Ravel: piano trio in A minor. Kantorow, Muller, Rouvier

Maurice Ravel, piano trio in A minor (1914). Jean-Jacques Kantorow - violin, Philippe Muller - cello, Jacques Rouvier - piano. From the sountrack to "Un cœur en hiver" (A Heart in Winter).

1. Modéré - 00:00
2. Pantoum (Assez vif) - 09:11
3. Passacaille (Très large) - 13:15
4. Final (Animé) - 20:50

[robertcohn]

One of the most beautiful and enchanting pieces of music I've ever heard.

[shin-i-chikozima]

His music and his works' fabulous performers are beyond description, and I feel the unfathomable emotion

[jackroark]

wow, first time ever for me! how lucky I feel because now I have to something to listen to over and over again for the next 3 weeks!

[bonniebrauer]

Maurice had a deep, yet delicate use of harmony, instruments, and also created fabulously complex dramatic orchestrations which used ballet, unusual extra instruments, and unique ideas. The Music World considers him to be largely at the top of the heap. (Me, too! lol)

[lucibellesuppafly]

un grand film m'a conduit ici ... Un Cœur en Hiver m'a conduit ici !!!!

[didierlecloerec]

Cette partie de l'oeuvre de Ravel est méconnue - le film de Claude Sautet me l'a faite découvrir alors je lui suis très reconnaissant d'autant plus que j'aime ses films.

[envalsen]

Splendide version presque expressioniste avec l'interprétation de Kantorow au violon. Elle va si bien à cette oeuvre terminée pendant la guerre. Pour correspondre à cette musique, le paysage de Monet nous transporte un peu trop dans un hiver cotonneux à mon avis. Peut-être qu'avec quelques corbeaux supplémentaires et des silhouettes d'arbres ténébreuses cela ferait l'affaire ? Un Van Gogh Monet quoi.

[paxwallacejazz]

Well I have a theory that there exists a contemporary esthetic that didn't emerge until Stravinsky and Jazz. So in spite of the modern harmonic sophistication present in this music it still lives largely inside the romantic tradition. However the Adagio cannon that appears later steps into that new esthetic due to it's zen stillness. When the dust finally settled after Schoenberg we find this level of tonal sophistication in the hands of jazz musicians and film composers. So what distinguishes the contemporary esthetic is hard to nail down but I always know it when I hear it. It never feels overly subjective or dramatic in that Faustian 19th century way. In "poetry of the earth" lecture 6 from Bernstein's "unanswered question Bernstein postulates that it all started with Stravinsky's rejection of romanticism and subsequent embrace of everything but sentimentality; to include humor, intentionally mismatched semantic components, rhythmic complexity, polytonality, neo classicism and irony. In poetry you find it famously in T.S. Elliot's opening lines of J. Alfred Prufrock "etherised on a table" after beginning the poem like a romantic poet. So to hear this level of harmonic sophistication in our language or the contemporary esthetic check out Kenny Wheeler or Bill Evans or Wayne Shorter Ballads try "Infant Eyes"

[nairdallewop]

The notes in this composition sound, descending and forlorn....

[rodrigoantoniosilva]

Strange that the pianist played the last notes of the first movement as if they were on F clef... Anyway, beautiful performance.

[judyclark]

Sorry, except that it's in a minor key and you're staring down a Cliff into an abyss, on a bleak winter scene: Ravel has NO appeal to the Hoping Soul, whatsoever, but rather to the Existential agony of those with No Solutions and No human intention to Discover one. merely Mourning and impotence