I detta examensarbete analyseras Alborada del gracioso ur Miroirs av den franske kompositören och pianisten Maurice Ravel, främst ur ett motiviskt och strukturellt perspektiv. Analysen innefattar även reflektioner kring några av författarens interpretationsmässiga val och lösningar på vissa tekniska problem. Syftet med studien är att undersöka om och hur en analys av verket påverkar interpretationen av detsamma. Studiens resultat påvisar att analysen kan leda till en förändring av interpretationen, på grund av att den ger en djupare förståelse av verket och ger möjlighet till mer välmotiverade val i interpretationen.

Sammanfattning Detta är en beskrivning av hur man kan transkribera musik och på så vis åstadkomma intressanta nya stämmor. Som exempel har jag arrangerat tre satser ur Maurice Ravels verk Le Tombeau de Couperin för fagottkvartett. / <p>Arkiverad ljudfil finns:</p><p>Ravel: Le Tombeau de Couperin - Il Menuet.</p><p></p>

The purpose of this thesis is to discuss the piano style of Maurice Ravel, including his musical style and influences of other composers on his piano works.

In this study, I do a research on my own ways and the influences that helped me to prepare Ravel’s Piano Concerto in G interpretation and performance. Is it an intuition, inspiration from a recording or something I have learned in a master- class. I went through Ravels’ piano music to see the development of the interpretation that blossomed into the Concerto. I looked at the preparation process that I did on my own, then together with the second pianist and at the end with the conductor. I have described my feelings after the performance as well as looked into different recordings of famous artists. The various influences are hard to measure since the artistic process is always under a constant change and development but looking closer to the sources of inspiration made me realize that everything I have experienced in connection to Ravel’s music has influenced my understanding and interpretation of the Concerto, most of all the master-classes with J.Hlinka, P.Roberts and M.Sturfält.

No description available.

La thèse se propose de vérifier la présence du saxophone dans le répertoire français et italien pour orchestre de la première moitié du XXème siècle, avec le but de confirmer la possibilité d’intégrer le saxophone à l’orchestre de façon permanente.Le choix d’étudier le répertoire pour saxophone dans l’orchestre en France et en Italie des premières décennies du XXème siècle a été fait car cet instrument, créé par Adolphe Sax, facteur d’instrument d’origine belge, a sa première diffusion sur le territoire français pendant la seconde moitié du XIXème siècle, avant de « s’expatrier » dans d’autres pays. C’est à la France donc de vanter les premières compositions pour le saxophone, et c’est au XXème siècle que cette production augmente considérablement. La France, avec son goût pour la couleur du timbre des instruments, influence l’Italie d’une façon particulière, pays où cet instrument est déjà présent au milieu du XIXème siècle, aussi grâce aux appréciations de Gioachino Rossini (qui à l’époque est à Paris), qui poussent le Lycée Musical de Bologna à acheter les produits de la maison Sax. La thèse est subdivisée en trois parties : la première, d’empreinte théorique, dédiée à la présence du saxophone dans les traités d’instrumentation et d’orchestration français et italiens, ainsi que d’autres pays des XIXe et XXe siècle ; la seconde, de caractère illustratif, dans laquelle on analyse les partitions de trois compositeurs français (Ravel, Honegger et Ibert) ; la troisième, toujours de nature illustratif, dédiée à l’étude des compositions de deux auteurs italiens (Marinuzzi et Zandonai). / The thesis’ purpose is to examine the presence of the saxophone in the French and Italian repertoire for orchestra in the first half of the 20th century, and aims at confirming its possible, permanent inclusion in the orchestra. The decision of investigating the repertory of the saxophone in the orchestra in France and Italy in the first decades of the 20th century was made because this instrument, created by the inventor of plenty of other musical instruments, Adolphe Sax (born in Belgium), spreads out for the first time in France during the second half of the 19th century and then ‘expatriates’ to other countries. It is France that can boast the first compositions for this instrument and it is in the 20th century that its production grows excessively. France, with its taste for the color of the instruments’ timbre, influences especially Italy, where the instrument is already present in the first half of the 19th century, thanks to Gioachino Rossini’s appreciations (who was in Paris at that time), pushing the Liceo Musicale in Bologna to buy the maison Sax’s products. My thesis is divided into three parts: the first, with a theoretical purpose, is dedicated to the presence of the saxophone in instrumentation and orchestration treatises published in France, Italy and other countries in the 19th and in the 20th century. In the second part, of explicative kind, the scores of three French composers (Ravel, Honegger and Ibert) are analyzed. Finally, the third section, of explicative kind as well, is dedicated to the study of some compositions by two Italian authors (Marinuzzi and Zandonai).

