamentally Baroque Largo orchestral introduction, the piano enters with a rhythmically energized theme from which almost all the material of the movement is drawn in one way or another. Following the precedent set in his last few piano works, the piano is used in a very percussive manner. After a very long absence, sonata form, or something very like it, has returned to Stravinsky's bag of tricks in this movement. The Largo introduction comes back, much modified, as a coda. The piano begins the second movement alone, offering a lyric theme whose gentle steadiness is balanced by thick, ponderous chords beneath. Stravinsky makes room for two cadenzas as the movement unfolds. At the end of the final Allegro movement, the Largo introduction to the first movement is heard from again, only to this time fade away into a pause that suddenly bursts into the Vivo plunge to the final C major cadence. In 1950, Stravinsky made a revision of the concerto, making a few small changes of instrumentation and many more substantial alterations to the metronome and tempo markings; in the 1950 version, the title of the second movement has been changed from Larghissimo to Largo.
[allmusic.com]
Original Video: https://youtu.be/QS7d8fI9hPw
https://wn.com/Igor_Stravinsky_Piano_Concerto_Concerto_For_Piano_And_Wind_Instruments_With_Score
Composer: Igor Fyodorovich Stravinsky (17 June 1882 -- 6 April 1971)
Piano: Alexander Toradze
Orchestra: Rotterdam Philharmonic Orchestra
Conductor: Valery Gergiev
Concerto for piano and wind instruments, written between 1923-1924
00:00 - I. Largo - Allegro - Più mosso - Maestoso
07:46 - II. Largo - Più mosso - Tempo primo
16:13 - III. Allegro - Agitato - Lento - Stringendo
In the early 1920s, the recent war having wreaked havoc on his personal finances, Igor Stravinsky set about ensuring the future security of his family by exploring avenues of musical life more immediately lucrative. One result of this was a rich series of works featuring the pianoforte in a solo role, designed quite specifically with Stravinsky himself as the pianist. In 1921, he fashioned three extracts from the ballet Petrushka into the Trois Mouvements de Petrouchka for Arthur Rubinstein. Finding, however, that he could not successfully bring off so technically demanding a work, the composer made certain that all of his forthcoming pianoforte compositions lay well within the realm of his own technical capabilities. The Concerto for Piano and Winds was composed in 1923-1924 for performance at one of Koussevitzky's Paris Concerts. It is the first representative in a new line of works that would eventually reach into the last decade of his active life, though by the time of Movements in 1959, Stravinsky was no longer in a position to give the premiere himself. In addition, the concerto is the first large-scale concert work to put to use Stravinsky's "new" neo-Classical style. Since the premiere at the Paris Opera House on May 22, 1924, it has become one of his best-known and most dearly loved works.
Perhaps the most immediately striking aspect of the concerto, ignoring the strong affinities that the basic musical gestures have to those of the Baroque era, is the removal of the string section from the ensemble. Only the string basses remain, Stravinsky having decided that the same all-wind ensemble that he had already used in the Symphonies of Wind Instruments, the Octet, and, for all intents and purposes, the opera Mavra better complemented the timbre of the pianoforte.
The work is in three movements: 1) Largo - Allegro; 2) Larghissimo; and 3) Allegro. After the mock-grandiose, fundamentally Baroque Largo orchestral introduction, the piano enters with a rhythmically energized theme from which almost all the material of the movement is drawn in one way or another. Following the precedent set in his last few piano works, the piano is used in a very percussive manner. After a very long absence, sonata form, or something very like it, has returned to Stravinsky's bag of tricks in this movement. The Largo introduction comes back, much modified, as a coda. The piano begins the second movement alone, offering a lyric theme whose gentle steadiness is balanced by thick, ponderous chords beneath. Stravinsky makes room for two cadenzas as the movement unfolds. At the end of the final Allegro movement, the Largo introduction to the first movement is heard from again, only to this time fade away into a pause that suddenly bursts into the Vivo plunge to the final C major cadence. In 1950, Stravinsky made a revision of the concerto, making a few small changes of instrumentation and many more substantial alterations to the metronome and tempo markings; in the 1950 version, the title of the second movement has been changed from Larghissimo to Largo.
[allmusic.com]
Original Video: https://youtu.be/QS7d8fI9hPw
- published: 08 Jan 2017
- views: 138057
23:38
I. Stravinsky: Concerto for piano and windinstruments
- Order: Reorder
- Duration: 23:38
- Uploaded Date: 27 Oct 2021
- views: 14449
Igor Stravinsky (1882 – 1971)
Concerto for piano and windinstruments (1923/24)
Musikfest Berlin
Rundfunk-Sinfonieorchester Berlin
Vladimir Jurowski, conductor
...
