Structured as a rondo in A-B-A-C-A form, this piece has a stirring F major passage labeled "Tres Grave" and a soft D major section labeled "Very Distant," or "Tres Lointain," as its respective C and B sections.
Structured as a rondo in A-B-A-C-A form, this piece has a stirring F major passage labeled "Tres Grave" and a soft D major section labeled "Very Distant," or "Tres Lointain," as its respective C and B sections. Despite its status as his first popular success, it was decried by its composer as showing the "excessive influence of Emmanuel Chabrier" and was the subject of a wry quip criticizing lifeless performances of it by amateurs. A direction to play softly, but with a full sound, precedes the main G major theme of this six minute piano piece in the style of a Renaissance dance, whose orchestrated version opens with a moving French horn solo. FTP, identify this Maurice Ravel piece, which, despite its title, was not written in memory of a deceased child.
Structured as a rondo in A-B-A-C-A form, this piece has a stirring F major passage labeled "Tres Grave" and a soft D major section labeled "Very Distant," or "Tres Lointain," as its respective C and B sections.
{Pavane for a Dead Princess} or {Pavane pour une Infante Defunte} (Ravel’s quote was, “I wrote a Pavane for a deceased princess… not a deceased Pavane for a princess.”