00:01 Waltz I - Modéré, très franc 01:19 Waltz II - Assez lent, avec une expression intense 03:40 Waltz III - Modéré 04:57 Waltz IV - Assez animé 06:04 Waltz V - Presque lent, dans un sentiment intime 07:39 Waltz VI - Vif 08:19 Waltz VII - Moins vif 10:59 Waltz VIII - Lent
I love how valse 8 is just a slower amalgamation of all of the previous 7 valses. It’s like Ravel is saying: “Alright kids. Let’s review everything that we’ve learned today.” *plays piano slowly and carefully* Either that or he just knew someone would try to write a medley of all of his valses after his death and he said, “No. F*** that! I’m going to write MY OWN medley for these valses! Let’s call it...valse 8!”
There's a thread of thought about the last movement, that it's a deliberate depiction of memory of a party, perhaps in bed, falling asleep with wisps of the night's music weaving in and out. That makes it even more delicious to me
In this song, I feel he was making a subconscious statement to basically say “I’m more genius that you and you don’t know what I just did bc I’m genius and your not, so let’s elaborate the following so you understand
I believe that when this piece was first played some people couldn't recognise the composer. I'd say it's got Ravel stamped through every bar like a piece of rock. Superb!
@@lc1715 Similar French composers such as Lili Boulanger? Also, I thought Ravel would've been well established by 1911! He wrote his Miroirs in 1905...
@@lc1715 He was pretty established by this point, but it premiered at an event where none of the composers were named and thus the pieces could be more "adventurous"
Ravel had it out for every pianist who wasn't an Ubermensch. Rumour has it he walked around with a copy of Gaspard de la Nuit and pulled it out every time he met a cocky pianist. Okay, I just made that rumour up, but anyway.
La Valse is one of my favourite pieces ever && I'm just finding this && I love it cause its like every phrase of La Valse was stretched into entire pieces!
Maurice Ravel:Nemesi és érzelmi keringők 1.Moderato - Molto franco 00:00 2.Abbastanza lento - con un'espressione intensa 01:19 3.Moderato 03:40 4. Piúttosto animato 04:57 5. Quasi lento - in una sensazione intima 06:04 6. Abbastanza vivace 07:39 7. Meno luminoso 08:19 8. Epilógus:Lento 10:59 Louis Lortie-zongora
I'd say this is my favorite solo piano piece he's done. I've performed it many times and it never gets old. Deceptively way more difficult than first blush, especially nos. 3, 5, and 6.
Those are some really crazy chords around 00:52: A dominant 7 chord with a major 7 as the top note! (a dissonant flat (interval) All in favour of the chromatic line offcourse.
I have heard many pianists play this - they have been all very enjoyable. But this recording has won my heart for the wonderful musicianship that transcended the virtuosity of the piece. As an amateur pianist, I have played it and found it very relaxing (at my own pace). Now I may attempt to transcribe it for classical pipe organ.
Have been reading a study on form of music and time relevance applicable to note duration withing the form, It gets a lot more complicated needless to say, so wonderful to watch the notation as one is listening. Thank you for the effort gone into putting this up for all to enjoy.
Ezequiel Tomaselli Composición Exactly!! Without the bold, unprecedented chords, progressions, voicings of Debussy and Ravel, I ask you: would jazz as we know it today exist?
Ezequiel Tomaselli Composición How about the dominant 7 chords with a major 7 as the top note! You don't even hear that in jazz often, because of the b9 rule it being too dissonant!
Jazz would have existed with or without Ravel or Debussy. But the thing, and you got this part right, is that Jazz borrowed lots of late Romantic chords from then Europe which kind of made Jazz what it is TODAY. But yeah, jazz definitely would've existed anyhow.
@@Noah-wv4td It's a rule I learned in jazz harmony class. The b9 is only allowed in dominant 7th chords and not in minor 7th or major 7th chords, though that rule is often broken with the minor type chords. Major 7b9 is a weird one because it does not belong to a diatonic mode nor any of the conventional modes.
J'ai mit beaucoup de temps à apprécier Ravel, me limitant à son Boléro qui au final n'est pas du tout représentatif de son esprit. Je vais écouter cette valse accompagnée de deux autres oeuvres, ce soir, en concert. ça va être génial !
