1. Modéré
2. Pantoum (Assez vif)
3. Passacaille: Trés large
4. Final: Animé
Yehudi Menuhin, violin
Gaspar Cassadó, cello
Louis Kentner, piano
Rec. 1960
Ravel was not by inclination a teacher, but he gave lessons
to a few young musicians he felt could benefit from them. Manuel Rosenthal was
one, and records that Ravel was a very demanding teacher when he thought his
pupil had talent. Like his own teacher, Fauré, he was concerned that his pupils
should find their own individual voices and not be excessively influenced by
established masters. He warned Rosenthal that it was impossible to learn
from studying Debussy's music: "Only Debussy could have written it and
made it sound like only Debussy can sound." When George Gershwin asked
him for lessons in the 1920s, Ravel, after serious consideration, refused, on
the grounds that they "would probably cause him to write bad Ravel and
lose his great gift of melody and spontaneity". The best known composer
who studied with Ravel was probably Ralph Vaughan Williams, who was his
pupil for three months in 1908. Vaughan Williams recalled that Ravel helped him
escape from "the heavy contrapuntal Teutonic manner ... Complexe
mais pas compliqué was his motto."
In 1900, Maurice became part of a group comprised of
innovative artists and musicians, who called themselves The Apache Club. Women
weren’t allowed to join this organization but members of the group met
regularly and inspired each other, until the outbreak of World War I in 1914.
Here, Ravel met Apache members: Erik Satie, Jean Cocteau, André Gide, Paul
Valéry, Igor Stravinsky, Nijinsky and Serge Diaghile. The Apaches usually met
at the home of Ida and Cyprien Godebski. One of the first works of Ravel’s
performances for the Apaches was ‘Jeux d’eau’. Another one of his early masterpieces
was ‘Pavane pour une infante défunte’ in 1902.
Maurice Ravel, Vaslav Nijinsky, Bronislava Nijinska in Paris (1914)
Vaughan Williams's recollections throw some light on Ravel's
private life, about which the latter's reserved and secretive personality has
led to much speculation. Vaughan Williams, Rosenthal and Marguerite Long have
all recorded that Ravel frequented brothels. Long attributed this to his
self-consciousness about his diminutive stature, and consequent lack of
confidence with women. By other accounts, none of them first hand, Ravel
was in love with Misia Edwards, or wanted to marry the violinist Hélène
Jourdan-Morhange. Rosenthal records and discounts contemporary speculation
that Ravel, a lifelong bachelor, may have been homosexual. Such
speculation recurred in a 2000 life of Ravel by Benjamin Ivry; subsequent
studies have concluded that Ravel's sexuality and personal life remain a
mystery.
The first movement of Piano Trio in A minor was used extensively as a soundtrack in the 1992 Claude Sautet-directed love triangle Un cœur en hiver (A Heart in Winter), starring Emmanuelle Béart, Daniel Auteuil and André Dussollier. The music credits in the film are given to Maurice Ravel.
North Utsire
No comments:
Post a Comment