{"id":4535,"date":"2025-03-07T23:00:00","date_gmt":"2025-03-07T22:00:00","guid":{"rendered":"https:\/\/pigyki.fr\/?p=4535"},"modified":"2025-03-10T23:52:40","modified_gmt":"2025-03-10T22:52:40","slug":"ecoute-musicale-n57-maurice-ravel","status":"publish","type":"post","link":"https:\/\/pigyki.fr\/index.php\/2025\/03\/07\/ecoute-musicale-n57-maurice-ravel\/","title":{"rendered":"\u00c9coute musicale n\u00b057  Maurice Ravel"},"content":{"rendered":"\n<h2 class=\"wp-block-heading\">Maurice Ravel (1875-1937)<\/h2>\n\n\n\n<p>Le 7 Mars 2025, nous f\u00eations le 150<sup>\u00e8me<\/sup> anniversaire de la naissance de Maurice Ravel, en 1875.<br>Une bonne occasion de revenir \u00e0 ce merveilleux compositeur, d\u00e9j\u00e0 pr\u00e9sent\u00e9 dans <em><a href=\"https:\/\/pigyki.fr\/index.php\/2024\/08\/01\/ecoute-musicale-n42\/\">l&rsquo;article n\u00b042<\/a><\/em>, principalement autour de ses  \u0153uvres pour piano, dont le fameux \u00ab\u00a0Jeux d&rsquo;eau\u00a0\u00bb repris lors de la c\u00e9r\u00e9monie d&rsquo;inauguration des J.O. de Paris 2024.<\/p>\n\n\n\n<p>Les hommages ne vont pas manquer pour ce jubil\u00e9, aussi vais-je tenter une approche moins conventionnelle que la \u00e9ni\u00e8me reprise du \u00ab\u00a0<em>Bol\u00e9ro<\/em>\u00ab\u00a0&#8230; de quoi mieux comprendre \u00e0 quel point ce <em>Bol\u00e9ro<\/em> n&rsquo;\u00e9tait initialement pour Ravel qu&rsquo;un \u00ab\u00a0exercice\u00a0\u00bb pour faire travailler l&rsquo;orchestre !<\/p>\n\n\n\n<p>Voici les \u0153uvres propos\u00e9es \u00e0 l&rsquo;\u00e9coute et pr\u00e9sent\u00e9es dans cet article :<\/p>\n\n\n\n<h6 class=\"wp-block-heading\">Frontispice (1918), pour 2 Pianos \u00e0 5 mains, puis dans l&rsquo;orchestration de Pierre Boulez<\/h6>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/03\/Maurice-Ravel-Frontispice-2-Versions.mp3\"><\/audio><\/figure>\n\n\n\n<h6 class=\"wp-block-heading\"><strong>Chansons Madecasses (1925-26)<\/strong> &#8211; 3 m\u00e9lodies<\/h6>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/03\/Ravel-Trois-Chansons-Madecasses.mp3\"><\/audio><\/figure>\n\n\n\n<h6 class=\"wp-block-heading\">Sonate pour Violon et Violoncelle (1920-22)<\/h6>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/03\/Ravel-Sonata-for-Violin-Cello.mp3\"><\/audio><\/figure>\n\n\n\n<h6 class=\"wp-block-heading\">Sites auriculaires (1895-1897) pour 2 Pianos<\/h6>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/03\/Ravel-Sites-auriculaires-pour-2-pianos.mp3\"><\/audio><\/figure>\n\n\n\n<h6 class=\"wp-block-heading\">Rapsodie espagnole (1907)<\/h6>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/03\/Ravel-Rapsodie-espagnol-Alondra-de-la-Parra_1.mp3\"><\/audio><\/figure>\n\n\n\n<h6 class=\"wp-block-heading\">Le Tombeau de Couperin (1917) &#8211; Version originale pour piano<\/h6>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/03\/Ravel-Le-tombeau-de-Couperin-Piano.mp3\"><\/audio><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h4 class=\"wp-block-heading\">Frontispice (1918), pour 2 Pianos \u00e0 5 mains<\/h4>\n\n\n\n<p>Ravel a servi comme conducteur d&rsquo;ambulance durant la premi\u00e8re guerre mondiale. Traumatis\u00e9 par les horreurs dont il a \u00e9t\u00e9 t\u00e9moin, il ne pouvait ni dormir ni travailler \u00e0 son retour \u00e0 Paris. Le seul morceau de musique qu&rsquo;il a pu composer pendant ces p\u00e9riodes sombres est \u00ab\u00a0Frontispice\u00a0\u00bb.