«Kaddisch» par Ravel dans les miroirs hermeneutiques. Un miroir sonore infini de l’hebraïque «alas»

"We are proposing to situate Maurice Ravel in a refined poetic aesthetic. Our desire is to offer an original philosophical and musicological perspective on Kaddisch, because, personally, this composition determines us to reflect on what is “beyond” Being. We note that there is a particular Hebraic stylistic continuity at the time, and in this sense we also remember Joseph Achron, on the distinguished Hebrew Melody, op. 33. More than that, Yehudi Menuhin devoted himself playing both the composition of Achron and this special composition by Maurice Ravel on the violin. Maurice Ravel composed a part for the liturgical ceremony entitled Kaddish, and critics claim that he did not introduce this song as a novelty, because the composition already existed in the Hebrew tradition. However, behind that, we try to defend Ravel by observing what are the aesthetic-compositional novelties introduced in this beautiful song. Being a mystical song of a man who mourns death but, at the same time, weeps on infinite love, Kaddisch still let us to find various interpretations, whether it is a liturgical text or sheet music. Advancing with the observations along this paper, in the final part of the paper, we made a comparison between Maurice Ravel and Leonard Bernstein’s perspective on Kaddisch. Keywords: “Kaddisch (Kaddish)”; Maurice Ravel; Leonard Bernstein; Alexander Veprik; Yehudi Menuhin; violin’s aesthetic; metaphysical sadness; sacredness; mournfulness; mourning; the Hebrew-ʻalasʼ; the Portuguese ʻalémʼ. "

Wewnątrztekstowe gry językowe w powieści "Rzeczy uprzyjemniające". Utopia Tamary Bołdak-Janowskiej

This article is devoted to language games in the Polish contemporary novel Pleasant things. Utopia by T. Bołdak-Janowska. The subject of the analysis are in-text games: narrative (themes and threads), graphic, sound, lexical and semantic (repetitions of themes and lexemes, antonyms, semantic neologisms) and word-formation (word-formation neologisms), as well as autocreation games of the narrator (knowledge / ignorance). The study indicates that in the analyzed novel language games play a significant role: they determine the multifaceted and attractive character of a work based on a world presented by the narrator's uninhibited imagination. Narrative games, exemplified by the theme of counting, indicate the complexity of human fate – the runner of history – and his entanglement in a number of interpersonal relationships, as well as the historical process itself, which is subject to constant changes, both locally and globally, independent of the will of the individual. Graphic games are based on modern language fashion, functioning especially in the environment of the youth. Sound games are based on the technique of threading referring to Bolero by Maurice Ravel. Lexical-semantic games, being a tool for describing added meanings, connotated according to a known (or – more often – created by the narrator) language, take the reader into a utopian world and at the same time – relatively perfect, i.e., dependent on the point of view of the speaker I-women.

A construção de diferentes imaginários pelo sonoro de Maurice Ravel e as imagens de Tom Scott: o caso particular da Suite Ma mère l’Oye.

Originally written as a five-movement piano duet, Ma mère l’Oye, composed by Maurice Ravel in 1910, it’s a musical Suite. Dedicated to the Godebski children, the piece was transcribed for solo piano by Jacques Charlot the same year as it was published (1910). Both piano versions bear the subtitle “cinq pièces enfantines” (five children’s pieces). Sleeping Beauty and Little Tom Thumb are based on the tales of Charles Perrault, while Little Ugly Girl and Empress of the Pagodas is inspired by a tale (The Green Serpent) by Madame d’Aulnoy. In 1911, Ravel orchestrated the work. This form is the most frequently heard today. Later the same year, 1911, he also expanded it into a ballet, separating the five initial pieces with four new interludes and adding two movements at the start, Prélude and first framework- Danse du rouet et scène. More recently, we have the animated proposal by Tom Scott.In our proposal, it is our intention to understand how the imaginary soundscape is up to date by the animation proposal by Tom Scott in order to elucidate his contents, but we also intent two understand how the musical work transforme the discourse of Tom Scott. Additionally, and because the musical piece has four versions, we want to analyze the differences between the original work for piano, the orchestral proposal, the little ballet and the last one – the animation by Tom Scott.

