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音樂藝術、中世紀與文藝復興時期手稿及歐陸古籍

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Ravel, Maurice
AUTOGRAPH MANUSCRIPT OF A MUSICAL STUDY COMPOSED FOR FOUR VOICES IN OPEN SCORE
lacking the opening, written in pencil, black ink and red ink, notated on four four-stave systems per page, to be read with soprano, alto, tenor and bass clefs and a key-signature of two sharps, the music drafted in pencil throughout, the second page sketched but not completed, the first page gone over by the composer in red and black ink, ending in D major, the top part annotated by Ravel (“Rallo...1o Tempo”)

2 pages, folio (34.8 x 26.9cm), 16-stave paper, no place or date, probably 1890s


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相關資料

This manuscript contains part of Ravel’s exercises in harmony and counterpoint at the Paris Conservatoire during the 1890s or early 1900s.  The use of antiquated C-clefs was standard at the Conservatoire at this time; ie middle C on the bottom line of the stave in the soprano, C on the middle line in the alto, C on the fourth line up in the tenor, with a normal bass clef on the bottom line. Unlike Debussy, Ravel believed this type of rigorous education was indispensable, for it assisted the composer in mastering his craft.  Nevertheless, under Ambroise Thomas and Théodore Dubois, Ravel fared badly at the Conservatoire.  In 1895 he was expelled (for failing to win any prizes) and had to reapply in 1897.  Dubois’s refusal to let Ravel proceed to the final round of the Prix de Rome competition in 1905 became a national scandal, leading to radical reforms under the new director Gabriel Fauré.  Ravel’s harmony exercises are discussed in Orenstein, Ravel. Man and Musician (1991), p.152. Sotheby's is pleased to acknowledge the advice of Roger Nichols in preparing the catalogue description for this lot.

音樂藝術、中世紀與文藝復興時期手稿及歐陸古籍

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倫敦