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À Moune
Maurice Ravel

Lina Tur Bonet

À Moune

Price: € 20.95
Format: SACD
Label: Challenge Classics
UPC: 0608917291629
Catnr: CC 72916
Release date: 05 August 2022
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Label
Challenge Classics
UPC
0608917291629
Catalogue number
CC 72916
Release date
05 August 2022

"The Sonata being of a level that can proudly withstand any competition, with the Tzigane we enter the world of virtuosi and for me the real summit of the menu."

HR Audio.net, 19-7-2022
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Artist(s)
Composer(s)
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About the album

Hélène Jourdan Mourhange met Ravel for the first time after a concert in which she performed his Trio. She was an interesting, intelligent woman, well versed in the arts and culture of her time, and was a talented violinist who, however, had to stop playing years later due to rheumatoid arthritis. She then dedicated herself to musicology, reviews and other artistic activities. Not only that she was, like me, a violin player, but also shared that same disease, which I suffered in my youth. This has made me feel even closer to Ravel, and to feel a desire to make a tribute to Hélène by recording all the pieces written for her and thanks to her.

The close friendship between the two lasted throughout the life of the composer and he often asked her for advice while composing his violin works. In their inexhaustible friendship he affectionately called her "Moune".

Together with Marechal, she premiered “Sonata for violin and cello” (1921) dedicated to Claude Debussy, one of Ravel’s bravest compositions.
He also dedicated his Violin Sonata (1923-27) to her, a work to which he devoted much energy and time, and in which he tried to combine two instruments that he actually considered incompatible. The first poetic movement is very similar to the first movements of the Duo and the Piano Trio, but the rest seems to have been more complicated for him, taking years to finish. Finally, he wrote a blues as a second movement, and a Perpetuum Mobile heavily influenced by the modern music they used to listen to on their long nights together in Paris. He also composed for Hélène the marvelous “Berceuse sur le nome de Gabriel Fauré” (1922), using the letters of his teacher's name turned into notes to build the simple and magical melody that she could still play. Although Ravel asked Hélène to bring him the violin and the 24 Paganini Capriccios as inspiration for the composition of the Tzigane (1924), and was helped by her again, this time the piece was dedicated to the hungarian violinist. He wanted to make a virtuoso piece inspired on Paganini and Liszt, and probably Hélène, due to her illness, was no longer able to perform. He made three versions of the Tzigane, for the virtuoso violin accompanied by the piano, an orchestral version, and also the most unique, accompanied by the Luthéal, a prepared piano with registers of a harpsichord and the cymbal-like sound, with its wonderful gypsy and rhapsodic character.

This tribute arrives for me in a moment in which every work I perform is combined with a deep study of the performance of those times. This is why we chose to record on gut strings (as they did then), bows from that moment and a historical piano, as well as the less known version of the Tzigane with the Lutheal. The blending of gut strings between violin and cello, as well as with the old piano and the Lutheal is unique and helps to understand many of the aspects of performance in many old recordings.
Hélène Jourdan Mourhange begegnete Ravel zum ersten Mal nach einem Konzert, in dem sie sein Trio aufführte. Sie war eine interessante, intelligente Frau, die sich in der Kunst und Kultur ihrer Zeit gut auskannte und eine begabte Geigerin war, die jedoch Jahre später wegen rheumatischer Arthritis aufhören musste zu spielen. Danach widmete sie sich der Musikwissenschaft, Rezensionen und anderen künstlerischen Aktivitäten. Nicht nur, dass sie wie ich Violine spielte, sie hatte auch die gleiche Krankheit, an der ich in meiner Jugend litt. Dadurch fühlte ich mich Ravel noch näher und verspürte den Wunsch, Hélène eine Hommage zu erweisen, indem ich alle Stücke aufnahm, die für sie und dank ihr geschrieben wurden.

Die enge Freundschaft zwischen den beiden hat das ganze Leben des Komponisten überdauert, und er hat sie oft um Rat gefragt, als er seine Werke für Violine komponierte. In ihrer unerschöpflichen Freundschaft nannte er sie liebevoll "Moune".

