Tzigane -Concert rhapsody for violin and Orchestra- Concert rhapsody for Violin and Orchestra 拉威爾摩利斯 吉普賽音樂會 狂想曲 小提琴 管弦樂團音樂會 騎熊士版
1922年，莫里斯-拉威爾在倫敦的音樂會上聆聽了匈牙利年輕小提琴演奏家、約瑟夫-約阿希姆的侄女傑利-達拉尼的演奏。演出結束後，拉威爾花了一個晚上的時間，要求達拉尼用她的小提琴演奏許多吉普賽曲調，向她探究小提琴的技術極限。這次相遇的結果就是拉威爾的演奏經典《Tzigane》"
作曲家: Ravel, Maurice
校訂者: Woodfull-Harris, Douglas
樂器: scores 總譜
出版社: Bärenreiter 騎熊士(小熊版)
原文簡介:
In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim, Jelly D’Aranyi, in concert in London. Following the performance, Ravel spent the remainder of the evening requesting D’Aranyi to play numerous gypsy tunes on her violin, probing her on the technical limits of the instrument. The result of this encounter is Ravel’s virtuoso classic “Tzigane”.
Written originally for violin and piano or luthéal (a mechanism invented in 1919 that attaches to a piano, producing a sound similar to the rich overtones of the Cimbalon), the premiere took place in London in April 1924. The composer had finished the work only days beforehand. Ravel later orchestrated “Tzigane” and both versions remain a “must” for music-lovers and aspiring violinists today. Jelly D’Aranyi performed both versions regularly throughout her long career.
This Urtext edition presents the first scholarly-critical edition of Ravel’s masterpiece. It is published both in the orchestral version, complete with full score and performance material, as well as in the composer’s earlier version for violin and piano. All known sources, including letters, have been drawn on for the new edition; one of the available sources, consulted for the first time, was a copy of “Tzigane” from the estate of Jelly D’Aranyi, which is today part of a private collection.
The version for piano and violin contains, besides the Urtext part, a second violin part as a facsimile with performance instructions by Jelly D’Aranyi. D’Aranyi’s alterations and fingering reflect how Ravel must have heard the work in rehearsals and performance and as such are a document of early 20th century performance practice. The cooperation between Ravel and D’Aranyi is comparable to that of Brahms and Joachim working on the Brahms violin concerto.
- First scholarly-critical Urtext edition of the work
- Presented are both versions: for violin and orchestra and for violin and piano
- Includes Jelly D’Aranyi’s fingering