{"id":4556,"date":"2025-03-07T23:00:00","date_gmt":"2025-03-07T22:00:00","guid":{"rendered":"https:\/\/pigyki.fr\/?p=4556"},"modified":"2025-03-10T23:49:18","modified_gmt":"2025-03-10T22:49:18","slug":"escucha-musical-n57-maurice-ravel","status":"publish","type":"post","link":"https:\/\/pigyki.fr\/index.php\/es\/2025\/03\/07\/escucha-musical-n57-maurice-ravel\/","title":{"rendered":"Escucha musical n\u00b057  Maurice Ravel"},"content":{"rendered":"\n<h2 class=\"wp-block-heading\">Maurice Ravel (1875-1937)<\/h2>\n\n\n\n<p>El 7 de marzo de 2025 celebramos el 150 aniversario del nacimiento de Maurice Ravel, en 1875.<br>Una buena ocasi\u00f3n para volver sobre este maravilloso compositor, ya presentado en el <em><a href=\"https:\/\/pigyki.fr\/index.php\/es\/2024\/08\/01\/escucha-musical-n42\/\" target=\"_blank\" rel=\"noreferrer noopener\">art\u00edculo n\u00b042<\/a><\/em>, principalmente en torno a sus obras para piano, entre ellas los famosos \u00ab\u00a0Jeux d&rsquo;eau\u00a0\u00bb utilizados durante la ceremonia de inauguraci\u00f3n de los Juegos Ol\u00edmpicos de Par\u00eds 2024.<\/p>\n\n\n\n<p>No faltar\u00e1n homenajes para este jubileo, as\u00ed que voy a intentar un enfoque menos convencional que la en\u00e9sima reposici\u00f3n del &lsquo;Bol\u00e9ro&rsquo;\u2026 \u00a1lo que nos permitir\u00e1 comprender mejor hasta qu\u00e9 punto este Bol\u00e9ro no era inicialmente m\u00e1s que un \u00ab\u00a0ejercicio\u00a0\u00bb de Ravel para hacer trabajar a la orquesta!<\/p>\n\n\n\n<p>\u00c9stos son los trabajos presentados en este art\u00edculo:<\/p>\n\n\n\n<h6 class=\"wp-block-heading\">Frontispice (1918), para 2 pianos a 5 manos, luego en la orquestaci\u00f3n 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 melod\u00edas<\/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\">Sonata para viol\u00edn y violonchelo(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) para 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; Versi\u00f3n original para 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) para 2 pianos a 5 manos<\/h4>\n\n\n\n<p>Ravel sirvi\u00f3 como conductor de ambulancias durante la Primera Guerra Mundial. Traumatizado por los horrores que presenci\u00f3, no pod\u00eda dormir ni trabajar cuando regres\u00f3 a Par\u00eds. La \u00fanica pieza musical que pudo componer durante estos tiempos oscuros fue \u00ab\u00a0Frontispice\u00a0\u00bb.<\/p>\n\n\n\n<p>La pieza estaba destinada a un libro de ilustraciones del poeta <strong><em><a href=\"https:\/\/es.wikipedia.org\/wiki\/Ricciotto_Canudo\" target=\"_blank\" rel=\"noreferrer noopener\">Ricciotto Canudo<\/a><\/em><\/strong>, que en 1919 acu\u00f1\u00f3 el t\u00e9rmino \u00ab\u00a0s\u00e9ptimo arte\u00a0\u00bb para describir el cine.<br>La complejidad r\u00edtmica es incre\u00edble. Vea el manuscrito de la partitura a continuaci\u00f3n, y obs\u00e9rvela mientras la escucha. <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>El music\u00f3logo Fran\u00e7ois-Ren\u00e9 Tranchefort se\u00f1ala que, con quince compases, Frontispice es la obra m\u00e1s corta de Ravel.<br>Y cita a Marcel Marnat:<\/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>\u00a0\u00bb Menos de dos minutos, decididamente politonal, con tres l\u00edneas mel\u00f3dicas independientes superpuestas, pronto burladas por los acordes oblicuos introducidos por la quinta mano.<br>acordes introducidos por la quinta mano.<br>El lenguaje es aqu\u00ed lo m\u00e1s nuevo posible [\u2026] Tres acordes finales ponen fin a la sorpresa del oyente con una interrogaci\u00f3n brutal que conduce al vac\u00edo\u00a0\u00bb.