Igor Stravinsky (1882 – 1971)
Concerto for piano and windinstruments (1923/24)
Musikfest Berlin
Rundfunk-Sinfonieorchester Berlin
Vladimir Jurowski, conductor
Tamara Stefanovich, piano
Berliner Philharmonie, Main Hall
4 Sept 2021
https://wn.com/I._Stravinsky_Concerto_For_Piano_And_Windinstruments
Igor Stravinsky (1882 – 1971)
Concerto for piano and windinstruments (1923/24)
Musikfest Berlin
Rundfunk-Sinfonieorchester Berlin
Vladimir Jurowski, conductor
Tamara Stefanovich, piano
Berliner Philharmonie, Main Hall
4 Sept 2021
- published: 27 Oct 2021
- views: 14449
22:24
Stravinsky, Piano Concerto - Gergiev, Toradze, Rotterdam Philharmonic Orchestra
- Order: Reorder
- Duration: 22:24
- Uploaded Date: 14 May 2013
- views: 101448
Valery Gergiev conducts the Rotterdam Philharmonic Orchestra: Stravinsky's Piano Concerto.
Piano: Alexander Toradze
Valery Gergiev conducts the Rotterdam Philharmonic Orchestra: Stravinsky's Piano Concerto.
Piano: Alexander Toradze
https://wn.com/Stravinsky,_Piano_Concerto_Gergiev,_Toradze,_Rotterdam_Philharmonic_Orchestra
Valery Gergiev conducts the Rotterdam Philharmonic Orchestra: Stravinsky's Piano Concerto.
Piano: Alexander Toradze
- published: 14 May 2013
- views: 101448
21:27
UMich Symphony Band - Igor Stravinsky - Concerto for Piano and Wind Instruments (1924, rev. 1950)
- Order: Reorder
- Duration: 21:27
- Uploaded Date: 05 Oct 2019
- views: 7579
University of Michigan Symphony Band
Igor Stravinsky
Concerto for Piano and Wind Instruments (1924, revised 1950)
Michael Haithcock, conductor
Liz Ames, piano...
University of Michigan Symphony Band
Igor Stravinsky
Concerto for Piano and Wind Instruments (1924, revised 1950)
Michael Haithcock, conductor
Liz Ames, piano
September 27, 2019
"ALMOST BAROQUE"
Hill Auditorium
University of Michigan
Ann Arbor, MI
recorded and filmed by
Dave Schall and Cory Robinson
(www.daveschallacoustic.com)
https://wn.com/Umich_Symphony_Band_Igor_Stravinsky_Concerto_For_Piano_And_Wind_Instruments_(1924,_Rev._1950)
University of Michigan Symphony Band
Igor Stravinsky
Concerto for Piano and Wind Instruments (1924, revised 1950)
Michael Haithcock, conductor
Liz Ames, piano
September 27, 2019
"ALMOST BAROQUE"
Hill Auditorium
University of Michigan
Ann Arbor, MI
recorded and filmed by
Dave Schall and Cory Robinson
(www.daveschallacoustic.com)
- published: 05 Oct 2019
- views: 7579
19:11
Stravinsky: Concerto for piano and wind instruments (1924) with full score
- Order: Reorder
- Duration: 19:11
- Uploaded Date: 28 Jan 2024
- views: 760
Performers: Philippe Entremont (piano), Robert Craft (conductor), Columbia Symphony Orchestra
0:00 Largo - Allegro - Maestoso
7:11 Largo
14:09 Allegro
Program...
Performers: Philippe Entremont (piano), Robert Craft (conductor), Columbia Symphony Orchestra
0:00 Largo - Allegro - Maestoso
7:11 Largo
14:09 Allegro
Programme notes by Steve Lacoste for the LA Phil:
When Stravinsky moved from Switzerland to France in June of 1920, the composer could little foresee the tremendous changes that were to occur in both his personal and artistic lives. In February 1921 he met the artist Vera de Bosset (Mme. Serge Sudeikin), who was to become his companion for 50 years, the first 18 of which caused the composer to lead a double life with regards to his wife and family. In the artistic realm, Stravinsky, now a Russian exile as a result of the Bolshevik Revolution, found himself in a Paris dominated intellectually by the French neo-catholic movement known as neo-Thomism, based upon the tenets of medieval scholasticism stemming from the writings of Thomas Aquinas. Neo-Thomism emphasized the work of art as an artifact of order, form, discipline, and, above all, labor and craftsmanship in the service of something distinct from or transcendent of the emotions of the artist; in short, the universal. This “neoclassical” movement was a reaction to the perceived disorder, formlessness, and lack of discipline of an aesthetic that fostered an artist’s individual expression of emotions spiraling out of control; in a word, Romanticism.
Upon entering this ripening intellectual environment and realizing that he was physically, artistically, and spiritually cut off from the Russian folk song that had permeated his work up to this point, Stravinsky chose to re-think his aesthetic position and began to formulate a philosophy of art. This change in his musical thinking took place during the brief two-month period between completion of his Symphonies for Wind Instruments (generally acknowledged as the last work of his “Russian” period) on November 30, 1920, and the fugato of the Octet for Wind Instruments on February 1, 1921.
