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First recorded activity by BoatBanter: Aug 2017
Posts: 4,961
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Just Beautiful!
On 1/17/2018 8:12 AM, John H wrote:
On Wed, 17 Jan 2018 07:56:21 -0500, Keyser Soze wrote:
On 1/17/18 7:50 AM, Mr. Luddite wrote:
On 1/17/2018 7:44 AM, Keyser Soze wrote:
On 1/17/18 6:52 AM, Mr. Luddite wrote:
On 1/17/2018 6:40 AM, Keyser Soze wrote:
On 1/17/18 5:13 AM, Mr. Luddite wrote:
On 1/16/2018 8:36 PM, Keyser Soze wrote:
On 1/16/18 6:39 PM, Tim wrote:
4:05 PMKeyser Soze
- show quoted text -
I know words aren't an area of expertise for you. You claimed Ravel
wrote Bolero for the piano. He did not. He wrote it on a piano.
There's
a big difference there.
I never said I liked the "original" version of Bolero. I don't
like any
versions of Ravel's Bolero. The work I like and referenced is
Moussorgsky's Pictures at an Exhibition, which was written on and
for
the piano. Ravel later orchestrated the piano work and, in my
opinion,
turned it into something it was never meant to be.
Here is the most famous performance of Pictures, by the incredible
Russian pianist Sviatoslav Richter:
https://www.youtube.com/watch?v=hNq3VMzqXqM
....
Harry, I see google isn’t your friend today...
https://en.m.wikipedia.org/wiki/Boléro
“
The piece was first published by the Parisian firm Durand in
1929. Arrangements of the piece were made for piano solo and
piano duet (two people playing at one piano), and Ravel himself
arranged a version for two pianos, published in 1930.
The first recording was made by Piero Coppolain Paris[citation
needed] for the Gramophone Company on 8 January 1930. The
recording session was attended by Ravel.[7] The following day,
Ravel conducted the Lamoureux Orchestra in his own recording for
Polydor.[8]...”
According to this, Piano it was
Your wiki post doesn't mean the piece was written *for* piano. It
was written on a piano, but Ravel's intention was to produce an
orchestrated dance piece.
If a composer *publishes* a piece written for piano, it was written
for piano.* Your cognizant thinking is going to hell in a handbasket.
Uh-huh. Your language skills remind me of a funny engineering
student I knew in college. "Before I enrolled in engineering
school," he would say, "I couldn't spell engineer. Now I are one."
I don't know if that was original with him, though.
Old one.* But, let's get back to the subject at hand, huh?* If a
musical score is *published" for piano, wasn't it written for piano?
Nope. In this case, it was written on a piano and published, but it
was written *for* an orchestra.
Guess you missed "published *for* piano",* huh?
I'll give you credit for consistency.* Your progressive-liberal thought
process leaves you in a constant state of denial.
This seems simple enough:
The Story Of Ravel's Boléro
Before he left for a triumphant tour of North America in January 1928,
Maurice Ravel had agreed to write a Spanish-flavoured ballet score for
his friend, the Russian dancer and actress Ida Rubinstein (1885-1960).
The idea was to create an orchestral transcription of Albeniz’s piano
suite Iberia. But on his return Ravel discovered that the orchestration
rights had been granted to the Spanish conductor Enrique Arbós. Although
Arbós generously gave up these rights, Ravel abandoned the idea and set
about preparing an original score.
Ravel had long toyed with the idea of building a composition from a
single theme which would grow simply through harmonic and instrumental
ingenuity. Boléro’s famous theme came to him on holiday in
Saint-Jean-de-Luz.
He was about to go for a swim when he called a friend over to the piano
and, playing the melody with one finger, asked: “Don’t you think that
has an insistent quality? I’m going to try to repeat it a number of
times without any development, gradually increasing the orchestra as
best I can.”
He began work in July. By Ravel’s standards the piece was completed
quickly, in five months – it had to be ready for Rubinstein to choreograph.
“Once the idea of using only one theme was discovered,” he asserted,
“any conservatory student could have done as well.”
The relentless snare-drum underpins the whole of the 15-minute work as
Ravel inexorably builds on the simple tune until, with a daring
modulation from C major to E major, he finally releases the pent-up
tension with a burst of fireworks.
Boléro was given its first performance at the Paris Opéra on November
20, 1928. The premiere was acclaimed by a shouting, stamping, cheering
audience in the midst of which a woman was heard screaming: “Au fou, au
fou!” (“The madman! The madman!”). When Ravel was told of this, he
reportedly replied: “That lady… she understood.”
In an interview with The Daily Telegraph, he said: “I am particularly
desirous there should be no misunderstanding about this work. It
constitutes an experiment in a very special and limited direction and
should not be suspected of aiming at achieving other or more than it
actually does.”
Yet although Ravel considered Boléro one of his least important works,
it has always been his most popular.
https://is.gd/8pNwCq
Gosh, all that research for a piece of music you don't like.
That or is it because others happen to like it?
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