Memory and Melancholy in theÉpilogue of Ravel'sValses nobles et sentimentales
Identifieur interne : 000096 ( Main/Exploration ); précédent : 000095; suivant : 000097Memory and Melancholy in theÉpilogue of Ravel'sValses nobles et sentimentales
Auteurs : Michael J. PuriSource :
- Music Analysis [ 0262-5245 ] ; 2011-07.
English descriptors
- Teeft :
- Acoustic, Acoustic tonic, Analytical reduction, Andreas huyssen, Baroque tombeau, Basic idea, Bass line, Beethoven quotation, Bergson, Blackwell, Blackwell publishing, Cadres sociaux, Cambridge companion, Cambridge university press, Charles rosen, Classical sonatine, Collective memory, Continuation motive, Cornell university press, Daily life, Deborah mawer, Dynamic emphasis, Ferne geliebte, Forms part, Habit memory, Henri bergson, Historical loss, Homogeneous space, Imaginative scenario, Individual phrases, Intervallic progression, Involuntary, Involuntary memory, James hepokoski, Libretto, Love triangle, Lower diagram, Lower layer, Major triad, Marcel marnat, Marcel proust, Maurice ravel, Mawer, Medieval ballade, Melancholic, Melancholic point, Melancholic reprise, Melancholy, Memory studies, Middle layer, Motivic, Music analysis, Music division, Musical behaviours, Musical design, Musical examples, Musical memory, Musical nocturnalism, Musical structures, Night music, Opening bars, Opening phrase, Ornamental gestures, Ostinato rigore, Other words, Oxford university press, Pantomime, Papillon, Piano score, Pilogue, Present context, Previous waltzes, Princeton university press, Pure memory, Puri, Puri memory, Quotation, Rapsodie espagnole, Ravel, Recollection, Renaissance chanson, Reprise, Right hand, Robert schumann, Rosen, Same waltz, Scenario, Schumann, Second quotation, Single note, Slow tempo, Solo piano, Spatialised time, Special status, String quartet, Subsequent quotation, Temp, Textural waves, Thematic, Thematic arrivals, Thematic material, Thematic recollection, Thematic recollections, Tonal equivocation, Tonic, Triad, Triste mourir, True self, Twilight memories, Upper layer, Valse, Valses nobles, Vantage point, Voluntary memory, Waltz, Waltz quotation.
Abstract
When conceived as the presence of the past, memory can be said to pervade the music of Maurice Ravel. The number and range of these acts of musical memory – including pieces modelled on the medieval ballade, the Renaissance chanson, the Baroque tombeau, the Classical sonatine and the Romantic poème, among others – seem at first glance to testify to a uncomplicated relation between past and present which, upon closer review, is revealed to be problematic. One of the most complex and captivating artistic testaments to what Andreas Huyssen has called ‘twilight memory’– not only in Ravel's music, but in Western modernism as a whole – is the eighth and final waltz of his piano suite Valses nobles et sentimentales (1911). In this waltz, which Ravel entitled ‘Épilogue’, the hope of making the past present is reborn with each of its numerous thematic recollections, only to be dashed repeatedly by the melancholy knowledge of its impossibility. In the present study, affinities between the Épilogue's musical behaviours and philosophical accounts of memory by Bergson, Jankélévitch and Nora are explored, along with the compositional precedents established by Beethoven, Schumann, Debussy and others.
Url:
DOI: 10.1111/j.1468-2249.2011.00306.x
Affiliations:
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The number and range of these acts of musical memory – including pieces modelled on the medieval ballade, the Renaissance chanson, the Baroque tombeau, the Classical sonatine and the Romantic poème, among others – seem at first glance to testify to a uncomplicated relation between past and present which, upon closer review, is revealed to be problematic. One of the most complex and captivating artistic testaments to what Andreas Huyssen has called ‘twilight memory’– not only in Ravel's music, but in Western modernism as a whole – is the eighth and final waltz of his piano suite Valses nobles et sentimentales (1911). In this waltz, which Ravel entitled ‘Épilogue’, the hope of making the past present is reborn with each of its numerous thematic recollections, only to be dashed repeatedly by the melancholy knowledge of its impossibility. In the present study, affinities between the Épilogue's musical behaviours and philosophical accounts of memory by Bergson, Jankélévitch and Nora are explored, along with the compositional precedents established by Beethoven, Schumann, Debussy and others.</div></front></TEI><affiliations><list></list><tree><noCountry><name sortKey="Puri, Michael J" sort="Puri, Michael J" uniqKey="Puri M" first="Michael J." last="Puri">Michael J. Puri</name></noCountry></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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