Ravel: Valses nobles et sentimentales, M. 61 Bertrand Chamayou
Album info
Album-Release:
2020
HRA-Release:
11.09.2020
Label: Warner Classics
Genre: Classical
Subgenre: Instrumental
Artist: Bertrand Chamayou
Composer: Maurice Ravel (1875-1937)
Album including Album cover
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- Maurice Ravel (1875 - 1937): Ravel: Valses nobles et sentimentales, M. 61:
- 1 Valses nobles et sentimentales, M. 61: No. 1, Modéré 01:18
- 2 Valses nobles et sentimentales, M. 61: No. 2, Assez lent 02:28
- 3 Valses nobles et sentimentales, M. 61: No. 3, Modéré 01:18
- 4 Valses nobles et sentimentales, M. 61: No. 4, Assez animé 01:12
- 5 Valses nobles et sentimentales, M. 61: No. 5, Presque lent 01:19
- 6 Valses nobles et sentimentales, M. 61: No. 6, Vif 00:42
- 7 Valses nobles et sentimentales, M. 61: No. 7, Moins vif 02:22
- 8 Valses nobles et sentimentales, M. 61: No. 8, Épilogue. Lent 04:53
Info for Ravel: Valses nobles et sentimentales, M. 61
The Valses nobles et sentimentales is a suite of waltzes composed by Maurice Ravel. The piano version was published in 1911, and an orchestral version was published in 1912. The title was chosen in homage to Franz Schubert, who had released collections of waltzes in 1823 entitled Valses nobles and Valses sentimentales. The piano edition is published with a quotation of Henri de Régnier: "…le plaisir délicieux et toujours nouveau d'une occupation inutile" (the delicious and forever-new pleasure of a useless occupation).
Ravel was intrigued by the waltz genre. By 1906 he had started composing what later would become La valse, in which he tried to epitomise everything this popular genre encompassed. In 1911, prior to the 1919 publication of La valse, he published the piano version of his suite of eight Valses nobles et sentimentales. The work was first performed on May 8, 1911 by Louis Aubert, to whom the work is dedicated, at a performance of new works where the composers were not identified. It was sponsored by the Société musicale indépendante, to promote the works of more adventurous composers, without "burdening" critics with the attached labels of authorship. This was in theory supposed to encourage the critics to evaluate what they actually heard rather than simply judging the piece by the name of the composer.
Bertrand Chamayou, piano
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