This aesthetic shift is most notable with regards to Stravinsky’s appropriation of 18th-century forms as working models, and his new emphasis on both wind instruments and the piano to realize the clarity of absolute music free from associations outside of itself. In the words of Stravinsky scholar and biographer Stephen Walsh, “In all Stravinsky’s early neo-classical works the use of classical form is referential rather than organic, and is best interpreted, like his other ‘classical’ devices, as symbolic.” Regarding his use of wind instruments to best realize the sound of his new ideas, Stravinsky put it this way: “wind instruments seem to me more apt to render a certain rigidity of form I had in mind than other instruments… the difference of the volume of these instruments renders more evident the musical architecture.”
Stravinsky completed the Concerto for Piano and Wind Instruments on April 21, 1924. After hearing a private run-through in Paris, the conductor Ernest Ansermet related to a friend: “I’ve just heard Stravinsky’s Piano Concerto, admirably played by the composer. It’s a very important work… in the line of the Octet but in a more monumental style and à la Bach!” True to an 18th-century concerto, Stravinsky’s is made of three movements – fast with slow introduction, slow, fast – but that’s as close as it gets. In light of this statement, we will let no less an authority than Béla Bartók have the final word: “The opinion of some people that Stravinsky’s neoclassical style is based on Bach, Handel, and other composers of their time is a rather superficial one… he turns only to the material of that period, to the patterns of Bach, Handel… Stravinsky uses this material in his own way, arranging and transforming it according to his own individual spirit…. Had he tried also to transpose Bach’s or Handel’s spirit into his work, imitation and not creation would have been the result.”
https://wn.com/Stravinsky_Concerto_For_Piano_And_Wind_Instruments_(1924)_With_Full_Score
Performers: Philippe Entremont (piano), Robert Craft (conductor), Columbia Symphony Orchestra
0:00 Largo - Allegro - Maestoso
7:11 Largo
14:09 Allegro
Programme notes by Steve Lacoste for the LA Phil:
When Stravinsky moved from Switzerland to France in June of 1920, the composer could little foresee the tremendous changes that were to occur in both his personal and artistic lives. In February 1921 he met the artist Vera de Bosset (Mme. Serge Sudeikin), who was to become his companion for 50 years, the first 18 of which caused the composer to lead a double life with regards to his wife and family. In the artistic realm, Stravinsky, now a Russian exile as a result of the Bolshevik Revolution, found himself in a Paris dominated intellectually by the French neo-catholic movement known as neo-Thomism, based upon the tenets of medieval scholasticism stemming from the writings of Thomas Aquinas. Neo-Thomism emphasized the work of art as an artifact of order, form, discipline, and, above all, labor and craftsmanship in the service of something distinct from or transcendent of the emotions of the artist; in short, the universal. This “neoclassical” movement was a reaction to the perceived disorder, formlessness, and lack of discipline of an aesthetic that fostered an artist’s individual expression of emotions spiraling out of control; in a word, Romanticism.
Upon entering this ripening intellectual environment and realizing that he was physically, artistically, and spiritually cut off from the Russian folk song that had permeated his work up to this point, Stravinsky chose to re-think his aesthetic position and began to formulate a philosophy of art. This change in his musical thinking took place during the brief two-month period between completion of his Symphonies for Wind Instruments (generally acknowledged as the last work of his “Russian” period) on November 30, 1920, and the fugato of the Octet for Wind Instruments on February 1, 1921.
This aesthetic shift is most notable with regards to Stravinsky’s appropriation of 18th-century forms as working models, and his new emphasis on both wind instruments and the piano to realize the clarity of absolute music free from associations outside of itself. In the words of Stravinsky scholar and biographer Stephen Walsh, “In all Stravinsky’s early neo-classical works the use of classical form is referential rather than organic, and is best interpreted, like his other ‘classical’ devices, as symbolic.” Regarding his use of wind instruments to best realize the sound of his new ideas, Stravinsky put it this way: “wind instruments seem to me more apt to render a certain rigidity of form I had in mind than other instruments… the difference of the volume of these instruments renders more evident the musical architecture.”
Stravinsky completed the Concerto for Piano and Wind Instruments on April 21, 1924. After hearing a private run-through in Paris, the conductor Ernest Ansermet related to a friend: “I’ve just heard Stravinsky’s Piano Concerto, admirably played by the composer. It’s a very important work… in the line of the Octet but in a more monumental style and à la Bach!” True to an 18th-century concerto, Stravinsky’s is made of three movements – fast with slow introduction, slow, fast – but that’s as close as it gets. In light of this statement, we will let no less an authority than Béla Bartók have the final word: “The opinion of some people that Stravinsky’s neoclassical style is based on Bach, Handel, and other composers of their time is a rather superficial one… he turns only to the material of that period, to the patterns of Bach, Handel… Stravinsky uses this material in his own way, arranging and transforming it according to his own individual spirit…. Had he tried also to transpose Bach’s or Handel’s spirit into his work, imitation and not creation would have been the result.”