<\/p>\n\n\n\n<p>Cette pi\u00e8ce \u00e9tait destin\u00e9e \u00e0 un livre d\u2019illustrations du po\u00e8te <strong><em><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Ricciotto_Canudo\">Ricciotto Canudo<\/a><\/em><\/strong>, l&rsquo;inventeur en 1919 du terme de \u00ab\u00a0<strong>7<sup>\u00e8me<\/sup> art<\/strong>\u00a0\u00bb pour d\u00e9signer le cin\u00e9ma. <br>La complexit\u00e9 rythmique est incroyable ! Voyez ci-dessous le manuscrit de la partition, et visionnez-la en l&rsquo;\u00e9coutant <a href=\"https:\/\/youtu.be\/ATT-1vmZZAk?si=adoa7Vior7fOl_wm\" target=\"_blank\" rel=\"noreferrer noopener\">https:\/\/youtu.be\/ATT-1vmZZAk?si=adoa7Vior7fOl_wm<\/a><\/p>\n\n\n\n<p>Le&nbsp;musicologue&nbsp;Fran\u00e7ois-Ren\u00e9 Tranchefort&nbsp;note qu&rsquo;avec ses quinze&nbsp;mesures,&nbsp;<em>Frontispice<\/em>&nbsp;est l\u2019\u0153uvre la plus courte de Ravel. <br>Et de citer&nbsp;Marcel Marnat&nbsp;: <\/p>\n\n\n\n<div class=\"wp-block-media-text has-media-on-the-right is-stacked-on-mobile\" style=\"grid-template-columns:auto 59%\"><div class=\"wp-block-media-text__content\">\n<p><em>\u00ab&nbsp;Moins de deux minutes r\u00e9solument&nbsp;polytonales&nbsp;avec trois lignes m\u00e9lodiques ind\u00e9pendantes superpos\u00e9es, bient\u00f4t bafou\u00e9es par l&rsquo;intervention des&nbsp;accords&nbsp;<\/em><br><em>incl\u00e9ments qu&rsquo;y introduit la cinqui\u00e8me main.<\/em><br><em>Le langage est ici aussi nouveau que possible [&#8230;] Trois accords finals mettent le comble \u00e0 la surprise de l&rsquo;auditeur par une brutale interrogation d\u00e9bouchant sur le vide.\u00bb<\/em><br><\/p>\n<\/div><figure class=\"wp-block-media-text__media\"><img loading=\"lazy\" decoding=\"async\" width=\"8107\" height=\"10908\" src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/03\/image-1.png\" alt=\"\" class=\"wp-image-4564 size-full\" srcset=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/03\/image-1.png 8107w, https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/03\/image-1-223x300.png 223w\" sizes=\"auto, (max-width: 8107px) 100vw, 8107px\" \/><\/figure><\/div>\n\n\n\n<p>L\u2019\u0153uvre est \u00e9galement particuli\u00e8re dans sa superposition de deux&nbsp;indications rythmiques&nbsp;diff\u00e9rentes&nbsp;:&nbsp;ternaire, \u00e0&nbsp;15\/8 pour le piano 1, et&nbsp;binaire, \u00e0&nbsp;5\/4 pour le piano 2.<\/p>\n\n\n\n<p>Version originale pour 2 Pianos \u00e0 5 mains, par Gilbert Kalish, Paul Jacobs et Teresa Sterne (1978).<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/03\/Frontispice-for-5-hands-1918_1.mp3\"><\/audio><\/figure>\n\n\n\n<p>Par Alfons &amp; Aloys Kontarsky, Pianos (je ne sais pas lequel des deux a 3 mains&#8230; mais cette version plus lente permet de mieux entendre la complexit\u00e9 rythmique).