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The Gaggle Music Club: Maurice Ravel’s Le Tombeau de Couperin

This week's selection for The Gaggle Music Club is Maurice Ravel’s Le Tombeau de Couperin. Composed between 1914 and 1917, the piece is one of Ravel's most poignant works. It is both a personal elegy and a musical homage. Ravel wrote it originally for the piano, but he later orchestrated four of its six movements.

Ravel began composing the piece before the First World War, but its final shape was affected by the war. The word tombeau in French Baroque music denotes a musical memorial. The piece however is not solely a tribute to François Couperin, the great French Baroque composer. It’s a broader homage to the French clavecinist tradition of the 18th century — including Jean-Henri D’Anglebert and Jean-Philippe Rameau.

More personally, each movement is dedicated to a friend of Ravel's who had died in the war. Ravel served in the war as a truck driver and lost many friends. He said of the suite: “The dead are sad enough, in their eternal silence.”

The work is neo-classical, combining Baroque forms with 20th-century harmony and color. Unlike other World War I-era elegiac works such as Vaughan Williams’s Pastoral Symphony or George Butterworth's A Shropshire Lad, Le Tombeau avoids overt mourning. The work's clarity, wit and elegance make the mourning more profound by understatement.

Le Tombeau de Couperin is an intellectual homage to the French tradition and a profoundly personal work of mourning that however maintains a tone cheerfulness of irony.

In this performance from 2021, L'Orchestre national de France is conducted by Cristian Măcelaru.

00:18:41
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More Leftie Than Thou
"Jacobin" Magazine Celebrates A Strike Against Ol' Blue Eyes

Here at "The Gaggle" we have very little time for the "more Leftie than thou" school of thought--that's the approach to life according to which the only thing that matters is whether you take the right position on every issue under the sun from Abortion to Zelensky. No one in the world meets the exacting standards of this school of thought; any Leftie leader anywhere is always selling out to the bankers and the capitalists. The perfect exemplar of this is the unreadable Jacobin magazine. 

The other day I came across this article from 2021. It's a celebration of trade union power. And not simply trade union power, but the use of trade union power to secure political goals. Of course (and this is always the case with the "more Leftie than thou" crowd), this glorious, never-to-be-forgotten moment on the history of organized labor took place many years ago--in the summer of 1974 to be exact. Yes, almost half a century has gone by since that thrilling moment when the working-class movement of Australia mobilized and prepared to seize the means of production, distribution and exchange. 

Well, not quite. Organized labor went into action against...Ol' Blue Eyes, the Chairman of the Board, the Voice; yes, Frank Sinatra. Why? What had Sinatra done? Sinatra was certainly very rich, and he owned a variety of properties and businesses. But if the Australian trade union movement were, understandably, searching for the bright, incandescent spark that would finally awaken the working class from its slumber there were surely richer, greedier, more dishonest, more decadent, above all more Australian individuals it could have discovered. Australia was never short of them. Rupert Murdoch immediately springs to mind. Why Sinatra?

 

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