- published: 28 Jan 2024
- views: 760
21:31
Igor Stravinsky Concerto for Piano and Wind Instruments
- Order: Reorder
- Duration: 21:31
- Uploaded Date: 06 Apr 2021
- views: 3030
Pianist Dror Biran
CCM Wind Symphony
Conductor Kevin Holzman
Pianist Dror Biran
CCM Wind Symphony
Conductor Kevin Holzman
https://wn.com/Igor_Stravinsky_Concerto_For_Piano_And_Wind_Instruments
Pianist Dror Biran
CCM Wind Symphony
Conductor Kevin Holzman
- published: 06 Apr 2021
- views: 3030
7:23
Stravinsky Concerto for Piano and Wind Instruments | Lahav's Keynotes
- Order: Reorder
- Duration: 7:23
- Uploaded Date: 17 Sep 2020
- views: 1260
In Lahav's Keynotes, Chief Conductor Lahav Shani elaborates on pieces he performs. In this edition we hear more about Stravinsky's Concerto for Piano and Wind I...
In Lahav's Keynotes, Chief Conductor Lahav Shani elaborates on pieces he performs. In this edition we hear more about Stravinsky's Concerto for Piano and Wind Instruments: "This piece is of a completely different style of anything we heard before by Stravinsky. It shows how much he has developed in his mind as composer."
https://wn.com/Stravinsky_Concerto_For_Piano_And_Wind_Instruments_|_Lahav's_Keynotes
In Lahav's Keynotes, Chief Conductor Lahav Shani elaborates on pieces he performs. In this edition we hear more about Stravinsky's Concerto for Piano and Wind Instruments: "This piece is of a completely different style of anything we heard before by Stravinsky. It shows how much he has developed in his mind as composer."
- published: 17 Sep 2020
- views: 1260
21:37
Vazsonyi Plays Stravinsky Concerto for Piano and Wind Instruments
- Order: Reorder
- Duration: 21:37
- Uploaded Date: 15 Jan 2012
- views: 9171
BBC Symphony Orchestra
Bernhard Klee, conductor (1936)
Balint Vazsonyi, piano (1936-2003)
Igor Stravinsky (1882-1971)
Concerto for Piano and Wind Instrume...
BBC Symphony Orchestra
Bernhard Klee, conductor (1936)
Balint Vazsonyi, piano (1936-2003)
Igor Stravinsky (1882-1971)
Concerto for Piano and Wind Instruments (1923-4, revised 1950)
1. Largo - Allegro - Piu mosso - Maestoso - Largo del principo
2. Largo - Piu mosso - Doppia valore - Tempo primo
3. Allegro - Agitato - Lento - Strigendo
Digitally colored version of Zachery Veach's intaglio etching of Picasso's Stravinsky sketch.
By Zachary Veach (labquest)
https://wn.com/Vazsonyi_Plays_Stravinsky_Concerto_For_Piano_And_Wind_Instruments
BBC Symphony Orchestra
Bernhard Klee, conductor (1936)
Balint Vazsonyi, piano (1936-2003)
Igor Stravinsky (1882-1971)
Concerto for Piano and Wind Instruments (1923-4, revised 1950)
1. Largo - Allegro - Piu mosso - Maestoso - Largo del principo
2. Largo - Piu mosso - Doppia valore - Tempo primo
3. Allegro - Agitato - Lento - Strigendo
Digitally colored version of Zachery Veach's intaglio etching of Picasso's Stravinsky sketch.
By Zachary Veach (labquest)
- published: 15 Jan 2012
- views: 9171
20:28
Stravinsky: Concerto for Piano and Wind Instruments | The Orchestra Now
- Order: Reorder
- Duration: 20:28
- Uploaded Date: 22 Jun 2021
- views: 2906
The Orchestra Now (TŌN) performs Stravinsky's Concerto for Piano and Wind Instruments with conductor Leon Botstein and pianist Blair McMillen in a livestreamed,...
The Orchestra Now (TŌN) performs Stravinsky's Concerto for Piano and Wind Instruments with conductor Leon Botstein and pianist Blair McMillen in a livestreamed, physically distanced concert from the Fisher Center at Bard on April 10, 2021.
https://theorchestranow.org
0:11 Largo—Allegro (slow & dignified, then fast)
8:20 Largo (slow & dignified)
15:02 Allegro (fast)
Igor Stravinsky
Born: 6/18/1882 in Oranienbaum, Russia
Died: 4/6/1971 at age 88 in New York City
Written: 1923–24, at age 41; revised in 1950
Premiered: 5/22/1924 at the Paris Opéra; Serge Koussevitzky, conductor; Stravinsky, piano
Concert notes by TŌN bass trombonist Jack E. Noble at https://www.theorchestranow.org/stravinskys-concerto-for-piano-and-wind-instruments.
https://wn.com/Stravinsky_Concerto_For_Piano_And_Wind_Instruments_|_The_Orchestra_Now
The Orchestra Now (TŌN) performs Stravinsky's Concerto for Piano and Wind Instruments with conductor Leon Botstein and pianist Blair McMillen in a livestreamed, physically distanced concert from the Fisher Center at Bard on April 10, 2021.
https://theorchestranow.org
0:11 Largo—Allegro (slow & dignified, then fast)
8:20 Largo (slow & dignified)
15:02 Allegro (fast)
Igor Stravinsky
Born: 6/18/1882 in Oranienbaum, Russia
Died: 4/6/1971 at age 88 in New York City
Written: 1923–24, at age 41; revised in 1950
Premiered: 5/22/1924 at the Paris Opéra; Serge Koussevitzky, conductor; Stravinsky, piano
Concert notes by TŌN bass trombonist Jack E. Noble at https://www.theorchestranow.org/stravinskys-concerto-for-piano-and-wind-instruments.
