Debussy & Ravel by Claudio Arrau - Estampes, Images, Pour le Piano, Gaspard de la Nuit (Ct.rc.)
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- Опубліковано 29 чер 2024
- Claude Debussy (1862-1918) & Maurice Ravel (1875-1937) by C. ARRAU.
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Click to activate the English subtitles for the presentation (00:00-01:33)
Claude Debussy (1862-1918) Estampes, Images, Pour le Piano.
00:00 Estampes, L 100 - I. Pagodes
04:28 Estampes, L 100 - II. La soirée dans grenade
08:49 Estampes, L 100 - III. Jardins sous la pluie
12:28 Images, Livre 1, L 110 - I. Reflets dans l’eau
17:00 Images, Livre 1, L 110 - II. Hommage à Rameau
24:10 Images, Livre 1, L 110 - III. Mouvement
27:22 Images, Livre 2, L 111 - I. Cloches à travers les feuilles
33:01 Images, Livre 2, L 111 - I. Et la lune descend sur le temple qui fut
38:30 Images, Livre 2, L 111 - I. Poissons d’or
42:38 Pour le Piano, L 95 - I. Prélude
46:33 Pour le Piano, L 95 - II. Sarabande
51:22 Pour le Piano, L 95 - III. Toccata
Maurice Ravel (1875-1937) Ondine, Le Gibet.
55:15 Ondine - Gaspard de le Nuit
1:02:11 Le Gibet - Gaspard de la Nuit
Piano: Claudio Arrau
Recorded in 1949
New mastering in 2021 by AB for CMRR
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2
Depuis 1947, la Columbia savait que son nouveau pianiste vedette montrait un goût certain pour les musiques latines. Deux cahiers d'Ibéria avaient singulièrement changé auprès des discophiles le visage de ce musiCien d'exception qu'on avait assuré tout entier dévoué à Beethoven. Après l'année 1948, où l'industrie américaine suspendit tous ses enregistrements, trop occupée à convertir les pesants albums 78 tours en des microsillons moins fragiles et plus maniables, Claudio Arrau décida de revenir au studio d'enregistrement non avec ses chers allemands mais avec les deux plus grands compositeurs français du siècle, Debussy et Ravel. C'est peu dire qu'il allait apporter dans ce répertoire une approche nouvelle.
Là où l'art évocateur de Walter Gieseking régnait en maître incontesté, il imposait dans quatre cycles essentiels de Claude de France une manière absolument autre. Là où régnait la couleur, il insista sur la lumière, et une lumière non pas de peintre, mais de sculpteur, taillant au ciseau des reliefs michelangelliens dans des textes qu'on avait cru évanescents. Ce Debussy résonna immédiatement nou veau. Pour le Piano devint sous les doigts d' Arrau un vrai marbre animé, singulière ment vibrant et intense, expressif non par le sentiment mais par l'art des proportions, et jusqu'aux Images, plus liées à l'évocation qu' aucune autre pièce pianistique de Debussy, trouvèrent soudain des reliefs âpres, des contrastes expressifs provoqués par l'inondation intense de la lumière méridienne.
Car ce qui étonne encore dans ce Debussy, c'est bien la profusion intense des teintes et des volumes, et Arrau touche par là une vérité historique : Debussy n'est pas le frère musical des impressionnistes, mais des fauves. Pour Ravel, c'est une autre histoire. Arrau ne s'aventura au disque qu'en Gaspard (et au concert, ce fut la seule oeuvre du maître de Montfort qu'il fréquenta relativement régulièrement). Assombrissant son piano, il nous transporte dans les opaques fantasmagories d'Alosyus Bertrand comme seul après lui su le faire Samson François.
Debussy - La fille aux cheveux de lin, Sonate flute alto harpe, Danses sacrée profane, Lily Laskine: • Debussy - La fille aux...
Ravel - Piano Concerto in G Major, Piano Concerto for the Left Hand (Century's rc.: Samson François): • Ravel - Piano Concerto...
Claude Debussy (1862-1918) & Maurice Ravel (1875-1937) by C. ARRAU.
🎧 Qobuz bit.ly/3r6zhWC Tidal bit.ly/3DWa1Gf
🎧 Spotify spoti.fi/3r7pjo1 UA-cam Music bit.ly/3FNxN7M
🎧 Apple Music apple.co/2Zn62Dz Amazon Music amzn.to/3DRClJX
🎧 Deezer bit.ly/3rcIL2H Soundcloud bit.ly/3l8mYFA
🎧 Napster bit.ly/32mLhJg Awa日本 mf.awa.fm/3rcfu8i
🎧 LineMusic日本 bit.ly/3cNVCA4 QQ音乐 bit.ly/3DW5DHi
*Click to activate the English subtitles for the presentation* (00:00-01:33)
Claude Debussy (1862-1918) Estampes, Images, Pour le Piano.