Ravel' s "Tombeau de Couperin," a suite for piano, was published in 1918 by Durand. Its first performance was in the Salle Gaveau in Paris in April, 1919. Shortly afterwards Ravel scored four of the six movements of the piano suite for small orchestra, composed of flutes, oboes, clarinets, bassoons, and horns in pairs, English horn, trumpet, harp, and strings, The new version was introduced in America in 1920. The four orchestrated movements, Prelude, Forlane, Menuet, and Rigaudon, have no programmatic content and the titles identify the forms used. "Le Tombeau de Couperin" is a souvenir of World War I. Each movement is dedicated to the memory of a French soldier fallen in battle. The "Tombeau" form dates from the seventeenth century and is a musical "homage" to Francois Couperin, clavecinist of Louis XIV, and one of the great names of French music. "The separate movements, cast in eighteenth century dance forms often used by Qouperin have been described as "tonal wreaths," not too somber nor too profuse, laid with tenderness on an unforgotten tomb." This piece represents Ravel's extreme effort to express himself in the simplest possible manner. The music is subtly archaic; form, line and texture artfully suggest eighteenth century, but the harmony suggests twentieth century. "A transparent serenity full of color and feeling pervades this piece of classic purity written in tribute to Ravel's fallen comrades." A study of the piano suite has been made. The pieces are charmingly and precisely orchestrated. They have been used for a ballet which will not be dealt with.

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Detta arbete syftar, genom fördjupning i olika fiolarrangemang, att ta reda på för- och nackdelar vid arrangering. Olika stycken analyseras uppdelade i 3 kategorier (soloarrangemang, kammarmusikarrangemang och ackompanjerande arrangemang). Genom att både lyssna på verken och analysera noterna jämförs arrangemangen med originalen. Det fokuseras på hur arrangören hanterar de tekniska utmaningarna, om originalkänslan behålls, och om arrangemangen ger en bättre, eller annan, musikalisk upplevelse. Slutligen redogörs för resultatet av de olika analyserna, och flera ämnen som kompositionsmängd, originalitet, tekniska svårigheter, användbarhet och instrumentation diskuteras. Dessutom inkluderas en intervju med kompositionsstuderande som med utgångspunkt i de analyserade verken diskuterar olika aspekter av arrangering. Arbetet kan används som inblick i, och analys av, centrala arrangemang inom fiolmusikvärlden, och som inspiration till användning av olika sorters arrangemang. / <p>E. Ysaÿe: Sonata no. 5 op. 27 - L'aurore, Danse Rustique</p><p>Z. Kodály: Duo för violin och cello op. 7: I. Allegro serioso, non troppo II. Adagio – Andante</p><p>Två sonatsatser i eget arrangemang:E. Grieg: Violin Sonata no. 2 op. 13, II: Allegretto tranquilloC. Franck: Violin sonata FWV 8, IV: Allegretto poco mosso</p><p>Medverkande:Adam Melchior Høier - violinLucie Žurmanová - celloElisa Onegård - flöjtMax Becker - klarinettLudvig Dahlström - violaElis Hakola - celloIsak Josefsson - bas</p>

Figure essentielle de la Génération de 1927, Gerardo Diego (Santander, 1896 - Madrid, 1987), une des voix les plus singulières de la poésie espagnole du XXe siècle, est aussi musicien. Familiarisé depuis son enfance à la pratique du piano, il cultive tout au long de sa vie une exceptionnelle passion musicale, maintient des rapports étroits avec d’importants compositeurs et interprètes, et consacre à l’art des sons une partie essentielle de ses poèmes, articles, essais, chroniques, notes, conférences et collaborations radiophoniques. Ce travail de recherche a pour objet l’étude de ses écrits poétiques et en prose sur Fauré, Debussy, Ravel, Falla et Esplá, les cinq compositeurs les plus représentatifs de la “musique de son temps”, au sens à la fois chronologique et esthétique de l’expression. Une fois la personnalité musicale du poète étudiée, l’auteur s’interroge depuis les perspectives croisées de la musicologie, l’esthétique et l’analyse littéraire sur le contenu et la valeur de cette partie encore inexplorée de son œuvre, et dévoile les interférences musicales contenues au sein d’un discours poétique peuplé par les sons. / Gerardo Diego (Santander, 1896 - Madrid, 1987), an essential figure of the Generation of 1927 and one of the most original voices of Spanish poetry in the 20th Century, was also a musician. Brought up on the piano, this poet had an exceptional musical passion his entire life and kept close relationships with important composers and performers. He also dedicated to music a very significant part of his poems, articles, essays, chronicles, notes, conferences and radio collaborations. This investigation focuses particularly on his writings about Fauré, Debussy, Ravel, Falla and Esplá, the five most representative composers of the so-called “music of his time”, both in chronologic and aesthetic sense. After carefully studying the musical personality of Diego, the author analyses from musicological, aesthetic and poetical perspectives this unexplored part of his work and brings to light the musical influences hidden behind the different levels of his poetic writings.