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Do my kapstone paper buying victory packaging capstone management towson md for money christopher byers autopsy report hello I'm Cara doll Russell and welcome to the first of my recorded pre-concert lectures these are pre-concert lectures that I have given in the past and I thought I would share them with you Oh worried about myself I was a professional actress East Coast and West Coast mostly a theatre actress for the majority of my career then when I came back to the East Coast I was for six years a classical music host at an NPR affiliate station where I received several Associated Press Awards which was a nice feather in my cap at the same time I was pursuing my work as a professional harpist and singer and currently I do that as well as teaching and also I have part of my professional career as giving pre-concert lectures I will say about my pre-concert lectures I do not intend to things to be the be-all and end-all definitive pre-concert lecture as all the information you're ever going to hear I tread very lightly on the music theory aspect and the constructive aspects of the work of music itself my pre-concert lectures are intended mainly as I did on the air to talk about the interplay of the Arts during the lifetime of the composer perhaps influences on the composer for that work a little bit about their bio and then also the sociological influences and how the writing the philosophy the art and the music all kind of inter influenced each other within the lifetime of that composer so what I say is other people do the serious stuff I do the gossip so I'm going to start with a work by Maurice Ravel it's a great one to start with because most people have heard this piece of me music most people know it as Pavan for a dead princess and this was the first of the pre-concert lectures that I gave for the mid-atlantic Symphony Orchestra and orchestra based between Baltimore and the Eastern Shore that performs around the region a professional orchestra conducted by Julien Benneteau maurice ravel's pavan por una in Vantaa de frente Pavan for dead in Fanta Ravel lived from 1875 to 1937 his father was a gifted amateur musician and his first teacher at the age of 14 Ravel was admitted to the Paris Conservatory and it is said that he stayed there for 15 years as a student one teacher said he was the single most gifted student in counterpoint that he ever taught Ravel was friends with fellow student Eric sati and while satis music was called trash by the establishment this friendship produced work that one teacher of rebels called a conflict between scholarly severity and bold exploration and that definition is really important throughout all of the works of Ravel flore was one of rebels last teachers and the influence of Faure who many of whose works have a similar misty quality to the works of Debussy can show us this direct through line in French music of the contemporaries of Ravel and why sometimes critics felt that Ravel's work was derivative of Debussy they were both known for this same kind of contradiction of classical technique and rule breaking this work while it's well known you may not know that this was the first of rebels famous works composed while he was a student today we are most likely to hear this work performed as an orchestral work it was however first a solo piano work and 40 years ago that would have been the version that was still best known today in addition to the orchestral version we're just as likely to hear it as a chamber work or as a duo for solo instrument and piano where sometimes solo instrument and harp despite its slow pace it's a devilishly difficult work for solo piano it usually has two voices going on in each hand through much of the piece and so for a chamber work when you strip out the solo melody and give it to one instrument and then have another instrument play accompaniment that makes it much easier and hence the popularity of doula duo arrangements this work was premiered as a piano work in 1902 at a concert of the société nationale it was performed by Ricardo Venus and paired with rebels you should know the play of water another technically challenging virtuoso piano solo the imagery of the title of this work is very important Kevon for a dead princess so jarring and because the title is framed in a way to refer to this princess as an Infanta the visceral combination of the death of an infant springs to mind making this title even more jarring now Ravel at one point said that the title really had nothing to do with the work he named this after the work was completed because he liked the juxtaposition of the words that's important and short he knew it was a jarring and memorable title he knew that when he insisted that the death was that of an Infanta a princess that we still would not be able to shake the imagery of a dead infant this is both good salesmanship PR and also a very perverse sense of humor and that kind of in-your-face humor and imagery reminds us that he is one of the generation that spawned Erik Satie and Francis Poulenc who were known for this kind of boundary-pushing both in terms of musicals technical form and also in the place of music in society as a whole it was a musical culture of instigating and nursing artistic scandals and Ravel was very much a part of that culture at the same time that Ravel was writing this work and at the same time that he brought this work out Mahler was composing his songs on the death of children a song cycle that was creating a stir even before it was premiered ruh Kurt wrote the poems that that song cycle was based on and it was inspired by the death of two of his own children from scarlet fever and that had only been published in the mid 1870s so relatively current so these cultural elements were known and circulating when Ravel unveiled this work in his comments about this work Ravel often wanted it both ways and like sette he knew that a little conflict could help publicity on one hand he said this piece is not a funeral piece but insisted that it's was simply meant to be the kind of pavan music to which the young princess would have danced his caustic comment to one performer it's Pavan for a dead princess not dead Pavan for a princess is well known but it completely contradicts things that have been written about Ravel's own performance of this work which one critical - as interminably unalterably slow it's worth mentioning that the popularity of a work in rebels day was based as much on the sheet music sales as it was on performance it was a time in every house had a piano and in the same way that every house has a TV today or other media sources the slowness of the work what it meant that many would purchase the sheet music thinking oh it's slow I can play that only once they got at home and actually started working on it would they realize the technical complexities of the work it's layered and it requires exceptionally strong individual finger technique so because of that it was not something you would hear in many homes except the most advanced players but because up for the sales the audiences would have been aware of the music and known the music and understood how complex it was when they heard a performance of it with it being popular Ravel orchestrated this himself giving the main melody to the horn Ravel was known to conduct this work himself many times and later in his career he frequently consulted with conductors who were leading the work when I first gave this concert lecture it was the opening work in the concert and often as most of you will know concerts usually opened with a big bang or something very exciting so this was an unusual choice to open the concert because it settles everyone down into good peaceful and wistful emotional world this interplay of memory and of modern works that refer in form to inspirations of the past enjoy capstone project android cheap Pleasantville campus.

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