- published: 22 Jun 2021
- views: 2906
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...
published: 30 Jun 2018
Martha Argerich: Ravel - Piano Concerto in G Major | Nobel Prize Concert 2009
Martha Argerich: Ravel - Piano Concerto in G Major | Nobel Prize Concert 2009
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- published: 30 Jun 2018
- views: 1399707
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.
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 Philharmon...
published: 10 Oct 2021
Seong-Jin Cho: Ravel Piano Concerto in G major(with the BPO and Sir Simon Rattle, 2017)
Seong-Jin Cho: Ravel Piano Concerto in G major(with the BPO and Sir Simon Rattle, 2017)
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- published: 10 Oct 2021
- views: 169673
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
21:58
Maurice Ravel - Piano Concerto in G major
- Composer: Joseph-Maurice Ravel (7 March 1875 -- 28 December 1937)
- Orchestra: Philharm...
published: 15 Nov 2015
Maurice Ravel - Piano Concerto in G major
Maurice Ravel - Piano Concerto in G major
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- published: 15 Nov 2015
- views: 755127
- 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".
20:50
Jean-Yves Thibaudet - Ravel - Piano Concerto in G major
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published: 04 Nov 2013
Jean-Yves Thibaudet - Ravel - Piano Concerto in G major
Jean-Yves Thibaudet - Ravel - Piano Concerto in G major
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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
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 ...
published: 02 Jan 2017
Yuja Wang - Ravel G Major Piano Concerto plus encores
Yuja Wang - Ravel G Major Piano Concerto plus encores
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- published: 02 Jan 2017
- views: 327925
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)
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...
published: 30 Jul 2018
Ravel: Piano Concerto in G Major, M. 83 - II. Adagio assai
Ravel: Piano Concerto in G Major, M. 83 - II. Adagio assai
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- published: 30 Jul 2018
- views: 585899
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.
25:52
Arturo Benedetti Michelangeli - Ravel Piano Concerto
Ravel: Concerto in Sol per pianoforte e orchestra
Arturo Benedetti Michelangeli
London Sym...
published: 21 May 2012
Arturo Benedetti Michelangeli - Ravel Piano Concerto
Arturo Benedetti Michelangeli - Ravel Piano Concerto
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- published: 21 May 2012
- views: 580264
Ravel: Concerto in Sol per pianoforte e orchestra
Arturo Benedetti Michelangeli
London Symphony Orchestra - Sergiu Celibidache
1982
sobriofestival.com
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 Ra...
published: 03 May 2018
Ravel : Concerto en sol (Martha Argerich / Orchestre national de France / Emmanuel Krivine)
Ravel : Concerto en sol (Martha Argerich / Orchestre national de France / Emmanuel Krivine)
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- published: 03 May 2018
- views: 662295
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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22:27
Ravel - Piano Concerto in G [Seong-Jin Cho]
Maurice Ravel
M. 83, Piano Concerto in G major
Performer : Seong-Jin Cho
00:00 I. Allegra...
published: 14 Jun 2024
Ravel - Piano Concerto in G [Seong-Jin Cho]
Ravel - Piano Concerto in G [Seong-Jin Cho]
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- published: 14 Jun 2024
- views: 757
Maurice Ravel
M. 83, Piano Concerto in G major
Performer : Seong-Jin Cho
00:00 I. Allegramente
06:00 Cadenza
06:56 I. Allegramente
08:37 II. Adagio assai
18:27 III. Presto
Original Video : https://youtu.be/qJFLrGQMJZ4?si=AOcWWJi9aDABu8li
23:15
Martha Argerich: Ravel - Concerto for Piano and Orchestra (Orchestre National de France)
From Alte Oper Frankfurt, 1990
Pianist Martha Argerich and the Orchestre National de Franc...
published: 29 Oct 2020
Martha Argerich: Ravel - Concerto for Piano and Orchestra (Orchestre National de France)
Martha Argerich: Ravel - Concerto for Piano and Orchestra (Orchestre National de France)
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- published: 29 Oct 2020
- views: 74141
From Alte Oper Frankfurt, 1990
Pianist Martha Argerich and the Orchestre National de France under the baton of Charles Dutoit
Are you a Martha Argerich fan? Don't miss this intimate documentary on Martha Argerich, recorded by her daughter Stéphanie Argerich on @Euroarts: https://youtu.be/WV2jPWyQOqE
You may also find it with Spanish subtitles: https://youtu.be/22PvxFcMFxA
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Maurice Ravel - Concerto for Piano and Orchestra in G Major
0:00 Intro
0:44 I. Allegramente
9:00 II. Adagio assai
17:55 III. Presto
© Licensed by Digital Classics Distribution
Piano Concerto (Dvořák)
The Concerto for Piano and Orchestra in G minor, Op. 33, was the first of three concertos that Antonín Dvořák completed—it was followed by a violin concerto and then a cello concerto—and the piano concerto is probably the least known and least performed.
