Label: Abril Cultural - none Series: Mestres Da Música - 35 Format: Vinyl LP, Reissue Country: Brazil Genre: Classical Style: Classical
Following a quick chordal passage from the piano, the development begins, utilizing much of the material from the first subject. From Wikipedia, the free encyclopedia. The girls entice Daphnis and dance around him. Retrieved from " https: From Wikipedia, the free encyclopedia. Then he lies face down in the grass, his face in his hands. Horn and trumpet offstage.
Soon, the piano stops and the orchestra roars to life with each section adding to the theme, eventually drifting into an eerie, dream-like statement from the piano. This soliloquy is short-lived as the orchestra reenters with a blues -influenced figure, shifting between major and minor modes. Following a quick chordal passage from the piano, the development begins, utilizing much of the material from the first subject. After progressing through a variety of modes, the music comes to a mystic section played by the harps and strings.
Following a short rest, the section continues, but is quickly interrupted by a restatement of the "blues section" from the first subject. An abridged version of the first subject begins the recapitulation, after which a piano cadenza restates the second theme. Through this elaborate restatement, the movement progresses to an energetic coda and ends with a bawdy scale from the brass. In stark contrast to the preceding movement, the second movement is a tranquil subject of Mozartian serenity written in ternary form.
When Long praised the natural flow of the lengthy, seemingly effortless opening melody, Ravel responded: How I worked over it bar by bar! It nearly killed me! The first theme is presented solely by the piano, the right hand playing the melody in triple meter 3 4 while the left hand gives a waltz accompaniment this left-hand waltz accompaniment continues throughout the second movement.
This second theme is tenser than the first, utilizing dissonant harmonies and figures from the piano. Almost as easily as the theme appears, it fades away into a restatement of the first theme, this time played by the cor anglais while accompanied by rustling ornamentations of the piano. The third movement recalls the intensity of the first with its quick melodies and difficult passage-work. The piano introduces the first subject, a rapid chordal figure, with dissonant interjections from the winds and brass.
The subject continues with such interjections from all, and progresses through a multitude of modes before finally coming to its conclusion. Here, the movement ends with the same four chords with which it began. From Wikipedia, the free encyclopedia. The Cambridge Companion to Ravel. Cambridge Companions to Music. Cambridge University Press. Adagio assai". Maurice Ravel. Lyceion enters.
She notices the young shepherd, approaches, and raises his head, placing her hands over his eyes. As though inadvertently, she drops one of her veils. Daphnis picks it up and places it back on her shoulders. She resumes her dance, which, at first more languorous, becomes steadily more animated until the end. Another veil slips to the ground, and is again retrieved by Daphnis. Vexed, she runs off mocking him, leaving the young shepherd very disturbed. Warlike sounds and war cries are heard, coming nearer.
In the middle ground, women run across the stage, pursued by pirates. She throws herself before the altar of the Nymphs, beseeching their protection.
A group of brigands burst on stage, capture the girl and carry her off. He discovers on the ground a sandal that she lost in the struggle. Mad with despair, he curses the deities who were unable to protect the girl, and falls swooning at the entrance of the grotto. As night falls, an unnatural light suffuses the landscape.
A little flow shines suddenly from the head of one of the statues. The Nymph comes to life and descends from her pedestal, followed by the second and then the third Nymph. They consult together and begin a slow and mysterious dance. They notice Daphnis, bend down and dry his tears. They revive him and lead him toward the large rock, and invoke the god Pan.
Gradually the form of the god is outlined. Daphnis prostrates himself in supplication. Voices are heard from off stage, at first very distant. A trumpet calls and the voices come nearer. There is a dull glimmer. The setting is the pirate camp on a very rugged seacoast, with the sea as the background. To the right and left is a view of large crags. A trireme is seen near the shore and there are cypresses present. Pirates are seen running to and fro carrying plunder. More and more torches are brought, which illuminate the scene.
Bryaxis commands that the captive be brought. Bryaxis orders her to dance. She tries to flee, but she is brought back violently. Despairing, she resumes her dance. Again she tries to escape but is brought back again. She abandons herself to despair, thinking of Daphnis.
Bryaxis tries to carry her off. Although she beseeches, the leader carries her off triumphantly. Suddenly the atmosphere seems charged with strange elements. Various places are lit by invisible hands, and little flames flare up. Fantastic beings crawl or leap here and there, and satyrs appear from every side and surround the brigands.
The earth opens and the fearsome shadow of Pan is outlined on the hills in the background, making a threatening gesture. Everyone flees in horror. Morning at the grotto of the Nymphs. There is no sound but the murmur of rivulets produced by the dew that trickles from the rocks.
Daphnis lies, still unconscious, at the entrance of the grotto. Gradually the day breaks. The songs of birds are heard. Far off, a shepherd passes with his flock. Another shepherd crosses in the background. They discover Daphnis and wake him.
She appears at last, surrounded by shepherdesses. His dream was a prophetic vision. The intervention of Pan is manifest.
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