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Chamber Music


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SOPHIE Wyss (Soprano)
(Violoncello), JACK BEAVER (Pianoforte)
RAVEL'S chamber music is much easier to understand, even on a first hearing, than most of the work of the moderns. Although what he has to say is all new, the language he uses is to all intents and purposes the straightforward idiom with which the older masters have made us familiar. This trio is the most important of his chamber music ; reminding us here and there of the string quartet, it is a bigger work. The first of its four movements flows throughout on broadly melodious lines; the chief part of the second hurries along at breakneck speed, but in the middle section there is a splendid melody. The third movement sticks pretty closely to the traditional form of the passacaglia, a movement built up, like a ehaconne, on a ground bass-a short and simple theme. Ravel makes a very effective and dignified movement of it here, reminding us of his descent from the Romantic composers, though with something of sternness in his make-up. The last movement is brilliant and vivacious with a hint of the poetic imagery of The Fairy
Garden in the Mother Goose Suite. But the whole work is on a more virile plane than that light-hearted suite; it is one of Ravel's loftiest conceptions. The attentive listener will note that the themes of all four movements are akin one to another, though in the last the melodic line is turned upside-down.


Soprano: Sophie Wyss
Violin: Michael Doré
Violin: Maurice Zimbler
Pianoforte: Jack Beaver

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Feedback about Chamber Music, National Programme Daventry, 21.40, 4 January 1932
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