As the eminent music critic Harold C. Schonberg put it, Dvořák wrote "an attractive Piano Concerto in G minor with a rather ineffective piano part, a beautiful Violin Concerto in A minor, and a supreme Cello Concerto in B minor".
Background
Dvořák composed his piano concerto from late August through 14 September 1876. Its autograph version contains many corrections, erasures, cuts and additions, the bulk of which were made in the piano part. The work was premiered in Prague on 24 March 1878, with the orchestra of the Prague Provisional Theatre conducted by Adolf Čech with the pianist Karel Slavkovsky.
While working on the concerto, Dvořák himself realized that he had not created a virtuosic piece in which the piano does battle with the orchestra. Dvořák wrote: "I see I am unable to write a Concerto for a virtuoso; I must think of other things." What Dvořák composed instead was a symphonic concerto in which the piano plays a leading part in the orchestra, rather than opposed to it.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Piano_Concerto_(Dvořák)
21:14
Igor Stravinsky - Piano Concerto [Concerto for piano and wind instruments] [With score]
Composer: Igor Fyodorovich Stravinsky (17 June 1882 -- 6 April 1971)
Piano: Alexander Tora...
published: 08 Jan 2017
Igor Stravinsky - Piano Concerto [Concerto for piano and wind instruments] [With score]
Igor Stravinsky - Piano Concerto [Concerto for piano and wind instruments] [With score]
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- published: 08 Jan 2017
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Composer: Igor Fyodorovich Stravinsky (17 June 1882 -- 6 April 1971)
Piano: Alexander Toradze
Orchestra: Rotterdam Philharmonic Orchestra
Conductor: Valery Gergiev
Concerto for piano and wind instruments, written between 1923-1924
00:00 - I. Largo - Allegro - Più mosso - Maestoso
07:46 - II. Largo - Più mosso - Tempo primo
16:13 - III. Allegro - Agitato - Lento - Stringendo
In the early 1920s, the recent war having wreaked havoc on his personal finances, Igor Stravinsky set about ensuring the future security of his family by exploring avenues of musical life more immediately lucrative. One result of this was a rich series of works featuring the pianoforte in a solo role, designed quite specifically with Stravinsky himself as the pianist. In 1921, he fashioned three extracts from the ballet Petrushka into the Trois Mouvements de Petrouchka for Arthur Rubinstein. Finding, however, that he could not successfully bring off so technically demanding a work, the composer made certain that all of his forthcoming pianoforte compositions lay well within the realm of his own technical capabilities. The Concerto for Piano and Winds was composed in 1923-1924 for performance at one of Koussevitzky's Paris Concerts. It is the first representative in a new line of works that would eventually reach into the last decade of his active life, though by the time of Movements in 1959, Stravinsky was no longer in a position to give the premiere himself. In addition, the concerto is the first large-scale concert work to put to use Stravinsky's "new" neo-Classical style. Since the premiere at the Paris Opera House on May 22, 1924, it has become one of his best-known and most dearly loved works.
Perhaps the most immediately striking aspect of the concerto, ignoring the strong affinities that the basic musical gestures have to those of the Baroque era, is the removal of the string section from the ensemble. Only the string basses remain, Stravinsky having decided that the same all-wind ensemble that he had already used in the Symphonies of Wind Instruments, the Octet, and, for all intents and purposes, the opera Mavra better complemented the timbre of the pianoforte.
The work is in three movements: 1) Largo - Allegro; 2) Larghissimo; and 3) Allegro. After the mock-grandiose, fundamentally Baroque Largo orchestral introduction, the piano enters with a rhythmically energized theme from which almost all the material of the movement is drawn in one way or another. Following the precedent set in his last few piano works, the piano is used in a very percussive manner. After a very long absence, sonata form, or something very like it, has returned to Stravinsky's bag of tricks in this movement. The Largo introduction comes back, much modified, as a coda. The piano begins the second movement alone, offering a lyric theme whose gentle steadiness is balanced by thick, ponderous chords beneath. Stravinsky makes room for two cadenzas as the movement unfolds. At the end of the final Allegro movement, the Largo introduction to the first movement is heard from again, only to this time fade away into a pause that suddenly bursts into the Vivo plunge to the final C major cadence. In 1950, Stravinsky made a revision of the concerto, making a few small changes of instrumentation and many more substantial alterations to the metronome and tempo markings; in the 1950 version, the title of the second movement has been changed from Larghissimo to Largo.