<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/03\/Maurice-Ravel-Frontispice-1918.mp3\"><\/audio><\/figure>\n\n\n\n<p>Orchestration de Pierre Boulez en 2007<br>Par l&rsquo;Ensemble Intercontemporain &#8211; Matthias Pintscher, direction (2015)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/03\/Maurice-Ravel-Frontispice-orchestration-Pierre-Boulez-Ensemble-intercontemporain_1.mp3\"><\/audio><\/figure>\n\n\n\n<p>Les deux versions encha\u00een\u00e9es<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/03\/Maurice-Ravel-Frontispice-2-Versions.mp3\"><\/audio><\/figure>\n\n\n\n<p>J&rsquo;ai trouv\u00e9 un diaporama associ\u00e9 \u00e0 cette \u0153uvre. Les images sont saisissantes par leur actualit\u00e9 avec la guerre en Ukraine ou \u00e0 Gaza. Et le paradoxe est encore plus grand quand on sait que les musiciens de ce \u00ab\u00a0MultiPiano Ensemble\u00a0\u00bb \u00e0 savoir Tomer Lev, Daniel Borovitzky, Yuval Gilad, sont des pianistes isra\u00e9liens. Cet enregistrement date de 2012 au Clairmont Hall, Tel Aviv University.<br><strong><a href=\"https:\/\/youtu.be\/vii_I3JTf5s?si=zKKZrCyj3XncnFZe\">Ravel &#8211; World War I Memories &#8211; \u00ab\u00a0Frontispice\u00a0\u00bb for 2 Pianos 5 Hands<\/a><\/strong><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>Chansons Madecasses (1925-26)<\/strong><\/h4>\n\n\n\n<p>Les <strong>Chansons mad\u00e9casses<\/strong> (ou <em>Canciones de Madagascar<\/em>) sont un cycle de <strong>trois m\u00e9lodies<\/strong> compos\u00e9es par Maurice Ravel sur des po\u00e8mes du voyageur et \u00e9crivain <strong>\u00c9variste de Parny<\/strong> (1753-1814).<br>Ce cycle est particulier car il s\u2019\u00e9loigne de l\u2019accompagnement pianistique traditionnel et adopte une orchestration de musique de chambre (voix, fl\u00fbte, violoncelle et piano).<br>Il poss\u00e8de une ambiance exotique et sensuelle, tout en comportant un message politique, notamment une d\u00e9nonciation du colonialism<strong>e<\/strong> dans la deuxi\u00e8me chanson.<br>Il est parfois consid\u00e9r\u00e9 comme un pr\u00e9curseur du primitivisme musical, \u00e0 la mani\u00e8re du <em>Sacre du Printemps<\/em> d&rsquo;Igor Stravinsky.<br>Vous entendrez aussi des couleurs du <em>Pell\u00e9as<\/em> de Claude Debussy, et  comme il fut pr\u00e9curseur d&rsquo;Olivier Messiaen.<\/p>\n\n\n\n<p>Par Jan DeGaetani, Mezzo- Soprano &#8211; Donald Andersen, Violoncelle &#8211; Gilbert Kalish, Piano &#8211; Paul Dunkel, Fl\u00fbte (1978)<\/p>\n\n\n\n<p><strong>1. Nahandove<\/strong><\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Nahandove, \u00f4 belle Nahandove !<br>L\u2019oiseau nocturne a commenc\u00e9 ses cris,<br>la pleine lune \u00e9claire de tout son \u00e9clat,<br>et tu n\u2019es pas encore l\u00e0 !<\/p>\n\n\n\n<p>Voici l\u2019heure, qui peut t\u2019arr\u00eater ?<br>Mes regards sont fix\u00e9s sur la colline.<br>La brise se tait dans la plaine,<br>et mon c\u0153ur bat violemment.<\/p>\n\n\n\n<p>Tu parais, ombre ch\u00e9rie,<br>tu glisses doucement sur la colline.<br>Mes bras s\u2019ouvrent.