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Ravel completely reworked his idea of Wien into what became La valse, which was to have been written under commission from Serge Diaghilev as a ballet. However, he never produced the ballet. [6] After hearing a two-piano reduction performed by Ravel and Marcelle Meyer, Diaghilev said it was a "masterpiece" but rejected Ravel's work as "not a ...
His version was finished 10 years later, without much of the French influence he saw in Ravel's. Stokowski omits two movements, "Tuileries" and "Limoges", because he felt they showed too much French influence and had a suspicion they might have been composed by Nikolai Rimsky-Korsakov , whose 1886 edition was the first published version of ...
Pictures at an Exhibition [a] is a piano suite in ten movements, plus a recurring and varied Promenade theme, written in 1874 by Russian composer Modest Mussorgsky.It is a musical depiction of a tour of an exhibition of works by architect and painter Viktor Hartmann put on at the Imperial Academy of Arts in Saint Petersburg, following his sudden death in the previous year.
Orchestra 1907 A15: Nikolai Rimsky-Korsakov: Antar: Orchestra 1909 Incidental music to a 5-act play by Chékry-Ganem; partial reorchestration of most of the symphonic poem Antar Op. 9, the movements reordered and interspersed with reorchestrated fragments of the same work, a fragment of the opera Mlada, orchestrated fragments of songs from the Romances Op. 4 and Op. 7, and an extract from ...
Ravel made orchestral versions of piano works by Schumann, Chabrier, Debussy and Mussorgsky's piano suite Pictures at an Exhibition. Orchestral versions of the last by Mikhail Tushmalov , Sir Henry Wood and Leo Funtek predated Ravel's 1922 version, and many more have been made since, but Ravel's remains the best known. [ 216 ]
The house in Lyons-la-Forêt where Ravel composed Le Tombeau de Couperin. In 1919 Ravel orchestrated four movements of the work (Prélude, Forlane, Menuet and Rigaudon); [6] this version was premiered in February 1920 by Rhené-Baton and the Pasdeloup Orchestra, and has remained one of his more popular works.
The content used in à r. is formed by two different types of textures: on the one hand, random walks and, on the other hand, simultaneities. Simultaneities can be described as Xenakis's adaptation of the concept of a sound mass as a complex chord, which therefore creates a vertical block of timbral color.
The Ravel scholar Roger Nichols considers the cycle "an important step in Ravel's evolution, as significant of those of Jeux d'eau and Miroirs". [10] Johnson also quotes Vuillermoz 's recollections of Ravel's own vocal mannerism of letting his voice fall a fourth or fifth at the end of a phrase – which occurs in many places in both Histoires ...