出版社：Centre de recherches sur les arts et le langage
摘要：In a letter to Alexis Roland-Manuel of October 1, 1914, Maurice Ravel writes, “I can’t remain without news from my friends. From time to time I receive some frightful news, indirectly, which is then denied two days later. That's how I learned of Captain Marliave's death, and I don't dare write to his wife.” 1 Captain Marliave's wife was the esteemed French virtuoso pianist and pedagogue Marguerite Long, who was Ravel’s close friend and preferred pianist in the years after the war. She premiered both his Le Tombeau de Couperin in 1919, and his Piano Concerto in G in 1932. In this same letter to Roland-Manuel, Ravel says that he has just begun working on the Tombeau , the neo-classical piano suite in which he dedicates each movement to a friend who died during the war. The suite's final movement, a rapid-fire, technically-demanding “Toccata,” bears a dedication to the man whose death he mentions in this letter, Joseph de Marliave, who was killed on the front lines on August 24, 1914.
其他摘要：At the beginning of World War I, Maurice Ravel wrote to Roland-Manuel to tell him that he had begun composing the piano suite Le Tombeau de Couperin. In this same letter, Ravel relayed that he heard that Joseph de Marliave, the husband of pianist Marguerite Long, had been killed in combat. The fact that Ravel both dedicated Le Tombeau’s final movement to Long’s husband, and desired Long to premiere the work, suggests that the two news items in this letter are more connected than they at first appear to be. Ravel’s contemporaries, in fact, recognized a connection between grief and musical performance, as Roger-Ducasse attests in writing to Long in 1915 that piano practice would give her the desire to live again after the death of her husband. But precisely how did piano practice function in this way? This article attempts to answer this question by demonstrating that by composing Le Tombeau de Couperin in the jeu perlé style that his friend Marguerite Long preferred, Ravel offered her a way to mourn her husband’s death through a kind of highly repetitive, rhythmic, and kinesthetically demanding pianistic performance that was thought to engender emotional transformation. Through close examination of the correspondence, diaries, archives, and published writings of Ravel and musicians in his social circle, this article illuminates the relationship between mourning and musical practice in early twentieth-century France, while rethinking Ravel’s Tombeau as written not only for soldiers who died in combat, but also for those who survived them.
关键词：La Grande Guerre; Maurice Ravel; Marguerite Long; musique de piano; deuil; musicothérapie; Le Tombeau de Couperin
其他关键词：World War I; mourning; Maurice Ravel; Marguerite Long; piano music; music therapy; Le Tombeau de Couperin