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Nahandove, \u00f4 belle Nahandove !<\/p>\n\n\n\n<p>Tu me presses sur ton sein.<br>Tes baisers p\u00e9n\u00e8trent mon \u00e2me.<br>Oh ! quelle \u00e9treinte enchanteresse !<\/p>\n\n\n\n<p>Le plaisir me consume.<br>Nahandove, \u00f4 belle Nahandove !<\/p>\n\n\n\n<p>Tu t\u2019\u00e9loignes d\u00e9j\u00e0,<br>et je vais languir dans les pleurs.<\/p>\n<\/div>\n<\/div>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/03\/Chansons-Madecasses-1925-26-I.-Nahandove.mp3\"><\/audio><\/figure>\n\n\n\n<p><strong>2. Aoua !<\/strong><\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Aoua ! Aoua ! M\u00e9fiez-vous des Blancs, habitants du fleuve !<br>Dans leurs vaisseaux, ils ont tendu des cha\u00eenes,<br>ils ont sem\u00e9 le fer dans les campagnes.<\/p>\n\n\n\n<p>Un jour, nous v\u00eemes des hommes p\u00e2les ;<br>nous v\u00eemes des hommes diff\u00e9rents de nous,<br>et nous d\u00eemes : \u201cIls sont nos fr\u00e8res.\u201d<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Mais ils pr\u00e9paraient des pi\u00e8ges.<br>Ils plant\u00e8rent le fer dans le c\u0153ur de nos p\u00e8res.<\/p>\n\n\n\n<p>Aoua ! Aoua ! M\u00e9fiez-vous des Blancs !<br>Ils sont fourbes et cruels.<\/p>\n\n\n\n<p>Ils envahissent nos terres,<br>et nous sommes leurs esclaves !<\/p>\n<\/div>\n<\/div>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/03\/Chansons-Madecasses-1925-26-I.-Mefiez-vous-des-blancs.mp3\"><\/audio><\/figure>\n\n\n\n<p><strong>3. Il est doux de se coucher<\/strong><\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Il est doux de se coucher durant la chaleur,<br>sous un arbre \u00e0 l\u2019abri du soleil,<br>et d\u2019attendre que le vent du soir<br>rafra\u00eechisse la plaine et les for\u00eats.<\/p>\n\n\n\n<p>Femme ch\u00e9rie, approche !<br>Mets-toi pr\u00e8s de moi !<\/p>\n\n\n\n<p>Le z\u00e9phyr s\u2019\u00e9l\u00e8ve.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p><\/p>\n\n\n\n<p>\u00c9coute le vent l\u00e9ger,<br>il fr\u00e9mit dans les palmes,<br>il soul\u00e8ve ta robe l\u00e9g\u00e8re.<\/p>\n\n\n\n<p>La nuit est sombre,<br>le silence profond ;<br>et nous sommes seuls.<\/p>\n<\/div>\n<\/div>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/03\/Chansons-Madecasses-1925-26-I.-Il-est-doux-de-se-coucher.mp3\"><\/audio><\/figure>\n\n\n\n<p>Les trois m\u00e9lodies encha\u00een\u00e9es :<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/03\/Ravel-Trois-Chansons-Madecasses.mp3\"><\/audio><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h4 class=\"wp-block-heading\">Sonate pour Violon et Violoncelle (1920-22)<\/h4>\n\n\n\n<p>1. Allegro 2. Tr\u00e8s vif 3. Lent 4. Vif, avec entrain.<br>Par : Isidore Cohen, Violon &amp; Timothy Eddy, Violoncelle (1978)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/03\/Ravel-Sonata-for-Violin-Cello.mp3\"><\/audio><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h4 class=\"wp-block-heading\">Sites auriculaires (1895-1897)<\/h4>\n\n\n\n<p>\u0152uvre exp\u00e9rimentale en deux mouvements, pour deux pianos.