<\/em><\/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>La obra tambi\u00e9n es inusual por su superposici\u00f3n de dos indicaciones r\u00edtmicas diferentes: ternaria, en 15\/8 para el piano 1, y binaria, en 5\/4 para el piano 2.<\/p>\n\n\n\n<p>Versi\u00f3n original para 2 pianos y 5 manos, de Gilbert Kalish, Paul Jacobs y 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>Por Alfons &amp; Aloys Kontarsky, Pianos (no s\u00e9 cu\u00e1l de ellos tiene 3 manos\u2026 pero esta versi\u00f3n m\u00e1s lenta hace m\u00e1s f\u00e1cil escuchar la complejidad r\u00edtmica).<\/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>Orquestaci\u00f3n de Pierre Boulez en 2007.<br>Por el Ensemble Intercontemporain &#8211; Matthias Pintscher, Direcci\u00f3n (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>Las dos versiones enlazadas<\/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>He encontrado una presentaci\u00f3n de diapositivas asociada a esta obra. Las im\u00e1genes son sorprendentes por su actualidad, con la guerra en Ucrania y Gaza. Y la paradoja es a\u00fan mayor si se tiene en cuenta que los m\u00fasicos de este \u00ab\u00a0MultiPiano Ensemble\u00a0\u00bb -Tomer Lev, Daniel Borovitzky y Yuval Gilad- son pianistas israel\u00edes. Esta grabaci\u00f3n data de 2012 en el Clairmont Hall de la Universidad de Tel Aviv.<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>Las &lsquo;<strong><em>Chansons mad\u00e9casses<\/em><\/strong>&lsquo; (o Canciones de Madagascar) son un ciclo de tres canciones compuestas por Maurice Ravel sobre poemas del viajero y escritor <strong>\u00c9variste de Parny<\/strong> (1753-1814).<br>Este ciclo es inusual, ya que se aleja del acompa\u00f1amiento pian\u00edstico tradicional y adopta una orquestaci\u00f3n camer\u00edstica (voz, flauta, violonchelo y piano).<br>Posee una atm\u00f3sfera ex\u00f3tica y sensual, al tiempo que transmite un mensaje pol\u00edtico, en particular la denuncia del colonialismo en la segunda canci\u00f3n.<br>A veces se la considera precursora del primitivismo musical, a la manera de la <em>Consagraci\u00f3n de la Primavera<\/em> de Igor Stravinsky.<br>Tambi\u00e9n se oyen reminiscencias de <em>Pell\u00e9as<\/em>, de Claude Debussy, y de c\u00f3mo fue precursor de Olivier Messiaen.<\/p>\n\n\n\n<p>Por Jan DeGaetani, mezzo-soprano &#8211; Donald Andersen, violonchelo &#8211; Gilbert Kalish, piano &#8211; Paul Dunkel, flauta (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><em>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 !<\/em><\/p>\n\n\n\n<p><em>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.<\/em><\/p>\n\n\n\n<p><em>Tu parais, ombre ch\u00e9rie,<br>tu glisses doucement sur la colline.<br>Mes bras s\u2019ouvrent.<\/em><\/p>\n\n\n\n<p><em>Nahandove, \u00f4 belle Nahandove !<\/em><\/p>\n\n\n\n<p><em>Tu me presses sur ton sein.<br>Tes baisers p\u00e9n\u00e8trent mon \u00e2me.<br>Oh ! quelle \u00e9treinte enchanteresse !<\/em><\/p>\n\n\n\n<p><em>Le plaisir me consume.<br>Nahandove, \u00f4 belle Nahandove !<\/em><\/p>\n\n\n\n<p><em>Tu t\u2019\u00e9loignes d\u00e9j\u00e0,<br>et je vais languir dans les pleurs.<\/em><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Nahandove, \u00a1oh bella Nahandove!<br>El p\u00e1jaro nocturno ha empezado su canto,<br>la luna llena brilla con todo su esplendor,<br>\u00a1y a\u00fan no has llegado!<\/p>\n\n\n\n<p>Es la hora, \u00bfqui\u00e9n puede detenerte?<br>Mis ojos est\u00e1n fijos en la colina.<br>La brisa calla en la llanura,<br>y mi coraz\u00f3n late violentamente.