Gemeinsam mit Marechal brachte sie die Claude Debussy gewidmete Sonate für Violine und Cello" (1921) zur Uraufführung, eine der mutigsten Kompositionen Ravels. Er widmete ihr auch seine Violinsonate (1923-27), ein Werk, dem er viel Energie und Zeit widmete und in dem er versuchte, zwei Instrumente zu kombinieren, die er eigentlich für unvereinbar hielt. Der erste poetische Satz ist den ersten Sätzen des Duos und des Klaviertrios sehr ähnlich, aber der Rest scheint für ihn komplizierter gewesen zu sein und er brauchte Jahre, um ihn fertigzustellen. Schließlich schrieb er einen Blues als zweiten Satz und ein Perpetuum Mobile, das stark von der modernen Musik beeinflusst ist, die sie in ihren langen gemeinsamen Nächten in Paris zu hören pflegten. Außerdem komponierte er für Hélène die wunderbare "Berceuse sur le nome de Gabriel Fauré" (1922), in der er die Buchstaben des Namens seines Lehrers in Noten umwandelte, um die einfache und zauberhafte Melodie zu bilden, die sie noch spielen konnte.
Obwohl Ravel Hélène bat, ihm die Violine und die 24 Paganini-Capriccios als Inspiration für die Komposition der Tzigane (1924) zu bringen, und sie ihm wieder half, war das Stück dieses Mal der ungarischen Geigerin gewidmet. Er wollte ein virtuoses, von Paganini und Liszt inspiriertes Stück komponieren, und wahrscheinlich war Hélène aufgrund ihrer Krankheit nicht mehr in der Lage, aufzutreten. Er schuf drei Versionen der Tzigane, für die virtuose Violine in Begleitung des Klaviers, eine Orchesterversion und auch die einzigartigste, begleitet vom Luthéal, einem präparierten Klavier mit Cembaloregistern und zimbelartigem Klang, mit seinem wunderbaren zigeunerhaften und rhapsodischen Charakter.

Diese Hommage kommt für mich in einem Moment, in dem jedes Werk, das ich aufführe, mit einer tiefen Studie über die Aufführung jener Zeit verbunden ist. Aus diesem Grund haben wir uns für eine Aufnahme mit Darmsaiten (wie damals), Bögen aus jener Zeit und einem historischen Klavier entschieden, sowie für die weniger bekannte Version der Tzigane mit dem Lutheal. Die Mischung von Darmsaiten zwischen Violine und Cello, sowie mit dem alten Klavier und dem Lutheal ist einzigartig und hilft, viele der Aspekte der Aufführung in vielen alten Aufnahmen zu verstehen.

Artist(s)

Lina Tur Bonet (violin)