00:00 Estampes, L 100 - I. Pagodes
04:28 Estampes, L 100 - II. La soirée dans grenade
08:49 Estampes, L 100 - III. Jardins sous la pluie
12:28 Images, Livre 1, L 110 - I. Reflets dans l’eau
17:00 Images, Livre 1, L 110 - II. Hommage à Rameau
24:10 Images, Livre 1, L 110 - III. Mouvement
27:22 Images, Livre 2, L 111 - I. Cloches à travers les feuilles
33:01 Images, Livre 2, L 111 - I. Et la lune descend sur le temple qui fut
38:30 Images, Livre 2, L 111 - I. Poissons d’or
42:38 Pour le Piano, L 95 - I. Prélude
46:33 Pour le Piano, L 95 - II. Sarabande
51:22 Pour le Piano, L 95 - III. Toccata
Maurice Ravel (1875-1937) Ondine, Le Gibet.
55:15 Ondine - Gaspard de le Nuit
1:02:11 Le Gibet - Gaspard de la Nuit
Piano: Claudio Arrau
Recorded in 1949
New mastering in 2021 by AB for CMRR
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2
Depuis 1947, la Columbia savait que son nouveau pianiste vedette montrait un goût certain pour les musiques latines. Deux cahiers d'Ibéria avaient singulièrement changé auprès des discophiles le visage de ce musiCien d'exception qu'on avait assuré tout entier dévoué à Beethoven. Après l'année 1948, où l'industrie américaine suspendit tous ses enregistrements, trop occupée à convertir les pesants albums 78 tours en des microsillons moins fragiles et plus maniables, Claudio Arrau décida de revenir au studio d'enregistrement non avec ses chers allemands mais avec les deux plus grands compositeurs français du siècle, Debussy et Ravel. C'est peu dire qu'il allait apporter dans ce répertoire une approche nouvelle.
Là où l'art évocateur de Walter Gieseking régnait en maître incontesté, il imposait dans quatre cycles essentiels de Claude de France une manière absolument autre. Là où régnait la couleur, il insista sur la lumière, et une lumière non pas de peintre, mais de sculpteur, taillant au ciseau des reliefs michelangelliens dans des textes qu'on avait cru évanescents. Ce Debussy résonna immédiatement nou veau. Pour le Piano devint sous les doigts d' Arrau un vrai marbre animé, singulière ment vibrant et intense, expressif non par le sentiment mais par l'art des proportions, et jusqu'aux Images, plus liées à l'évocation qu' aucune autre pièce pianistique de Debussy, trouvèrent soudain des reliefs âpres, des contrastes expressifs provoqués par l'inondation intense de la lumière méridienne.
Car ce qui étonne encore dans ce Debussy, c'est bien la profusion intense des teintes et des volumes, et Arrau touche par là une vérité historique : Debussy n'est pas le frère musical des impressionnistes, mais des fauves. Pour Ravel, c'est une autre histoire. Arrau ne s'aventura au disque qu'en Gaspard (et au concert, ce fut la seule oeuvre du maître de Montfort qu'il fréquenta relativement régulièrement). Assombrissant son piano, il nous transporte dans les opaques fantasmagories d'Alosyus Bertrand comme seul après lui su le faire Samson François.
Debussy - La fille aux cheveux de lin, Sonate flute alto harpe, Danses sacrée profane, Lily Laskine: ua-cam.com/video/VBcbQQ4xoxg/v-deo.html
Ravel - Piano Concerto in G Major, Piano Concerto for the Left Hand (Century's rc.: Samson François): ua-cam.com/video/Y49PD4HzsU4/v-deo.html
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One of the last representatives of the Liszt tradition, the Chilean-born American pianist Claudio Arrau was born in Chillán, Chile, on 6 February 1903; his mother gave him the basics of his musical training before entrusting him to a teacher named Paoli. At the age of five, he began his career as a child prodigy with a recital in Santiago. In 1913, the Chilean government granted him a scholarship to continue his studies in Germany. For five years he was a pupil of one of the last disciples of Franz Liszt, Martin Krause, and became his spiritual heir. He played at the Gewandhaus in Leipzig under the direction of Arthur Nikisch. In 1918, the death of his master left him an orphan: he worked without a teacher and won the Franz Liszt Prize twice (in 1919 and 1920).
