French Music For Harp And Strings

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Cat No: 8555328

Release Date: 07 January 2001

Label: Naxos - Nxc / Naxos Classics

Packaging Type: Jewel Case

No of Units: 1

Barcode: 747313532827

Genres: Classical

Composer/Series: French Music for Harp and Strings

Description
French Music for HarpMaurice Ravel wrote his Introduction and Allegro for flute, clarinet, harp and string quartet [1] in 1905, the year in which he was disqualified in the preliminary round of the important Prix de Rome competition, for which he was now entering for the fifth time. His career as a student at the Paris Conservatoire had lacked the expected distinction, in official eyes, although he clearly benefited greatly from the sympathetic attention of his composition teacher, Gabriel Fauré, which had persuaded him to return to the institution and even to continue as an auditor. L’Affaire Ravel, in fact, provoked a sufficient uproar to bring about a reform in the Conservatoire and the appointment of Fauré as the new director. By 1905, of course, Ravel held an established position among younger French composers and this he was to consolidate in the following years, rejecting the suggestion from critics that he owed so much to Debussy, although the two composers did, in some respects, exercise influence over each other. The Introduction and Allegro, familiar to older British audiences from its use as incidental music for the broadcast life of Christ, The Man Born to be King, by Dorothy Sayers, is relatively simple in conception but captures the spirit of the age and of a poetic national mood, a certain nostalgia for an unattainable past. In this only work by Ravel that uses the harp, he handles the instrument idiomatically in evoking a world that he had earlier explored in his piano piece, Pavane pour une infante défunte [5] (Pavane for a Dead Infanta), its title apparently an afterthought. He later arranged the Pavane for orchestra.The eccentric composer Erik Satie certainly exercised some influence over both Debussy and Ravel, as he did after 1918 over younger composers in the circle of Jean Cocteau. Described by Stravinsky as the oddest person he ever knew and at the same time the continuously wittiest, Satie was attracted in the 1890s to the teaching of a dissident Rosicrucian and subsequently established his own mock-religion, the Metropolitan Church of Jesus Christ the Conductor, appointing himself to a high position in the supposed organization, from which he was able to publish attacks on his adversaries. His Gymnopédies, the first of which is here transcribed [2], bear an inconsequential title derived from the games of boys in ancient Sparta and share the same feeling of gentle nostalgia, couched in the simplest musical terms.Claude Debussy enjoyed greater success than Ravel at the Paris Conservatoire, duly winning the Prix de Rome, after he had abandoned his original plan of embarking on a career as a concert pianist. His innovations in harmony and delicate use of the orchestra had an effect on the course of all music in the twentieth century. The piano piece Rêverie [3], written in 1890, was later unjustly deplored by the composer, who regretted its issue in 1905, when he had largely turned to
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