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  1. 約瑟夫·莫里斯·拉威爾(法語: Joseph Maurice Ravel ,法語發音: [ʒɔzɛf mɔʁis ʁavɛl] ;1875年3月7日—1937年12月28日),法國 巴斯克人作曲家和鋼琴家。 生於法國南部靠近西班牙的山區小城錫布爾,1937年在巴黎逝世時,已經是法國樂壇中與克勞德·德布西齊名的印象樂派作曲家。

  2. www.argylearts.com › program-notes-synopses › ravel-la-valseRavel's La Valse — Argyle Arts

    3 de jul. de 2012 · Maurice Ravel (1875-1937) 3 flutes (3rd doubling piccolo), 3 oboes (3rd doubling English horn), 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, ... That’s how Maurice Ravel imagined the opening moments of La Valse, a piece that would occupy him for more than a decade.

  3. Maurice Ravel. born: 7 March 1875. died: 28 December 1937. country: France. English. Français. Deutsch. Although born in a rural Basque village, Ravel was raised in Paris and was accepted as a preparatory piano student at the Conservatoire in 1889. Whilst a full-time student, Ravel was introduced in 1893 to Chabrier, whom he regarded as ‘the ...

  4. Ravel, Maurice (1875 - 1937) Joseph Maurice Ravel, French composer, was born in 1875 in the Basque town of Ciboure, near Biarritz, as the son of a Swiss father (an inventor and industrialist) and a Basque mother. After the family moved to Paris, the 7-year-old Maurice started piano lessons, and he entered the Paris Conservatory in 1889 ...

  5. 1 de ago. de 2016 · RAVEL (Maurice) 1875-1937 Avec Fauré et Debussy, dont il était le cadet, Ravel partage la gloire d’avoir « fait » la musique française du premier tiers du XX e siècle. Élève du premier, auquel il dédia son Quatuor à cordes , la mode et le snobisme des premières années du siècle voulurent faire de lui un rival du second.

  6. Joseph Maurice Ravel (1875–1937) var en fransk komponist, pianist og dirigent. Han er særlig kjent for sitt orkesterverk Boléro. Han er også kjent for Gaspard de la nuit (Nattens fantom), ofte omtalt som verdens vanskeligste stykke for solo piano, og for sitt arrangement av Musorgskijs Bilder fra en utstilling.

  7. Maurice Ravel 1875-1937 By M.-D. CALVOCORESSI W RITING on Ravel four-and-twenty years ago (Musical Times, December 1913), I made a point of dealing with the question of the artificiality of his art, which had been stirred ever since the beginning of his career, and up to the present day has continued to loom large in the critical judgments of both