<br>I. Habanera (3&rsquo;47) &#8211; II. Entre Cloches (3&rsquo;01)<br>Par : Gilbert Kalish &amp; Paul Jacobs, Pianos (1978)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/03\/Ravel-Sites-auriculaires-pour-2-pianos.mp3\"><\/audio><\/figure>\n\n\n\n<p>Par Vladimir Ashkenazy &amp; Vovka Ashkenazy, Pianos (Version avec partition sur YouTube en cliquant sur le minutage)<br> <a href=\"https:\/\/www.youtube.com\/watch?v=KIz1ekvmjCg&amp;t=1s\">0:01<\/a> I &#8211; Habenera &#8211; <a href=\"https:\/\/www.youtube.com\/watch?v=KIz1ekvmjCg&amp;t=158s\">2:38<\/a> II &#8211; Entre Cloches<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/03\/Maurice-Ravel-Sites-auriculaires-18951897.mp3\"><\/audio><\/figure>\n\n\n\n<p>Et voici ce que devint la Habanera de 1898 dans la \u00ab\u00a0Rapsodie Espagnole\u00a0\u00bb (orchestr\u00e9e par Ravel en 1907-1908), soit 10 ans avant la composition de Debussy \u00ab\u00a0<em><strong><a href=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/03\/Alicia-de-Larrocha-plays-Debussy-La-soiree-dans-Grenade-1972-Live_1.mp3\" target=\"_blank\" rel=\"noreferrer noopener\">La Soir\u00e9e dans Grenade<\/a><\/strong><\/em>\u00a0\u00bb extraite des \u00ab\u00a0<em>Estampes<\/em>\u00ab\u00a0, jou\u00e9e ici par la grande pianiste Alicia De Larrocha&#8230;<br>3<sup>\u00e8me<\/sup> Mouvement de la Rapsodie Espagnole : \u00ab\u00a0Habanera\u00a0\u00bb &#8211; Assez lent et d&rsquo;un rythme las.<br>Par Manuel Rosenthal \u00b7 Orchestre de l&rsquo;Op\u00e9ra National de Paris<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/03\/Rapsodie-Espagnol-III.-Habanera-assez-lent-et-dun-rythme-las-Remastered-2021.mp3\"><\/audio><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h4 class=\"wp-block-heading\">Rapsodie espagnole (1907)<\/h4>\n\n\n\n<p>I. Pr\u00e9lude \u00e0 la nuit &#8211; II. Malague\u00f1a &#8211; III. Habanera &#8211; IV. Feria<br>Voici l&rsquo;int\u00e9gralit\u00e9 de cette \u00ab\u00a0<strong><em><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Rapsodie_espagnole\" target=\"_blank\" rel=\"noreferrer noopener\">Rapsodie Espagnole<\/a><\/em><\/strong>\u00a0\u00bb par un orchestre dirig\u00e9 par une femme, mexicaine n\u00e9e \u00e0 New-York, ce qui est un double pied de nez \u00e0 Mister T., et un hommage \u00e0 la place des femmes en cette veille du 8 Mars :<br><strong><em><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Alondra_de_la_Parra\" target=\"_blank\" rel=\"noreferrer noopener\">Alondra de la Parra<\/a><\/em><\/strong> dirige ici le <a href=\"https:\/\/www.youtube.com\/@QSOrchestra\"><strong><em>Queensland Symphony Orchestra<\/em><\/strong><\/a> (2019)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/03\/Ravel-Rapsodie-espagnol-Alondra-de-la-Parra_1.mp3\"><\/audio><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h4 class=\"wp-block-heading\">Le Tombeau de Couperin (1917)<\/h4>\n\n\n\n<p><em><strong><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Le_Tombeau_de_Couperin\" target=\"_blank\" rel=\"noreferrer noopener\">Le Tombeau de Couperin<\/a><\/strong><\/em> est une suite pour piano en six mouvements, compos\u00e9e entre 1914 et 1917. Chaque mouvement est d\u00e9di\u00e9 \u00e0 un ami de Ravel tomb\u00e9 pendant la Premi\u00e8re Guerre mondiale. Malgr\u00e9 ce contexte fun\u00e8bre, l\u2019\u0153uvre reste \u00e9l\u00e9gante et l\u00e9g\u00e8re, rendant hommage au style des clavecinistes fran\u00e7ais du XVIII\u1d49 si\u00e8cle, en particulier <strong>Fran\u00e7ois Couperin<\/strong> (qui fera l&rsquo;objet de mon prochain article).