[allmusic.com]
Original Video: https://youtu.be/QS7d8fI9hPw
23:38
I. Stravinsky: Concerto for piano and windinstruments
Igor Stravinsky (1882 – 1971)
Concerto for piano and windinstruments (1923/24)
Musikfest ...
published: 27 Oct 2021
I. Stravinsky: Concerto for piano and windinstruments
I. Stravinsky: Concerto for piano and windinstruments
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Igor Stravinsky (1882 – 1971)
Concerto for piano and windinstruments (1923/24)
Musikfest Berlin
Rundfunk-Sinfonieorchester Berlin
Vladimir Jurowski, conductor
Tamara Stefanovich, piano
Berliner Philharmonie, Main Hall
4 Sept 2021
22:24
Stravinsky, Piano Concerto - Gergiev, Toradze, Rotterdam Philharmonic Orchestra
Valery Gergiev conducts the Rotterdam Philharmonic Orchestra: Stravinsky's Piano Concerto....
published: 14 May 2013
Stravinsky, Piano Concerto - Gergiev, Toradze, Rotterdam Philharmonic Orchestra
Stravinsky, Piano Concerto - Gergiev, Toradze, Rotterdam Philharmonic Orchestra
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- published: 14 May 2013
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Valery Gergiev conducts the Rotterdam Philharmonic Orchestra: Stravinsky's Piano Concerto.
Piano: Alexander Toradze
21:27
UMich Symphony Band - Igor Stravinsky - Concerto for Piano and Wind Instruments (1924, rev. 1950)
University of Michigan Symphony Band
Igor Stravinsky
Concerto for Piano and Wind Instrume...
published: 05 Oct 2019
UMich Symphony Band - Igor Stravinsky - Concerto for Piano and Wind Instruments (1924, rev. 1950)
UMich Symphony Band - Igor Stravinsky - Concerto for Piano and Wind Instruments (1924, rev. 1950)
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- published: 05 Oct 2019
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University of Michigan Symphony Band
Igor Stravinsky
Concerto for Piano and Wind Instruments (1924, revised 1950)
Michael Haithcock, conductor
Liz Ames, piano
September 27, 2019
"ALMOST BAROQUE"
Hill Auditorium
University of Michigan
Ann Arbor, MI
recorded and filmed by
Dave Schall and Cory Robinson
(www.daveschallacoustic.com)
19:11
Stravinsky: Concerto for piano and wind instruments (1924) with full score
Performers: Philippe Entremont (piano), Robert Craft (conductor), Columbia Symphony Orches...
published: 28 Jan 2024
Stravinsky: Concerto for piano and wind instruments (1924) with full score
Stravinsky: Concerto for piano and wind instruments (1924) with full score
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- published: 28 Jan 2024
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Performers: Philippe Entremont (piano), Robert Craft (conductor), Columbia Symphony Orchestra
0:00 Largo - Allegro - Maestoso
7:11 Largo
14:09 Allegro
Programme notes by Steve Lacoste for the LA Phil:
When Stravinsky moved from Switzerland to France in June of 1920, the composer could little foresee the tremendous changes that were to occur in both his personal and artistic lives. In February 1921 he met the artist Vera de Bosset (Mme. Serge Sudeikin), who was to become his companion for 50 years, the first 18 of which caused the composer to lead a double life with regards to his wife and family. In the artistic realm, Stravinsky, now a Russian exile as a result of the Bolshevik Revolution, found himself in a Paris dominated intellectually by the French neo-catholic movement known as neo-Thomism, based upon the tenets of medieval scholasticism stemming from the writings of Thomas Aquinas. Neo-Thomism emphasized the work of art as an artifact of order, form, discipline, and, above all, labor and craftsmanship in the service of something distinct from or transcendent of the emotions of the artist; in short, the universal. This “neoclassical” movement was a reaction to the perceived disorder, formlessness, and lack of discipline of an aesthetic that fostered an artist’s individual expression of emotions spiraling out of control; in a word, Romanticism.
Upon entering this ripening intellectual environment and realizing that he was physically, artistically, and spiritually cut off from the Russian folk song that had permeated his work up to this point, Stravinsky chose to re-think his aesthetic position and began to formulate a philosophy of art. This change in his musical thinking took place during the brief two-month period between completion of his Symphonies for Wind Instruments (generally acknowledged as the last work of his “Russian” period) on November 30, 1920, and the fugato of the Octet for Wind Instruments on February 1, 1921.
This aesthetic shift is most notable with regards to Stravinsky’s appropriation of 18th-century forms as working models, and his new emphasis on both wind instruments and the piano to realize the clarity of absolute music free from associations outside of itself. In the words of Stravinsky scholar and biographer Stephen Walsh, “In all Stravinsky’s early neo-classical works the use of classical form is referential rather than organic, and is best interpreted, like his other ‘classical’ devices, as symbolic.” Regarding his use of wind instruments to best realize the sound of his new ideas, Stravinsky put it this way: “wind instruments seem to me more apt to render a certain rigidity of form I had in mind than other instruments… the difference of the volume of these instruments renders more evident the musical architecture.”
