"Болеро" Равеля: гениально или банально?

**spectrum** · 17.05.2008, 21:48

Вот материалы другой статьи:
France European Journal of Neurology 2002, 9: 75±82
L. Amaduccia,, E. Grassiaand F. BolleroMaurice Ravel and right-hemisphere musical creativity: influence of disease on his last musical works?Department of Neurological and Psychiatric Sciences, University of Florence, Florence, Italy; and bINSERM U 324, Centre Paul Broca, Paris

The Bolero was written originally as a ballet and it was created by his lifelong friend Ida Rubinstein. Her performance must have added an extraordinary dimension to the auditory component of the work. It has been argued that Ravel's Bolero, one of the most often played composition in the repertoire, represents a form of musical perseveration and may have been an early symptom of fronto-temporal atrophy (Cybulska, 1997). Going one step further, a comment found on Classical Music Internet sites states that Ravel's Bolero is `the work of a pathological mind', and that the famous melody repeated `18 times without change' during the course of the piece demonstrates that the French composer was affected by AD. In our opinion, nothing could be farther from the truth. This piece was a formidable challenge for Ravel who described it as `an orchestral fabric without music'. Ravel was perhaps inspired by the hubbub of modern times. He spoke about `la cadence incessante des coups de marteau d'une usine' (the endless beat of hammer blows in a factory) and `la beaute Â folle des machines' (the mad beauty of machines) (Mercier, 1991). One wonders to what extent he was aware of the work of painters such as Fernand Leger (1881±1955) who, starting in the years after World War I, represented in many of his paintings the symbolic value of machines in modern industrial society.
The Bolero actually includes two themes, each repeated eight times; they are presented as a single long-drawn crescendo continued by means of both dynamics and cumulative instrumentation (Blom and Calvacoressi, 1970). In describing the Bolero, Bernard Lechevalier (who insists that there is no evidence of cerebral deterioration in this composition) points out that visual inspection of the graphic score already suggests the complex intricacy of the piece, with its 30 superimposed lines that are neatly stacked over one another with a perfect fit. The Bolero displays an extraordinary rhythmic complexity, with frequent superimposition of binary and tertiary rhythms. Each part includes chords of four or five sounds which use various harmonic systems. It includes no less than 25 different timbres. Far from being the work of a demented person, it is a test of good functioning of the executive system (B. Lechevalier, personal communication). On the other hand, in our opinion, it is sufficiently different from other compositions to raise the question that perhaps the balance between Ravel's two hemispheres was starting to be modified.

Кроме того, авторы ядовито замечают по поводу выводов о том, что повторение темы в Болеро – результат болезни:
We look forward to Dr Cybulska's diagnosis of the works of minimalist composers Philip Glass, Terry Reilly and SteveReich.

**Murita** · 17.05.2008, 21:57

спасибо, очень интересно

**Murita** · 17.05.2008, 21:59

Сообщение от АЛЕКСЕЙ2

Потрясающая,завораживающая музыка,Вы слышали в исполнении оркестра Дударовой,по моему лучше не играл никто!

а где можно найти запись?

**spectrum** · 18.05.2008, 09:01

Дорогая Murita, длинная цитата - обращение к спецам. Жаль, что NYtimes не привела собственно картину. Вот она:

http://www.newscientist.com/article/...e-disease.html

Наверное, теперь к примеру специализации полушарий - яркое проявление доминирования у Равеля правого, ответственного за тембр, - в книгах по нейропсихологии будут упоминать композитора и в связи с многократно повторяющейся темой, которая все-таки претерпевает постепенное тембровое насыщение (поэтому нельзя говорить "без какого-либо развития").

Замечу все же, что ритмические повторы могут вводить в транс и у шаманов, и на рок-концертах, что людей с афазиями и др. нарушениями, увы, много, а гениев - единицы.

(Здесь это почти оффтопик, но вспомните 7-ю симфонию Шостаковича и жесткий ритм малого барабана. И у композитора с возрастом проявились проблемы с правой рукой.)