I swear these pieces are much harder than they look, number 4 has taken me around 3 and a half weeks worth of practice to play at slowish tempo without mistakes and number 1's big chord sequence is a real pain to learn not to mention enormous chords that I can barely reach.
Beautifully played. Genius, Illuminated Order/Noble And Great One Soul, Ravel... Frankish were not especially fond of dancing. Each generation of composers in that tradition could generally not rely on any former; had to make a trip to the Well At The End Of The World, themselves, for a rare draught- and to bring something...!
It is a good thing to have the score in order to check what a creative harmonist Ravel was. Some chords are almost impossible to analyze and link to a tonality. These 'valses nobles et sentimentales' are interpreted with much taste.
Section IV reminds me of the Coltrane Changes (Jazz musicians would know what I'm talking about; for the rest of us there's always Google). Fantastic composition, something I wish I discovered sooner
It's not even the first time Ravel used such harmonies in one of his compositions. Notably in Ondine, the first movement of Gaspard de la Nuit there's a section that is pretty much coltrane changes but minor. It's not really a secret that many jazz musicians loved the works of Ravel, Debussy, Satie, Scriabin, ect... so it should be no surprise that such similarities can be found.
I find these valses to be somewhat unique in that I have always found Ravel’s orchestrations to be much more satisfying then his piano versions. think La Valse, Pavane, etc. But these work so well as piano pieces and the orchestrated version just leaves me disappointed. First heard these on a 1963 recording by Arthur Rubinstein.
Very well played- a very competitive field; audiences perhaps of the "On the go" types, the tempos, many customarily too fast. Keeping in mind, this is very much music of Hesperethusa, or Iduna. Like certain musicians, Ravel actually achieved the level of Saint- of Hesperethusa, the most profound goddess. Noble Frankish were never very fond of dancing... Music then, like some water brought from The Well At The World's End...
Les silences étoilent la nuit ici et là sans fin. La prunelle de la nuit, un chat y prend le temps mystique. L'accent au fond de la mer, un chat y sent la voyelle innocente par un poème anonyme. Si profond, ce monde, comme un rose qui lit un roman sans titre. Un mot après l'autre… pas ici, pas lointain… les silences étoilent mon coeur pour m'envoyer vers la lune rouge. Ô le chat y ouvre mon soleil. // Bonne nuit.
LOVE this interpretation... some rubato, but the slower numbers aren't mawkish, as I've heard elsewhere. I might not do the crescendo in VII quite so fast, but VIII moves along nicely without losing the mystery.
I would say it's a 6. It's by no means easy, but there are pieces that are technically way harder. Look at Gaspard de la Nuit, also by Ravel. It is one of the hardest pieces in the piano repertoire and you can see the technical differences to this one.
Guy Sacre dit que ces Valses sont les pièces préférées de l'esthète concernant le piano de Ravel alors je fais mine de les préférer à ses autres compositions.
Let me correct you (in a gentle way): D'où regardez vous cette vidéo ? From which nation are you watching the video? Supposing you're japanese? it's nice to know that people in the other side of the world are listening to Ravel, because of the different musical culture in Japan. Anyways, if you like it, that's nice! And, answering to your question, I'm from Spain.
@@user-gr5hi4um2u Sorry the very late my comment I'm sorry How is your great and invincible France ？ I'm interested in great genius Ravel and respect him . Mussorgsky's masterpiece is the supreme gift of genius Ravel . Ravel is the greatest arrangement's composer in the world . Be on the alert for Coronavirus infection ！ We must never endanger our life with Covid - 19 We must never lose our sense of crisis . I wish you a great and glory life Good luck ！
Sigismond Thalberg c'est bien connu que beaucoup de musiciens de jazz admirait les compositeurs "classiques". Erroll Garner, Art Tatum, George Shearing, Phineas Newborn Jr, John Lewis, Bill Evans, et Miles Davis, ont tous profondément etudié les accords et des fragments de Ravel, Debussy, Satie, Scriabin, Bartok, Liszt.. Qu'ils ont par la suite placé dans leurs morceaux. Quelques exemples seraient: Miles Davis qui incorpore du Rodrigo: Concerto de Aranjuez.. Errol Garner qui incorpore Debussy dans Reverie.