Regarded by the international press for her virtuosity (“Fiery virtuoso”, The Strad, “True devil violinist” Bayerische Rundfunk; «Superbement joué” Diapason) combined with rare musicality (“honest and heartfelt music-making”, Gramophone; “the violinist of the soul” Sankei Shinbun) and her energy on stage (“the small wonder, Lina Tur Bonet shines” San Diego Union Tribune) Lina Tur Bonet has developed a versatile and personal career as a violinist and conductor. Her repertoire covers more than 400 years of music, always with the original instruments of each periode. From a young age she worked with many of the most renowned groups of baroque, romantic and contemporary music (Les Musiciens du Louvre, Les Arts Florissants, Mahler Chamber Orchestra and Orchestra Mozart Bologna under the direction of Abbado,...
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Regarded by the international press for her virtuosity (“Fiery virtuoso”, The Strad, “True devil violinist” Bayerische Rundfunk; «Superbement joué” Diapason) combined with rare musicality (“honest and heartfelt music-making”, Gramophone; “the violinist of the soul” Sankei Shinbun) and her energy on stage (“the small wonder, Lina Tur Bonet shines” San Diego Union Tribune) Lina Tur Bonet has developed a versatile and personal career as a violinist and conductor.
Her repertoire covers more than 400 years of music, always with the original instruments of each periode.
From a young age she worked with many of the most renowned groups of baroque, romantic and contemporary music (Les Musiciens du Louvre, Les Arts Florissants, Mahler Chamber Orchestra and Orchestra Mozart Bologna under the direction of Abbado, Harding, Gardiner, Clemencic, Minkowski, Christie, Currentzis, Gatti...), performing at Sidney Opera, Lincoln Center, Bunkamura Hall, London Proms or Berliner Philharmonie. She was awarded in several international competitions such as the Bonporti Prize.
Lina currently tours the world performing as a soloist in venues such as Wigmore Hall London, Styriarte Graz, Musik Before 1800 New York, San Diego Early Music Festival, ORF Vienna, Concertgebouw Amsterdam, Musashino Hall Tokyo, Residenzwoche Munich, Early Music Saint Petersburg, Varna Festival, in Israel or at Yale University, and as a chamber musician at Musikverein and Konzerthaus Vienna and the St. Petersburg Philharmonic.
She is concertmaster of the Concert des Nations, and is also invited as leader by both, modern and period instrument orchestras, such as Il Complesso Barocco, Liceo de Barcelona, O rquesta Nacional de España, Hofkapelle Munich, Bach Consort Wien, Clemencic Consort, Concerto Köln, Palau de les Arts and Orqueste d’Auvergne.
She conducted the Montreal Festival Orchestra, the Jerusalem Baroque Orchestra, Camerata Vila Musica, Kaiserslautern Pfalztheater Orchester, Oviedo Filarmonía, Seville Baroque Orchestra, Granada Orchestra and many others.
Her recordings as director and soloist (music by Vivaldi, Biber, Corelli, Jacquet de la Guerre, Bartok, Bach, Handel, Beethoven and music from the Seicento) had a great international reception, being chosen as the best version by the BBC, a reference for Gramophone, best version for Radio France Musique and for Scherzo, 5* by Berlin Radio and recommended by Bayerische Ründfunk, Kulturradio Berlin and Südwestfunk. He has won numerous awards, including the Diapason d’Or.

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Pierre Goy (piano)

Composer(s)

Maurice Ravel

Joseph Maurice Ravel was a French composer who is often associated with impressionism along with his elder contemporary Claude Debussy, although both composers rejected the term. In the 1920s and 1930s Ravel was internationally regarded as France's greatest living composer. Born to a music-loving family, Ravel attended France's premier music college, the Paris Conservatoire; he was not well regarded by its conservative establishment, whose biased treatment of him caused a scandal. After leaving the Conservatoire Ravel found his own way as a composer, developing a style of great clarity, incorporating elements of baroque, neoclassicism and, in his later works, jazz. He liked to experiment with musical form, as in his best-known work, Boléro (1928), in which repetition takes the place of...
more
Joseph Maurice Ravel was a French composer who is often associated with impressionism along with his elder contemporary Claude Debussy, although both composers rejected the term. In the 1920s and 1930s Ravel was internationally regarded as France's greatest living composer.
Born to a music-loving family, Ravel attended France's premier music college, the Paris Conservatoire; he was not well regarded by its conservative establishment, whose biased treatment of him caused a scandal. After leaving the Conservatoire Ravel found his own way as a composer, developing a style of great clarity, incorporating elements of baroque, neoclassicism and, in his later works, jazz. He liked to experiment with musical form, as in his best-known work, Boléro (1928), in which repetition takes the place of development. He made some orchestral arrangements of other composers' music, of which his 1922 version of Mussorgsky's Pictures at an Exhibition is the best known.
As a slow and painstaking worker, Ravel composed fewer pieces than many of his contemporaries. Among his works to enter the repertoire are pieces for piano, chamber music, two piano concertos, ballet music, two operas, and eight song cycles; he wrote no symphonies and only one religious work. Many of his works exist in two versions: a first, piano score and a later orchestration. Some of his piano music, such as Gaspard de la nuit (1908), is exceptionally difficult to play, and his complex orchestral works such as Daphnis et Chloé (1912) require skilful balance in performance.

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Press

The Sonata being of a level that can proudly withstand any competition, with the Tzigane we enter the world of virtuosi and for me the real summit of the menu.
HR Audio.net, 19-7-2022

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