Aizuri Demonstration: Ravel's Scherzo Movement

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来自 Curtis Institute of Music 的课程

弦乐四重奏的世界

282 个评分

Curtis Institute of Music

弦乐四重奏的世界

282 个评分

Arnold Steinhardt, first violin of the internationally acclaimed Guarneri String Quartet, invites music listeners to the world of the string quartet repertoire and ensemble. Journey with him and interpretive analysis instructor Mia Chung through the history and features of quartet music, colored by stories of legendary quartets and insights from the stage. This season's Curtis courses are sponsored by Linda Richardson in loving memory of her husband, Dr. Paul Richardson.

从本节课中

The Internationalists, Part 2: Debussy, Ravel, Barber, Shostakovich, and Britten

Our international tour continues with France (Debussy and Ravel) and the United States (Barber, Op. 11), a return to the former Soviet Union (Shostakovich, Op. 110), and then to England (Britten, Op. 94), as we follow string quartet stories and techniques from the 1800s into the 1900s. The discoveries of this recent past are preserved by the professional string quartets who worked with these brilliant composers. What do we learn from them—and, from our very own era, the career reflections of the Guarneri Quartet members?

Debussy's "Impressionism"7:05

Aizuri Demonstration: Debussy's Scherzo Movement5:57

Comparing Debussy and Ravel12:51

A Masterpiece From Ravel9:53

Aizuri Demonstration: Ravel's Scherzo Movement6:29

Nuts and Bolts: Scherzo Movements--Debussy and Ravel8:53

与讲师见面

Arnold Steinhardt
Performance Faculty
Dr. Mia Chung
Instructor of Interpretive Analysis
Musical Studies

Why don't we go on to the Ravel String Quartet, and to the second movement, as we've done

the second movement of the Debussy Quartet. He worshipped Debussy, and patterned his quartet,

really, after Debussy's string quartet in many, many ways. And this second movement

has the same markings, almost literally. Fast enough, and very rhythmic.

And there are all kinds of wonderful pizzicato effects. So, maybe we can go

into them a little bit later. But another thing

that's fascinating about this movement is the

cross rhythms. And I wonder whether the three lower voices, Zoe, Karen, and Ayane,

whether you would first just demonstrate without first violin, without Miho,

one part of that cross rhythm.

[MUSIC]

Great. And now, Miho, if you'd join them, now these are things in a way going

one against another. And it's-- and the sum total is just a delightful effect. Please.

[MUSIC]

And now all four of you together.

[MUSIC]

That's just an absolutely marvelous effect. And what do you think about this

pizzicato atmosphere? What does it bring forth? And is this, again, something that's foreign

and exotic, to you? What's your take on all of this?

It's -- pizzicato is something that, I guess, as a string player, we don't necessarily

practice all the time. We're so used to practicing with our bows.

And so, one of the challenges of this piece and also the Debussy is to try and find

different colors with a pizzicato sound. And that's something that's been really interesting

to explore. And, I think, is also very reflective of all the exotic sounds that maybe

these composers heard back in -- back in the day.

That probably is drawn, as you mentioned earlier, Zoe, from the gamelan and other

instruments. And now, in a way, for them probably bowed instruments

were the exotic thing. You know? So. And now, if you would, play

the planned excerpt from the beginning of the second movement of the Ravel String

Quartet, please.

[MUSIC]

Thank you. And I have a feeling that there is

something so different about this French music. I mean, every single country has its character.

And most of it is drawn from the local environment. The local culture. But there seems

to be something different going on here. Do you have any thoughts on this?

Well, I guess one feeling that I get from playing both the Ravel and the Debussy

quartets is that the standard kind of notation for

this type of classical, Western music,

is almost just not enough. It's not enough for these composers, who are trying

to evoke sounds that are just so unusual. And so I think it's really fun for us

to play something that really challenges our imaginations. And we kind of have to take

an extra leap from what's on the page to the sounds that we're generating.

And we also have to pretend that we're not just two violins, a viola, and a cello.

That together, we are -- we are this one exotic instrument, with a very colorful sound,

and can change from one thing to another. And I think he succeeds.

Because if I close my eyes and listen to you, I can easily forget that you're a string quartet.

And in that sense, I think these two composers have succeeded marvelously,

not just in creating two incredible pieces of music,

but also in taking us into an absolutely new and wonderful world.

Thank you very much. Thank you.

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