Stravinsky completed the Concerto for Piano and Wind Instruments on April 21, 1924. After hearing a private run-through in Paris, the conductor Ernest Ansermet related to a friend: “I’ve just heard Stravinsky’s Piano Concerto, admirably played by the composer. It’s a very important work… in the line of the Octet but in a more monumental style and à la Bach!” True to an 18th-century concerto, Stravinsky’s is made of three movements – fast with slow introduction, slow, fast – but that’s as close as it gets. In light of this statement, we will let no less an authority than Béla Bartók have the final word: “The opinion of some people that Stravinsky’s neoclassical style is based on Bach, Handel, and other composers of their time is a rather superficial one… he turns only to the material of that period, to the patterns of Bach, Handel… Stravinsky uses this material in his own way, arranging and transforming it according to his own individual spirit…. Had he tried also to transpose Bach’s or Handel’s spirit into his work, imitation and not creation would have been the result.”
21:31
Igor Stravinsky Concerto for Piano and Wind Instruments
Pianist Dror Biran
CCM Wind Symphony
Conductor Kevin Holzman
published: 06 Apr 2021
Igor Stravinsky Concerto for Piano and Wind Instruments
Igor Stravinsky Concerto for Piano and Wind Instruments
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- published: 06 Apr 2021
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Pianist Dror Biran
CCM Wind Symphony
Conductor Kevin Holzman
7:23
Stravinsky Concerto for Piano and Wind Instruments | Lahav's Keynotes
In Lahav's Keynotes, Chief Conductor Lahav Shani elaborates on pieces he performs. In this...
published: 17 Sep 2020
Stravinsky Concerto for Piano and Wind Instruments | Lahav's Keynotes
Stravinsky Concerto for Piano and Wind Instruments | Lahav's Keynotes
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- published: 17 Sep 2020
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In Lahav's Keynotes, Chief Conductor Lahav Shani elaborates on pieces he performs. In this edition we hear more about Stravinsky's Concerto for Piano and Wind Instruments: "This piece is of a completely different style of anything we heard before by Stravinsky. It shows how much he has developed in his mind as composer."
21:37
Vazsonyi Plays Stravinsky Concerto for Piano and Wind Instruments
BBC Symphony Orchestra
Bernhard Klee, conductor (1936)
Balint Vazsonyi, piano (1936-2003...
published: 15 Jan 2012
Vazsonyi Plays Stravinsky Concerto for Piano and Wind Instruments
Vazsonyi Plays Stravinsky Concerto for Piano and Wind Instruments
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- published: 15 Jan 2012
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BBC Symphony Orchestra
Bernhard Klee, conductor (1936)
Balint Vazsonyi, piano (1936-2003)
Igor Stravinsky (1882-1971)
Concerto for Piano and Wind Instruments (1923-4, revised 1950)
1. Largo - Allegro - Piu mosso - Maestoso - Largo del principo
2. Largo - Piu mosso - Doppia valore - Tempo primo
3. Allegro - Agitato - Lento - Strigendo
Digitally colored version of Zachery Veach's intaglio etching of Picasso's Stravinsky sketch.
By Zachary Veach (labquest)
20:28
Stravinsky: Concerto for Piano and Wind Instruments | The Orchestra Now
The Orchestra Now (TŌN) performs Stravinsky's Concerto for Piano and Wind Instruments with...
published: 22 Jun 2021
Stravinsky: Concerto for Piano and Wind Instruments | The Orchestra Now
Stravinsky: Concerto for Piano and Wind Instruments | The Orchestra Now
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- published: 22 Jun 2021
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The Orchestra Now (TŌN) performs Stravinsky's Concerto for Piano and Wind Instruments with conductor Leon Botstein and pianist Blair McMillen in a livestreamed, physically distanced concert from the Fisher Center at Bard on April 10, 2021.
https://theorchestranow.org
0:11 Largo—Allegro (slow & dignified, then fast)
8:20 Largo (slow & dignified)
15:02 Allegro (fast)
Igor Stravinsky
Born: 6/18/1882 in Oranienbaum, Russia
Died: 4/6/1971 at age 88 in New York City
Written: 1923–24, at age 41; revised in 1950
Premiered: 5/22/1924 at the Paris Opéra; Serge Koussevitzky, conductor; Stravinsky, piano
Concert notes by TŌN bass trombonist Jack E. Noble at https://www.theorchestranow.org/stravinskys-concerto-for-piano-and-wind-instruments.
Igor Stravinsky - Piano Concerto [Concerto for pia...
I. Stravinsky: Concerto for piano and windinstrume...
Stravinsky, Piano Concerto - Gergiev, Toradze, Rot...
UMich Symphony Band - Igor Stravinsky - Concerto f...
Stravinsky: Concerto for piano and wind instrument...
Igor Stravinsky Concerto for Piano and Wind Instru...
Stravinsky Concerto for Piano and Wind Instruments...
Vazsonyi Plays Stravinsky Concerto for Piano and W...
Stravinsky: Concerto for Piano and Wind Instrument...
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