<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>I. Pr\u00e9lude : Vif, \u00e0 12\/16 <br>\u00e0 la m\u00e9moire du lieutenant&nbsp;Jacques Charlot<\/p>\n\n\n\n<p>II. Fugue : Allegro moderato, \u00e0 4\/4<br>\u00e0 la m\u00e9moire de Jean Cruppi<\/p>\n\n\n\n<p>III. Forlane : Allegretto, \u00e0 6\/8<br>\u00e0 la m\u00e9moire du lieutenant Gabriel Deluc<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>IV. Rigaudon : Assez vif, \u00e0 2\/4<br>\u00e0 la m\u00e9moire de Pierre et Pascal Gaudin<\/p>\n\n\n\n<p>V. Menuet : Allegro moderato, \u00e0 3\/4<br>\u00e0 la m\u00e9moire de Jean Dreyfus<\/p>\n\n\n\n<p>VI. Toccata : Vif, \u00e0 2\/4<br>\u00e0 la m\u00e9moire du capitaine&nbsp;Joseph de Marliave<\/p>\n<\/div>\n<\/div>\n\n\n\n<p>Version pour Piano<br>Par Samson Fran\u00e7ois, Piano.<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/03\/Ravel-Le-tombeau-de-Couperin-Piano.mp3\"><\/audio><\/figure>\n\n\n\n<p>En 1919, Ravel a orchestr\u00e9 seulement quatre mouvements pour orchestre :<br>I. Pr\u00e9lude, vif&nbsp;&#8211; II. Forlane, allegretto &#8211; III. Menuet, allegro moderato &#8211; IV. Rigaudon, assez vif<br>Par Manuel Rosenthal \u00b7 Orchestre de l&rsquo;Op\u00e9ra National de Paris <\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/03\/Ravel-Le-tombeau-de-Couperin.mp3\"><\/audio><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n","protected":false},"excerpt":{"rendered":"<p>Le 7 Mars 2025, nous f\u00eations le 150\u00e8me anniversaire de la naissance de Maurice Ravel, en 1875.<br \/>\nLes hommages ne vont pas manquer pour ce jubil\u00e9, aussi vais-je tenter une approche moins conventionnelle que la \u00e9ni\u00e8me reprise du \u00ab\u00a0Bol\u00e9ro\u00a0\u00bb&#8230; de quoi mieux comprendre \u00e0 quel point ce Bol\u00e9ro n&rsquo;\u00e9tait initialement pour Ravel qu&rsquo;un \u00ab\u00a0exercice\u00a0\u00bb pour faire travailler l&rsquo;orchestre !<\/p>\n","protected":false},"author":1,"featured_media":4560,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","footnotes":""},"categories":[99,17],"tags":[],"class_list":["post-4535","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ecoutes-fr-fr","category-ecoutes-fr"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>\u00c9coute musicale n\u00b057 Maurice Ravel - Pigyki<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/pigyki.fr\/index.php\/2025\/03\/07\/ecoute-musicale-n57-maurice-ravel\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u00c9coute musicale n\u00b057 Maurice Ravel - Pigyki\" \/>\n<meta property=\"og:description\" content=\"Le 7 Mars 2025, nous f\u00eations le 150\u00e8me anniversaire de la naissance de Maurice Ravel, en 1875. 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