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	<title>Cuban Overture Archives - Cultural Attaché</title>
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		<title>Conductor Lionel Bringuier&#8217;s Musical Conversation  with Ravel and Gershwin</title>
		<link>https://culturalattache.co/2019/03/28/conductor-lionel-bringuiers-musical-conversation-with-ravel-and-gershwin/</link>
					<comments>https://culturalattache.co/2019/03/28/conductor-lionel-bringuiers-musical-conversation-with-ravel-and-gershwin/#respond</comments>
		
		<dc:creator><![CDATA[Craig Byrd]]></dc:creator>
		<pubDate>Thu, 28 Mar 2019 17:24:44 +0000</pubDate>
				<category><![CDATA[Classical: Metronome]]></category>
		<category><![CDATA[Featured]]></category>
		<category><![CDATA[Jazz in 5/4 Time]]></category>
		<category><![CDATA[What's Hot]]></category>
		<category><![CDATA[An American in Paris]]></category>
		<category><![CDATA[Cuban Overture]]></category>
		<category><![CDATA[Esa-Pekka Salonen]]></category>
		<category><![CDATA[George Gershwin]]></category>
		<category><![CDATA[Gustavo Dudamel]]></category>
		<category><![CDATA[Hélène Grimaud]]></category>
		<category><![CDATA[Lionel Bringuier]]></category>
		<category><![CDATA[Los Angeles Philharmonic]]></category>
		<category><![CDATA[Maurice Ravel]]></category>
		<category><![CDATA[Piano Concerto in G Major]]></category>
		<category><![CDATA[Valses nobles et sentimentales]]></category>
		<category><![CDATA[Walt Disney Concert Hall]]></category>
		<guid isPermaLink="false">https://culturalattache.co/?p=4949</guid>

					<description><![CDATA[<p>"I'm always excited to conduct and make music. It's just a joy to do this in the United States."</p>
<p>The post <a href="https://culturalattache.co/2019/03/28/conductor-lionel-bringuiers-musical-conversation-with-ravel-and-gershwin/">Conductor Lionel Bringuier&#8217;s Musical Conversation  with Ravel and Gershwin</a> appeared first on <a href="https://culturalattache.co">Cultural Attaché</a>.</p>
]]></description>
										<content:encoded><![CDATA[<p>Conductor Esa-Pekka Salonen saw something in then 21-year-old Lionel Bringuier when he named him Associate Conductor for the LA Philharmonic in 2007. Four years later, Gustavo Dudamel named him the first-ever Resident Conductor. Then the world caught on and by the 2012-2013 season, Bringuier was in demand conducting all over the world.</p>
<p><iframe src="https://www.youtube-nocookie.com/embed/y6IThxhCp3E" width="560" height="315" frameborder="0" allowfullscreen="allowfullscreen"></iframe></p>
<p>Bringuier returns to the LA Philharmonic for four concerts beginning <a href="https://www.laphil.com/events/performances/176/2019-03-28/gershwin-ravel/" target="_blank" rel="noopener">tonight</a> celebrating the music of Maurice Ravel and George Gershwin.</p>
<p>The program features two works by each composer. &nbsp;Gerswhin&#8217;s&nbsp;<em>Cuban Overture</em> and&nbsp;<em>An American in Paris</em> are joined by Ravel&#8217;s&nbsp;<em>Valses nobles et sentimentales&nbsp;</em>and the&nbsp;<i>Piano Concerto in G</i>. The soloist for the concerto is&nbsp;Hélène Grimaud.</p>
<p>When I recently spoke with Bringuier by phone, both he and Grimaud were in Dallas for a series of concerts. They are regular collaborators are you will see in our conversation.</p>
<p>How did this program come together and why?</p>
<figure id="attachment_4954" aria-describedby="caption-attachment-4954" style="width: 300px" class="wp-caption alignleft"><img fetchpriority="high" decoding="async" class="size-medium wp-image-4954" src="https://culturalattache.co/wp-content/uploads/2019/03/Lionel-Bringuier-2-300x169.jpg" alt="Lionel Bringuier regularly collaborates with pianist Helene Grimaud" width="300" height="169" srcset="https://culturalattache.co/wp-content/uploads/2019/03/Lionel-Bringuier-2-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2019/03/Lionel-Bringuier-2-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2019/03/Lionel-Bringuier-2-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2019/03/Lionel-Bringuier-2-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2019/03/Lionel-Bringuier-2-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2019/03/Lionel-Bringuier-2-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2019/03/Lionel-Bringuier-2.jpg 1920w" sizes="(max-width: 300px) 100vw, 300px" /><figcaption id="caption-attachment-4954" class="wp-caption-text">Conductor Lionel Bringuier (Photo courtesy of the LA Philharmonic)</figcaption></figure>
<p><strong>This is a big year for the LA Philharmonic with the centennial season. They wanted to have&nbsp;Hélène Grimaud performing Ravel. I feel lucky to accompany her on the stage. The orchestra knows that I love to perform Ravel. My last concert as Resident Conductor I conducted Ravel. It was nice to add&nbsp;<em>Valses nobles et sentimentales</em>. And we thought what composer to add and Gershwin came to mind to all of us.&nbsp;</strong></p>
<p>Ravel met Gershwin in 1928. Is there anything we can hear in Ravel&#8217;s work that gives us an idea of the influence Gershwin may have had on him?</p>
<p><strong>It&#8217;s more obvious in the&nbsp;<em>Piano Concerto for the Left Hand</em> which has real jazz, but&nbsp;already in the&nbsp;<em>Piano Concert in G</em> you can hear that. At first he called this piece&nbsp;<em>Rhapsody Basque</em>. We know his influence from the Basque country and Spanish &nbsp;music. For the slow movements he was inspired by Mozart and by Saint-Saëns.</strong></p>
<p>Conversely, what influence of Ravel can we hear in Gershwin?</p>