Back in Chile in 1921, he began an important career in South America. He gave his first concert in London in 1922 and made his debut in the United States in 1924, but it was a failure. Between 1925 and 1940 he lived in Berlin, where he taught at the Stern Conservatory. He made his first recordings in 1926 and a year later won first prize in the Geneva International Competition. Among the members of the jury were Alfred Cortot and Arthur Rubinstein! He gave his first concert with the Berlin Philharmonic Orchestra in 1928; fifty years later, the same orchestra awarded him the Hans von Bülow Medal to commemorate half a century of collaboration. In 1929 and 1930, he made two important tours of the USSR. His encyclopaedic spirit led him to present Bach's keyboard works in twelve concerts in Berlin (1935-1936). He repeated this with Mozart in 1936 before tackling Schubert the following year and Beethoven, whose complete sonatas and concertos he performed for the first time in Mexico in 1938.
In 1941, events led him to settle in New York. But the man who had conquered Germany with his artistic intransigence did not manage to adapt to the taste of the American public, which was too fond of virtuosity and antics. Arrau never tried to please the public. At the end of hostilities, he resumed his tours throughout the world: Australia, South Africa, Europe, Japan. When General Pinochet seized power in Chile, he renounced his nationality and chose to become an American citizen: he was naturalised in 1979. After an absence of seventeen years, he returned to his native country in 1984, where he was made a hero: he was awarded the Chilean National Prize for the Arts, and a street in his native town was named after him. Nothing seemed to interrupt the legendary career of this young octogenarian, but the death of one of his sons and then that of his wife hit him hard: he stopped playing for a while. He was about to return to the stage when he died suddenly in Mürzzuschlag, Austria, on 9 June 1991. Click to activate the English subtitles for the presentation (00:00-01:33)
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2
Maestro Arrau was ever curious, supremely dedicated to his craft, ever the artist. Thank you for these gems by a consummate professional and a humble and great man!
Arrau is a superior Alchemist of the Debussy‘s music,
and his Debussy‘s performance is far superior, and off the charts
Excelente música para enfrentar el absurdo de las clases online
There is only one Claudio Arrau. Never to be replicated, nor would he wish to be. He himself believed that every dedicated interpreter had their own contribution to make. He never wanted anyone to try to copy him. To him that was the antithesis of what artist expression is all about.
Maravilloso poder escuchar al maestro Arrau interpretar esta hermosa música. 💖
Debussy...transgresor moderno... simplemente maravilloso!!
El maestro Claudio Arrau 👏👏👏👏
Wunderschöne und detaillierte Interpretation dieser impressionistischen und fein oder perfekt komponierten Klavierwerke in verschiedenen Tempi mit klarem doch zugleich elegantem Anschlag und mit künstlerisch kontrollierter Dynamik. Die verbesserte Tonqualität ist auch erstaunlich hoch als eine Originalaufnahme von mehr als siebzig Jahren vor. Alles ist wunderbar!
never close or open
Private door to a quietly empty temple
while indulging in the stillness
came a long way
Welcome winter guests.
Old cypress bent at the waist
with the wind
play the orchestra
Birch trees holding hands with blue clouds
passing through the wind
come on
I'm too excited to dance
Even the squirrel preparing for the cold winter
Pull out the small and narrow door and open it
hoho hand rubbing
Say hello to winter guests
,
How lovely!
Perfect. TY.
Claudio and Claude, not only a casuality. It sounds natural, never rigid or too much sentimental...
Nuetro maestro dando clases el maestro
Not particularly fond of his playing, but the sound is quite excellent for a 1949 recording...
What happened With Scarbo, from Gaspard?
The recording of Gaspard was incomplete. The Scarbo was not recorded. The recording was first published 1983 in a 3 LP box to celebrate the 80’th birthday of Arrau
Nice and relaxing...... until the points where they go parabolic on the keyboard. I had to turn down the speakers. Then when they started playing normal again you could barely hear. Very frustrating to listen to. As a musician I understand dynamics...... but the degree to which they utilize that aspect is just to much for my taste.
Most renditions are are in a hall or stage with a mic at some distance. I wish the new mastering had included a room of current environments in which to listen. Equipment has changed drastically since this was recorded.
Your anguish is palpable! Here's hoping that many years of counseling will help you!
@@declamatory I have undergone many years of counseling to deal with my anguish, mainly because my father was an unholy terror, but I'm learning that forgiveness is the gift you give yourself. And it's perfect for the holidays!
Just wanted to say I loved your comment.