Ravel: Piano Concerto for the Left Hand in D major [Zimerman]
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- Опубликовано: 8 июл 2023
- All audio rights belong to Krystian Zimerman, Pierre Boulez, London Symphony Orchestra and UMG.
The Piano Concerto for the Left Hand in D major was composed by Maurice Ravel between 1929-1930, concurrently with his Piano Concerto in G major. It was commissioned by the Austrian pianist Paul Wittgenstein, who lost his right arm during World War I. The Concerto had its premiere on 5 January 1932, with Wittgenstein as soloist performing with the Vienna Symphony Orchestra.
The piece was commissioned by Paul Wittgenstein, a concert pianist who had lost his right arm in the First World War.
In preparing for composition, Ravel studied several pieces written for one-handed piano, including Camille Saint-Saëns's Six Études pour la main gauche (Six Études for the Left Hand) (Op. 135), Leopold Godowsky's transcription for the left hand of Frédéric Chopin's Etudes (Opp. 10 and 25), Carl Czerny's Ecole de la main gauche (School of the Left Hand) (Op. 399), 24 études pour la main gauche (Op. 718), Charles-Valentin Alkan's Fantaisie in A♭ major (Op. 76 No. 1), and Alexander Scriabin's Prelude and Nocturne for the Left Hand (Op. 9).
Wittgenstein gave the premiere with Robert Heger and the Vienna Symphony Orchestra on 5 January 1932; Ravel had first offered the premiere to Arturo Toscanini, who declined.
The first French pianist to perform the work was Jacques Février, chosen by Ravel.
Ravel is quoted in one source as saying that the piece is in only one movement and in another as saying the piece is divided into two movements linked together. According to Marie-Noëlle Masson, the piece has a tripartite structure: slow-fast-slow, instead of the usual fast-slow-fast. Whatever the internal structure may be, the 18-19 minute piece negotiates several sections in various tempi and keys without pause. Towards the end of the piece, some of the music of the early slow sections is overlaid with the faster music, so that two tempi occur simultaneously.
The concerto begins with the double basses softly arpeggiating an ambiguous harmony (E-A-D-G) being the background to an unusual solo of the contrabassoon. Although these notes are later given great structural weight, they are also the four open strings on the double bass, creating the illusion at the start that the orchestra is still tuning up. As is traditional in a concerto, the thematic material is presented first in the orchestra and then echoed by the piano. Not so traditional is the dramatic piano cadenza which first introduces the soloist and prefigures the piano's statement of the opening material. This material includes both an A and a B theme, though the B theme receives little exposure. An additional theme introduced at the beginning exhibits several similarities to the Dies irae chant.
The concerto is scored for a large orchestra consisting of piccolo, 2 flutes, 2 oboes, English horn, piccolo clarinet (in E♭), 2 clarinets (in A), bass clarinet (in A), 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, triangle, snare drum, cymbals, bass drum, wood block, tam-tam, harp, strings, and the solo piano.
Although at first Wittgenstein did not take to its jazz-influenced rhythms and harmonies, he grew to like the piece. When Ravel first heard him play the concerto at a private concert in the French embassy in Vienna, he was furious. 'He heard lines taken from the orchestral part and added to the solo, harmonies changed, parts added, bars cut and at the end a newly created series of great swirling arpeggios in the final cadenza. The composer was beside himself with indignation and disbelief.' Later Wittgenstein agreed to perform the concerto as written, and the two men patched up their differences, 'but the whole episode left a bitter taste in both their mouths'.
Even before the premiere, in 1931 Alfred Cortot made an arrangement for piano two-hands and orchestra; however, Ravel did not approve of it and forbade its publication or performance. Cortot ignored this and played his arrangement, which caused Ravel to write to many conductors imploring them not to engage Cortot to play his concerto. After Ravel's death in 1937, Cortot resumed playing his arrangement, and even recorded it with Charles Munch leading the Paris Conservatoire Orchestra. Roger Muraro also played this piece during the 1986 International Tchaikovsky Competition, earning him fourth place in the piano competition.
Source: wikipedia.org
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Видеоклипы
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2:13 - the piano part begins
The left hand’s trouble too
I know, the right hand is so easy to play by ear lol. 😂
The absolutely BEASTIAL dexterity it takes to play 10:04 with a single hand, and an on-average non-dominant hand, is tremendous.
Hard to believe this can be done smoothly with only the left hand! Amazing effects too!
Zimerman can't miss
Except when he does.
Best pianist ever as far as I'm concerned
14:55 always melt my heart ❤
This is the only decent video of this concerto!!!! My favourite video so far, you're really a genius BeMusical!!!
you are the best synthesia channel on youtube! Thanks for your vids
btw visuals are 10/10
Finally, the best video of this kind of Ravel LH concerto. ❤❤ Thank you very much. You deserve better.
i love the effects and the colors of it! is it possible if you can do rachmaninoff’s 1st piano sonata as no one has done a synthesia video on it before?
PLEASE god I want this so badly
14:10 Cadenza
Godlike! You're improving a lot on the effects! Great video as always!
THANK YOU SO MUCH!
btw can you set the keyboard for the bottom of the screen? so I could see more notes at the same time.
Hmm thanks for the suggestion but I don't really like that setting. It's also hard to decide where to put pedal markings. Sorry!
@BeMusicalPiano Maybe you could have a thin line under or above the keyboard for pedal instead of the dot, then you could move the keyboard at the bottom.
(Edit) Now that I think about it, the bottom wouldn't really work as it may get in the way of the video progress bar, and above would mess with your effects. Maybe you could put it above the keyboard and have a contrasting line so you can still have the really cool effect above the keyboard. Just some ideas :)
Nice, I don’t like the colors but I like the music and I’m grateful for your work. Thank you for this video.
I think the colors are cool
What a pleasant surprise 😢
Cool effect.
Nice!
nice!!
Never heard this before and i like it
I like your background.
Always wanted to know how the rest went after the scene on MASH with Winchester and pianist patient.
12:47 impossible!
How did you know for the pedal?
There is a converter that detects pedal in mp3 file. It's a pretty accurate thing and works for most recordings
That is so cool!!
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