Les éléments, by Jean-Féry Rebel, is one of the first descriptive representations of the elements, which formed what was called a symphony during the French Baroque period, an ensemble of orchestral dances. The author chose to capture primitive chaos as an overture in the most realistic way possible, thus achieving an unusual and unclassifiable score, far removed from the conventions of his time and approaching the orchestral colours of Ravel, his programme partner.
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As in a return trip, Maurice Ravel turns to the baroque suite of François Couperin - a contemporary of Jean-Féry Rebel - to shape Le tombeau de Couperin, composed in 1917 as a dedication to the friends of the author who had died on the front of the Great War. Béla Bartók’s third piano concert is a touchstone of piano virtuosity. Written during the last months of his life, this posthumous work contrasts with the two previous concerts and demonstrates formal and stylistic release that places it as one of the author’s most lyrical and personal compositions.