In Search of a Consolatory Past

This chapter investigates how interwar French musicians understood music making as an embodied memorial practice. Using archival sources such as soliders’ and musicians’ diaries and correspondence, concert programs, and journals like the Gazette des Classes du Conservatoire, this chapter demonstrates that Maurice Ravel, Marguerite Long, Nadia Boulanger, and Darius Milhaud were among the many French musicians who understood musical practices such as composing, listening, and performing as crucial sites for maintaining connections with lost loved ones. By situating these sources within the context of popular fin-de-siècle theories of corporeal memory posited by Henri Bergson and Marcel Proust, as well as spiritist and French Catholic memorial practices, this chapter shows how making music facilitated mourning by permitting musicians to recall corporeally the feeling of being in the presence of those they mourned.

Maurice Ravel : Le Tombeau De Couperin – Part II. The Reminiscence of Baroque Dance Forms

"According to Alfred Cortot, the suite Le tombeau de Couperin could be divided into two main units. The first part presented in the previous volume of this journal, analyses the structural arch of the suite: the first two and the last part, which uses specific compositional technics of the Baroque era. This second part presents the middle section of the suite, the reminiscence of baroque dance forms, through the three contrasting dances: Forlane, Rigaudon, and Menuet. The fusion between the elements of the French baroque keyboard music and the characteristics of the modern piano music transforms this suite into a real and unique masterpiece. By analyzing the Forlane, the Rigaudon, and the Menuet of the suite we can understand the view of twentieth-century artists on the music of the Baroque era. Keywords: Ravel, Suite, Baroque, Reminiscence, Baroque dance forms, Piano, Forlane, Rigaudon, Menuet"

Piano Concertos for the Left Hand by Ravel and Prokofiev: Two Answers to One Order

Пианист Пауль Витгенштейн, желая расширить и обновить свой концертный репертуар, внес в XX веке существенный вклад в фортепианную литературу для левой руки. В 1929–1930 годах он заказывает фортепианный концерт сначала Морису Равелю, а затем Сергею Прокофьеву. Это оказалось возможным благодаря наследству, полученному пианистом после смерти отца — сталелитейного магната Карла Витгенштейна. Если Равелю удалось, хоть и не полностью, удовлетворить потребности заказчика, то Прокофьеву было вовсе отказано в исполнении его музыки. Одной из главных причин неудачи Прокофьева можно считать творческий кризис конца зарубежного периода, когда композитор находился в поисках нового музыкального языка — «новой простоты». В статье прослеживается и сравнивается судьба этих произведений; устанавливаются причины сравнительной невостребованности концерта Прокофьева исполнителями; анализируется композиция, фортепианная фактура и техника, оркестровка. Освещены биографические факты из жизни Пауля Витгенштейна, а также непростые отношения между заказчиком и композиторами. In the twentieth century, the one-armed pianist Paul Wittgenstein made a significant contribution to piano literature for the left hand, which was due to his wish to broaden and update his concert repertoire. In 1929–1930 he ordered a left-handed piano concerto first to Maurice Ravel and then to Sergei Prokofiev. It was possible through the inheritance that Wittgenstein received after the death of his father, the steel magnate Karl Wittgenstein. While Ravel was able to meet the client’s needs, though not completely, Prokofiev was completely denied the performance of his music. One of the main reasons for Prokofiev’s failure might be the creative crisis of the end of the foreign period, when the composer was in search of a new musical language — “the new simplicity”. The article traces and compares the destiny of these piano concertos, specifying the reasons for the relative lack of demand for Prokofiev’s left-handed concerto on behalf of performers. The article also analyzes music, piano texture and technique, form, orchestration of the lefthanded concertos. Special attention is paid to biographical facts from Paul Wittgenstein’s life, as well as uneasy relationship between the client and the composers.

STRING QUARTET BY MAURICE RAVEL IN THE CONTEXT OF CREATIVITY AND OUTLOOK OF THE COMPOSER

In the article, the author reveals the specifics of the artistic and aesthetic views of the outstanding French composer based on the study of the musical text of M. Ravel's chamber-instrumental composition and musicological literature. The authors substantiate the idea of the significance of literary sources for the formation of Ravel's compositional style. Using the analytical method, the author identifies the compositional, dramatic, melodic, textural and Lado-harmonic features of the Ravel string Quartet (1903). The use of the comparative analysis method allowed us to determine the similarity and difference of the approaches Of M. Ravel and C. Debussy in the interpretation of the string Quartet genre. Consideration of the string Quartet in the context Of M. Ravel's work allowed the author to clarify certain aspects of the composer's creative method, to Supplement the ideas about his aesthetic and ideological principles.