<\/p>\n\n\n\n<p>Apareces, sombra querida,<br>desliz\u00e1ndote suavemente por la colina.<br>Mis brazos se abren.<\/p>\n\n\n\n<p>Nahandove, \u00a1oh bella Nahandove!<\/p>\n\n\n\n<p>Me estrechas contra tu pecho.<br>Tus besos penetran mi alma.<br>\u00a1Oh, qu\u00e9 abrazo encantador!<\/p>\n\n\n\n<p>El placer me consume.<br>Nahandove, \u00a1oh bella Nahandove!<\/p>\n\n\n\n<p>Ya te alejas,<br>y voy a languidecer entre l\u00e1grimas.<\/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><em>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.<\/em><\/p>\n\n\n\n<p><em>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<\/em><\/p>\n\n\n\n<p><em>Mais ils pr\u00e9paraient des pi\u00e8ges.<br>Ils plant\u00e8rent le fer dans le c\u0153ur de nos p\u00e8res.<\/em><\/p>\n\n\n\n<p><em>Aoua ! Aoua ! M\u00e9fiez-vous des Blancs !<br>Ils sont fourbes et cruels.<\/em><\/p>\n\n\n\n<p><em>Ils envahissent nos terres,<br>et nous sommes leurs esclaves !<\/em><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>\u00a1Aoua! \u00a1Aoua! \u00a1Cuidaos de los blancos, habitantes del r\u00edo!<br>En sus barcos han tra\u00eddo cadenas,<br>han sembrado hierro en los campos.<\/p>\n\n\n\n<p>Un d\u00eda vimos hombres p\u00e1lidos,<br>vimos hombres diferentes a nosotros,<br>y dijimos: \u201cSon nuestros hermanos.\u201d<\/p>\n\n\n\n<p>Pero preparaban trampas.<br>Clavaron el hierro en el coraz\u00f3n de nuestros padres.<\/p>\n\n\n\n<p>\u00a1Aoua! \u00a1Aoua! \u00a1Cuidaos de los blancos!<br>Son falsos y crueles.<\/p>\n\n\n\n<p>Invaden nuestras tierras,<br>\u00a1y somos sus esclavos!<\/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\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\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Es dulce recostarse durante el calor,<br>bajo un \u00e1rbol al abrigo del sol,<br>y esperar a que el viento de la tarde<br>refresque la llanura y los bosques.<\/p>\n\n\n\n<p>Mujer querida, \u00a1ac\u00e9rcate!<br>\u00a1Ponte cerca de m\u00ed!<\/p>\n\n\n\n<p>Se levanta la brisa.<\/p>\n\n\n\n<p>Escucha el viento ligero,<br>murmura entre las palmeras,<br>levanta tu vestido ligero.<\/p>\n\n\n\n<p>La noche es oscura,<br>el silencio profundo;<br>y estamos solos.<\/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>Las tres melod\u00edas en secuencia:<\/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\">Sonata para viol\u00edn y violonchelo (1920-22)<\/h4>\n\n\n\n<p>1. Allegro 2. Muy animado 3. Lento 4. Animado, con esp\u00edritu<br>Por: Isidore Cohen, Viol\u00edn &amp; Timothy Eddy, Violonchelo (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>Obra experimental en dos movimientos, para dos pianos.<br>I. Habanera (3&rsquo;47) &#8211; II. Entre Cloches (3&rsquo;01)<br>Por: 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>Por Vladimir Ashkenazy &amp; Vovka Ashkenazy, Pianos (Versi\u00f3n con partitura en YouTube haciendo clic en los tiempos)<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>Y he aqu\u00ed lo que fue de la Habanera de 1898 en la \u00ab\u00a0<strong><em><a href=\"https:\/\/es.wikipedia.org\/wiki\/Rapsodie_espagnole\">Rapsodie Espagnole<\/a><\/em><\/strong>\u00a0\u00bb (orquestada por Ravel en 1907-1908), 10 a\u00f1os antes de la composici\u00f3n de Debussy \u00ab\u00a0<strong><em><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><\/em><\/strong>\u00a0\u00bb de \u00ab\u00a0Estampes\u00a0\u00bb, interpretado aqu\u00ed por la gran pianista Alicia De Larrocha&#8230;<br>3er Movimiento de la <em>Rapsodie Espagnole<\/em>: \u00ab\u00a0Habanera\u00a0\u00bb &#8211; Bastante lento y de ritmo cansino.