Maurice Ravel все тексты (слова) песен, переводы, видео, клипы

«Болеро» приобрело особую популярность из-за «гипнотического воздействия неизменной множество раз повторяющейся ритмической фигуры, на фоне которой две темы также проводятся много раз, демонстрируя необычайный рост эмоционального напряжения и вводя в звучание всё новые и новые инструменты»

Вначале играют две флейты, затем кларнет, далее фагот, малый кларнет, альтовый гобой, и только во второй половине произведения появляется медный инструмент – засурдиненная труба. Саксофоны – саксофон-тенор, саксофон-сопранино, саксофон-сопрано, вслед за ними тромбоны... Только на четвертый раз, при четвертом полном проведении темы появляются струнные. В общей сложности это двенадцатое проведение темы. Далее – тутти. Ритм поддерживают медь и ударные. Мелодическую тему ведут струнные инструменты.
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Две флейты, флейта-пикколо, два гобоя, гобой д’амур, английский рожок, два кларнета (в строе B-flat), два кларнета (в строе E-flat), бас-кларнет, два фагота, контрафагот, четыре рожка, труба-пикколо (in D), три труба, три тромбона, туба, два саксофона (один сопрано, а второй тенор);

Литавры, два малых барабана, турецкий барабан, тарелки, гонг, челеста, арфа;

Что это шевелится возле виселицы?
«Фауст»

Что же такое мне слышится? То ли ветер воет в ночи, то ли на виселице стонет повешенный?

То ли кузнечик стрекочет, притаившись во мху и в бесплодном плюще, которым из жалости к нему обулся лес?

То ли муха, вылетевшая за добычей, трубит в охотничий рожок, кружась у самых ушей висельника, навеки глухих к улюлюканью?

1901

During the first few years of the twentieth century Maurice Ravel's position as a student at the Paris Conservatoire was by no means a particularly comfortable one. His repeated failure to secure any of the school's academic prizes -- including, on five different occasions, the coveted Prix de Rome -- made it more and more difficult to remain an official student in Fauré's class, and he was eventually dismissed from the school in 1903. During these same years, however, Ravel completed several of his best-known works -- works that were, even at that time, widely considered to be masterpieces. The String Quartet (1902-1903) remains a repertory staple, as does the song cycle Shéhérazade (1903); in terms of sheer impact and immediate musical influence, though, perhaps the most striking work of all is the piano piece Jeux d'eau (1901).
Jeux d'eau, which translates as "Play of Water" or "Fountains," draws heavily on the technically brilliant pianistic style of Franz Liszt, one of Ravel's heroes; indeed, many think that Ravel's work is something of an homage to Liszt's similarly scintillating Les jeux d'eau à la Villa d'Este (1870). Still, Jeux d'eau is something almost totally new, incorporating a kind of pianism unlike any that had ever been dreamed of. With this work Ravel opened the gates for both his own later piano pieces (particularly Miroirs and Gaspard de la nuit) and those of other Parisian composers of the day. Debussy was particularly quick to capitalize on the innovations of his young colleague; during the first few years of the decade, as the two composers mutually influenced each other, there was in fact some confusion as to who, in fact, was the real creator of the new style.
Jeux d'eau is thoroughly saturated with the rich sonorities of major seventh chords -- a feature found even in Ravel's earliest music, here taken to a new level. Added to this is the nearly bitonal juxtaposition of two harmonies (C major and F sharp major -- a tritone removed!), which have been collectively dubbed the "Jeu d'eau chord." The ebb and flow of harmonic color is as near to a liquid state as music could ever achieve.
The atmosphere of great exuberance reflected in the quotation at the front of the score ("The river god laughs as the water tickles him"), combined with the continuous arpeggiations and chromatic flourishes, is positively electric in effect. The glistening texture never lets up, and with the approach of the final, pianissimo expanse in E major Ravel allows the pianist an opportunity to let loose with a dramatic, très rapide cadenza.
The kind of shimmering pianissimo textures that characterize so much of the composer's later music are already well developed in this work; his reluctance to rely on the same mock-archaic, highly sectional formal designs that hold his earlier piano pieces together indicates a growing appreciation of his own ability to successfully produce extended, self-defined textural essays. While there are clearly two recognizable themes in Jeux d'eau, they are by no means worked out in the Classical manner; to describe the piece as a sonata-allegro form, as indeed some have done, is out of the question. Even if the vague outlines of such a form can be excavated by musical archaeologists, the term has little meaning in regard to this most original of Ravel's keyboard works.

1903-1905

Ravel began composing what later became known as his Sonatine when the Anglo-French magazine Weekly Critical Review conducted a competition for the first movement of a piano sonata. He was at an advantage with a unique style that gave him the ability to take the traditional sonata form, which had come to a "dead end" during the second half of the nineteenth century, and bring life to it by avoiding pitfalls and clichés. When the magazine went bankrupt, Ravel added two more movements to his competition piece, and thus completed his Sonatine. Representative of his first formative period, the work is bright and clear, and only gently touches the listener's emotions. Using fluidity, light coloring, and the intervals of the fourth and fifth as unifying features, the work is written using primarily the three middle octaves of the piano. Ravel was known for his tightly written pieces and Sonatine was no exception; it easily reminds one of the refined objets d'art of the eighteenth century. The opening Modéré-doux et espressif -- is written in strict sonata form, has a first theme around the tonality of F sharp minor, a second around D major and B minor, and a development section of intense excitement. The second movement -- Mouvement de menuet -- is an uncomplicated minuet in D flat, which flowers in its final measures. The work closes with virtuoso writing marked Animé. Moving nervously between 3/4 and 5/4, waves of music pour forward with a few horn calls in the left hand.
When on June 16, 1904, the first movement of the Sonatine was performed for its dedicatees Cipa and Ida Godebski (Ma Mère l'oye was dedicated to their children), it was very well received, and when the full work was given by Paule de Lestang on March 10, 1906, under the patronage of the Lyon Revue musicale, enthusiasm was so great that Durand put it into immediate publication.

Georges Cziffra