Day 47

There is something about a Sunday morning that calls for a French Composer; or maybe I was just too relaxed.

Side One.

Pieces: Tzigane (Rapsodie de concert)

Performer: Izthak Perlman, violin, London Symphony Orchestra

Conductor: Andre Previn

Le Trombeau de Couperin

Performer: Chamber Symphony of Philadelphia

Conductor: Anshel Brusilow

Composer: Maurice Ravel

Record Date: None Given

Side Two;

Pieces: Valses nobles et sentimentales

Symphony: Chicago Symphony Orchestra

Conductor: Fritz Reiner

La Valse (Poeme choregraphique)

Symphony: Boston Symphony Orchestra

Conductor: Charles Munch

Composer: Maurice Ravel

Record Date: Non-Given

There is just a light heartiness to Ravel that cannot be denied; perfect for a lazy Sunday morning. And with that, I'm heading off to a lazy Sunday Bed.

Goodnight Internets.

Day 29

Today I listened to some wonderful pieces that I wouldn't had even thought to listen to, if it wasn't for my amazing bride to be.

Side One

Pieces: Pavane pour une Infante defunte; Ma Mere l'Oye (Mother Goose)

Composer: Maurice Ravel

Orchestra: Chicago Symphony Orchestra; Boston Symphony Orchestra

Conductor: Fritz Reiner; Charles Munch

Record Date: None given

Side Two

Pieces: Sonatine

1. Modere

2. Mouvement de Menuet

3. Anime

Gaspard de la nuit

1. Ondine

2. Le Gibet

3. Scarbo

Composer: Maurice Ravel

Pianist: John Browning

Date Recorded: Not given

In all honesty I have never given much thought to Ravel. His is a name I have heard, and I'm sure I've heard his pieces through the years; but I never put two and two together and figured out how wonderful his compositions are. The first side being two symphonies, are more whimsical than emotional (though I guess whimsical is an emotion, but I'll say it's not) but it is the ideas which amaze; the intelligence behind what seems a simple tune caught this listener off guard. Whereas Beethoven will use strings to lay the tonal foundations of his masterpieces Ravel uses harps; this creates a much softer approach while allowing for the odd passing chord to be subtly placed. The second side, with its two piano pieces are even more impressive. Now with only one instrument at his command, Ravel creates melodies within melodies, while bending the tonal structure just enough to catch the listener's ear, but not enough to make a statement. All in all, I was impressed; if not for the emotional fortitude that Ravel showed, but rather for the intellectual discussion he brought forth in the forms of songs for children.

Day 25

So I'm back from PA, where I returned with 16 boxes of records. Seriously, this was a lot more than I was expecting, and a lot more than I have room for in my apartment; but I will make do.

Side one

Pieces: Prelude a "L'Apres-midi d'un faune"

Images pour orchestre - Nos. 1 and 3

1. Gigues,

2.Rodes de printemps

Composer: Claude Debussy

Performers: Boston Symphony Orchestra

Conductor: Charles Munch

Record Date: Non-given

Side two

Pieces: "La Mer"

1. De l'aube a midi sur la mer

2. Jeux de vagues

3. Dialogue du vent et de la mer

Composer: Claude Debussy

Performers: Philadelphia Orchestra

Conductor: Eugene Ormandy

Record Date: Non-given

In all honesty I really wasn't planning on listening to Debussy, I had Schubert's Ave Maria stuck in my head for most of the day and really wanted to listen to that; but after the first couple of Schubert records came up bust I decided on Debussy for his Prelude of a Faun. Why would I choose this piece as a substitute? because I needed something imaginative and ethereal, and if you have heard the Prelude, you know that this piece is exactly that.

While the pieces didn't quite fit what I was craving, they came close and in the end shocked me. After weeks of Mozart, Beethoven and Wagner listening to a piece by Debussy is like a slap in the face with a metaphorical glove. Which is to say that you are not slapped in the face, only feel as though you have been, but still aren't sure if you have or haven't. We're talking close to a hundred years of musical evolution (at least from Beethoven to Debussy) and a switch to something just more French. While I won't say that I was struck by every theme which always seemed to vanish, but I will say that the going from the tonal equivalent of Renoir to Monet without any buildup was...refreshing.