<p><strong>We can always hear some similarities of composers at that time if we look at Ravel and Debussy and Saint-Saens. They were always influencing one another, but I like to see Gershwin as an American composer.</strong></p>
<p>Ravel said, &#8220;Personally I find jazz most interesting: the rhythms, the way the melodies are handled and the melodies themselves.&#8221; How much did Ravel embrace jazz within his own works?</p>
<p><strong>It is about finding the rhythm and its link to melody and harmony.&nbsp;Obviously in&nbsp;<em>Valses</em>, the first introduction of the theme, the very rhythmic&nbsp;introduction, it&#8217;s something we can feel. It has already been important to hear.</strong></p>
<p>You perform regularly with&nbsp;Hélène Grimaud. What makes your collaboration unique?</p>
<figure id="attachment_4952" aria-describedby="caption-attachment-4952" style="width: 300px" class="wp-caption alignleft"><img decoding="async" class="size-medium wp-image-4952" src="https://culturalattache.co/wp-content/uploads/2019/03/Helene-Grimaud-Mat-Hennek-300x169.jpg" alt="Lionel Bringuier conducts Ravel's Piano Concerto in G with Hélène Grimaud" width="300" height="169" srcset="https://culturalattache.co/wp-content/uploads/2019/03/Helene-Grimaud-Mat-Hennek-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2019/03/Helene-Grimaud-Mat-Hennek-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2019/03/Helene-Grimaud-Mat-Hennek-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2019/03/Helene-Grimaud-Mat-Hennek-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2019/03/Helene-Grimaud-Mat-Hennek-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2019/03/Helene-Grimaud-Mat-Hennek-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2019/03/Helene-Grimaud-Mat-Hennek.jpg 1920w" sizes="(max-width: 300px) 100vw, 300px" /><figcaption id="caption-attachment-4952" class="wp-caption-text">Hélène Grimaud (Photo by Mat Hennek)</figcaption></figure>
<p><strong>One of the things that is most amazing when I&#8217;m with&nbsp;Hélène is we never talk before we play with the orchestra. Sometimes I have a soloist and conductor meeting to talk about the music and the interpretation. With&nbsp;Hélène, it&#8217;s so natural that we&#8217;ve never had to meet. We play it just like chamber music. I play with her a really demanding piece like the Brahms&nbsp;Piano Concerto and we just meet on stage directly with the orchestra and it clicks very easily. She considers the orchestra and the conductor as her partner.</strong></p>
<p>When you regularly perform a piece of music, how important it is for you as a conductor to say something new about the piece? Or even make a new discovery that keeps you interested?</p>
<p><strong>If it is a piece I have done already or recorded, like&nbsp;<em>Valses nobles</em>, every time I open the score I try to feel it like it was new. I always discover new things. Sometimes we feel also a tempo difference between the last time we did it and the next time. We always bring personal things and feelings. But the most important thing is to go&nbsp;back to the score and the presentation becomes more personal.</strong></p>
<p>What is the effect of Ravel and Gershwin&#8217;s music on your personally, the Philharmonic players and ultimately the audience?</p>
<p><strong>If you take the slow movement of the piano concerto, Ravel manages to have, in a short&nbsp;period of time, all of the&nbsp;emotions of human beings. If you look at the&nbsp;<em>G Major</em> slow movement, it is very soft and meditative and we can feel this in the hall. Everyone gets very quiet. Then within less than one second we play&nbsp;toccata to fast movement. Then we have only four chords and it is very loud and filled with enchantment and joy. That&#8217;s indeed the effect and&nbsp;probably it was on purpose that&nbsp;Ravel did it.</strong></p>
<p><iframe loading="lazy" src="https://www.youtube-nocookie.com/embed/Ro8I3rzQkxw" width="560" height="315" frameborder="0" allowfullscreen="allowfullscreen"></iframe></p>
<p><strong>The same with Gershwin. I don&#8217;t know if it is because I lived in Paris, but I can feel very clearly what he had in mind &#8211; the spirit of Paris and the taxi horns. We always hear people honking in Paris and the agitation you have in the city all the time. I think he was amazed by that and it&#8217;s clearly in the music.</strong></p>
<p><iframe loading="lazy" src="https://www.youtube-nocookie.com/embed/Ros66y1aZ-E" width="560" height="315" frameborder="0" allowfullscreen="allowfullscreen"></iframe></p>
<p>Do you still get excited when you take to the podium?</p>
<p><strong>I&#8217;m&nbsp;always excited to conduct and make music. Last&nbsp;time in Washington I did&nbsp;<em>Petrushka</em>, a piece I&#8217;ve done now more than 50 times. I was excited to conduct it &#8211; like it was the first time. The only thing that changed is I&#8217;m more comfortable&nbsp;with the technical challenges. The beauty of the music still gets me excited.&nbsp;<em>An American Paris</em>, that music is exciting. I can never be bored. It&#8217;s just a joy to do this in the United States.</strong></p>
<p>For tickets to one of the four performances, please go <a href="https://www.laphil.com/events/performances/176/2019-03-28/gershwin-ravel/" target="_blank" rel="noopener">here</a>.</p>
<p>Main Photo courtesy of the Los Angeles Philharmonic</p>
<p>The post <a href="https://culturalattache.co/2019/03/28/conductor-lionel-bringuiers-musical-conversation-with-ravel-and-gershwin/">Conductor Lionel Bringuier&#8217;s Musical Conversation  with Ravel and Gershwin</a> appeared first on <a href="https://culturalattache.co">Cultural Attaché</a>.</p>
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