<br>Por Manuel Rosenthal &#8211; Orquesta de la \u00d3pera Nacional de Par\u00eds<\/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>He aqu\u00ed el texto completo \u00ab\u00a0<strong><em><a href=\"https:\/\/es.wikipedia.org\/wiki\/Rapsodie_espagnole\" target=\"_blank\" rel=\"noreferrer noopener\">Rapsodie Espagnole<\/a><\/em><\/strong>\u00a0\u00bb por una orquesta dirigida por una mujer, mexicana nacida en Nueva York, que es un doble espaldarazo a Mister T. y un homenaje al papel de la mujer en v\u00edsperas del 8 de marzo:<br><strong><em><a href=\"https:\/\/es.wikipedia.org\/wiki\/Alondra_de_la_Parra\" target=\"_blank\" rel=\"noreferrer noopener\">Alondra de la Parra<\/a><\/em><\/strong> dirige el <a href=\"https:\/\/www.youtube.com\/@QSOrchestra\"><strong><em>Queensland Symphony Orchestra<\/em><\/strong><\/a>.<\/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_1-1.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><strong><em><a href=\"https:\/\/es.wikipedia.org\/wiki\/Le_Tombeau_de_Couperin\" target=\"_blank\" rel=\"noreferrer noopener\">Le Tombeau de Couperin<\/a><\/em><\/strong> es una suite para piano en seis movimientos, compuesta entre 1914 y 1917. Cada movimiento est\u00e1 dedicado a un amigo de Ravel fallecido en la Primera Guerra Mundial. A pesar de este contexto f\u00fanebre, la obra sigue siendo elegante y ligera, y rinde homenaje al estilo de los clavecinistas franceses del siglo XVIII, en particular Fran\u00e7ois Couperin (que ser\u00e1 el tema de mi pr\u00f3ximo art\u00edculo).<\/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>en memoria del teniente Jacques Charlot<\/p>\n\n\n\n<p>II. Fugue : Allegro moderato, \u00e0 4\/4<br>en memoria de Jean Cruppi<\/p>\n\n\n\n<p>III. Forlane : Allegretto, \u00e0 6\/8<br>en memoria del teniente 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>en memoria de Pierre y Pascal Gaudin<\/p>\n\n\n\n<p>V. Menuet : Allegro moderato, \u00e0 3\/4<br>en memoria de Jean Dreyfus<\/p>\n\n\n\n<p>VI. Toccata : Vif, \u00e0 2\/4<br>en memoria del capit\u00e1n Joseph de Marliave<\/p>\n<\/div>\n<\/div>\n\n\n\n<p>Versi\u00f3n para piano<br>Por 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 s\u00f3lo orquest\u00f3 cuatro movimientos para orquesta:I. Pr\u00e9lude, vif&nbsp;&#8211; II. Forlane, allegretto &#8211; III. Menuet, allegro moderato &#8211; IV. Rigaudon, assez vif<br>Por 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>El 7 de marzo de 2025 celebramos el 150 aniversario del nacimiento de Maurice Ravel, en 1875.<br \/>\nNo faltar\u00e1n homenajes para este jubileo, as\u00ed que voy a intentar un enfoque menos convencional que la en\u00e9sima reposici\u00f3n del &lsquo;Bol\u00e9ro&rsquo;\u2026 \u00a1lo que nos permitir\u00e1 comprender mejor hasta qu\u00e9 punto este Bol\u00e9ro no era inicialmente m\u00e1s que un \u00ab\u00a0ejercicio\u00a0\u00bb de Ravel para hacer trabajar a la orquesta!<\/p>\n","protected":false},"author":1,"featured_media":4559,"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":[109,8],"tags":[],"class_list":["post-4556","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-escuchas","category-ecoutes-es"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Escucha musical 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\/es\/2025\/03\/07\/escucha-musical-n57-maurice-ravel\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Escucha musical n\u00b057 Maurice Ravel - Pigyki\" \/>\n<meta property=\"og:description\" content=\"El 7 de marzo de 2025 celebramos el 150 aniversario del nacimiento de Maurice Ravel, en 1875. 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