MAURICE RAVEL : LE TOMBEAU DE COUPERIN – PART II. THE REMINISCENCE OF BAROQUE DANCE FORMS
According to Alfred Cortot, the suite Le tombeau de Couperin could be divided into two main units. The first part presented in the previous volume of this journal, analyses the structural arch of the suite: the first two and the last part, which uses specific compositional technics of the Baroque e...
| 发表在: | Studia Universitatis Babeş-Bolyai. Musica |
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| 格式: | 文件 |
| 语言: | 英语 |
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Babeș-Bolyai University
2020-12-01
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| 在线阅读: | http://193.231.18.162/index.php/subbmusica/article/view/2033 |
| 总结: | According to Alfred Cortot, the suite Le tombeau de Couperin could be divided into two main units. The first part presented in the previous volume of this journal, analyses the structural arch of the suite: the first two and the last part, which uses specific compositional technics of the Baroque era. This second part presents the middle section of the suite, the reminiscence of baroque dance forms, through the three contrasting dances: Forlane, Rigaudon, and Menuet. The fusion between the elements of the French baroque keyboard music and the characteristics of the modern piano music transforms this suite into a real and unique masterpiece. By analyzing the Forlane, the Rigaudon, and the Menuet of the suite we can understand the view of twentieth-century artists on the music of the Baroque era.
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| ISSN: | 1844-4369 2065-9628 |