Last time, I bemoaned the fact that Cecil Licad switched Ravel for a Beethoven. (The program announcement is actually incorrect. Licad didn't switch after all). Guess what, Jun alerted me to an excellent classical music station in Australia. Ravel's concerto in G got featured, with the formidable combination of Martha Argerich at the piano and Claudio Abaddo conducting the Berlin Philharmonic, I think.
The Adagio is awesome, it's luminously serene, nostalgic. It does have Mozartian influence, but traces of Gabriel Faure's seems to be a more valid observation. Out of this world, you're transported to another place, much like the netherworld or Tolkien's the Middle Earth, inhabited by elementals.
The movement marked Allegramante (you ask, how on earth should you know how the movements are marked? ah, you see, I love Ravel, so I'm quite familiar with this concerto), is like a jazz-dance. Ravel composed this in the era of jazz music. He brilliantly incorporated these elements into his concerto. Wonderful.
And then the finale marked Presto: a toccata and quasi-blues exchange between the orchestra and the soloist leads to a ravishing close, with disjointed jazz themes gradually gathered into a mighty thread.
The Adagio is awesome, it's luminously serene, nostalgic. It does have Mozartian influence, but traces of Gabriel Faure's seems to be a more valid observation. Out of this world, you're transported to another place, much like the netherworld or Tolkien's the Middle Earth, inhabited by elementals.
The movement marked Allegramante (you ask, how on earth should you know how the movements are marked? ah, you see, I love Ravel, so I'm quite familiar with this concerto), is like a jazz-dance. Ravel composed this in the era of jazz music. He brilliantly incorporated these elements into his concerto. Wonderful.
And then the finale marked Presto: a toccata and quasi-blues exchange between the orchestra and the soloist leads to a ravishing close, with disjointed jazz themes gradually gathered into a mighty thread.
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