At the first performances of this sonata, composed between 1920 and 1922, even close friends of the composer were perturbed: Following the intoxicating sounds of La Valse, the smaller scoring and modern musical language of the sonata were a shock. Yet this pioneering work has now become a permanent fixture on the concert stage. To help the players, we are now presenting two performance scores in which the other instrument’s part is also given. Both parts are included in a marked and an unmarked version. The world-renowned musicians Christian Poltéra and Frank Peter Zimmermann provided the fingerings.
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- Sonata for Violin and Violoncello
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Maurice Ravel (1875–1937) composed his Sonate pour Violon et Violoncelle, dedicated to the memory of Claude Debussy, over a relatively long period between April 1920 and February 1922. The reasons that prevented him from completing his work more quickly were on the one hand the composition of his opera L’Enfant et les sortilèges, which he had started at about the same … 계속
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Maurice Ravel
Together with Satie and Debussy, Ravel numbers among the innovators who had a falling out with academic education and created their own avant-garde tonal languages – inspired, in Ravel’s case, by Russian and Spanish music, but also by exoticism – without abandoning tonality. This master of orchestration begins with piano works, which he orchestrates; songs with piano and piano compositions exist on an equal footing in orchestral versions.
| 1875 | Born in Ciboure on March 7; the family moves to Paris that same year. |
| 1882 | Lessons in piano, theory, and composition. |
| 1889 | Beginning of his studies at the Conservatoire de Paris, from which he will never graduate. |
| 1901 | “Jeux d’eau” for piano, in a new “Impressionist” tonal language, as is “Miroirs” (1904–05). |
| 1903 | “Shéhérazade” for voice and piano/orchestral accompaniment with orientalist tonal elements. |
| 1905 | Scandal surrounding Ravel’s third application for the Prix de Rome. |
| 1907 | Premiere of the “Histoires naturelles” after Jules Renard provokes astonishment in audiences and critics. |
| 1907–08 | Rhapsodie espagnole for orchestra. |
| 1908/10 | “Ma mère l’oye” (“Mother Goose”) for piano, four-hands, as a ballet in 1911. |
| 1911 | Premiere in Paris of his opera “L’Heure espagnole.” |
| 1911/12 | “Valses nobles et sentimentales” for piano/orchestra. Premiere of the ballet “Daphnis et Chloé” in 1912. |
| 1914/19 | “Le tombeau de Couperin” for piano/orchestra anticipates the coming neoclassicism. |
| from 1920 | Many concert tours through Europe and the United States. |
| 1925 | Premiere of his opera “L’Enfant et les sortilèges.” |
| 1928 | Conferral of an honorary doctorate from Oxford University. “Bolero” for orchestra. |
| 1929–31 | Piano Concerto in G major with elements of jazz. |
| 1937 | Death in Paris on December 28. |
Wer diese Tour wagt, und sei es nur, um das interessanteste Werk für Geige und Cello einmal für sich kennenzulernen, dem sei die neue Henle-Edition der Ravel-Sonate empfohlen. (...) Gegenüber Durand weist die Henle-Ausgabe Verbesserungen und Neuerungen auf: - ein besonders übersichtliches Notenbild, - Erleichterungen fürs Blättern, - "musikalische" und hilfreiche Fingersätze (in der Cellostimme ermutigt Poltéra z.B. zum klanglich reizvollen Einsatz leerer Saiten, die man als "guter Schüler" vielleicht vermieden hätte...) - ein ausführliches Vorwort und kritische Bemerkungen zu Abweichungen des Notentextes in den bisherigen Ausgaben und - eine Übersetzung sämtlicher französischer Vortragsbezeichnungen.
Die neue Henle-Edition lässt keinen Wunsch offen: es gibt 4 Hefte, alle mit beiden Stimmen. Zwei Hefte sind ohne Zusätze und enthalten nur die Strich- und Saitenbezeichnungen aus den Quellen. Die beiden anderen wurden von Frank Peter Zimmermann resp. Christian Poltéra bezeichnet. (...) Der ganz besondere und nicht hoch genug einzuschätzende Clou für Praktiker aber ist: von allen Stimmen lässt sich spielen, ohne dass kopiert werden muss! Durch 3-Seitendruck und verkleinerter Wiedergabe der jeweils anderen Stimme wurde dies möglich. Fantastisch!
Wer also wissenschaftlich fundiert "schuften" will (so Ravels eigene Wortwahl in Bezug auf seine Proben mit Jourdan-Morhange und Maréchal), um sich das Werk zu eigen zu machen, dem kann diese übersichtliche, auf gründlicher Recherche beruhende und von Fehlern bereinigte Fassung uneingeschränkt empfohlen werden.
L'edizioni Henle colma finalmente una lacuna editoriale non solo in quanto propone le indicazioni di arcate e diteggiature di due concertisti oggi celebri quali Frank Peter Zimmermann e Christian Poltéra ma anche per quanto riguarda le note introduttive di Ulrich Krämer che inquadrano esaurientemente il brano nel suo contesto storico e stilistico.