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In , they were spotted by Cappellini, giving them their first industrial design projects. They began working with the Galerie kreo in and had their first solo show there in Their work has covered many field ranging from the design of small objects as jewellery to spatial arrangements and architecture, from craftsmanship to industrial scale, from drawings to videos and photography. The designers also maintain an experimental activity with Gallery kreo, which is also essential to the development of their work.

In , the city of Rennes showed their latest researches in 4 exhibitions in three different places Frac Bretagne, Les Champs Libres and the Parliament of Bretagne. A special website has been conceived for the occasion: www. A comprehensive monograph was released in , Works, Phaidon Press. In , under the art direction of Cornel Windlin, JRP Ringier published a page paperback book called Drawing that collects more than drawings that Ronan and Erwan Bouroullec made between and Their studio is based in Paris.

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Clouds, Kvadrat, Danemark. Camper store, Camper, Paris, France. Camper store, Camper, Copenhaguen, Danemark. Papyrus chair, kartell, Italy. March April August 10 - Decembre 2. June 14 - Sept June 14 - June Editions Pol Sofa, Kartell, Italy. Steelwood collection, Magis, Italy. Stone Light, Swarovski, Austria. The Stitch Room, Vitra, Switzerland. Slow Chair, Vitra, Switzerland. Worknest, Vitra, Switzerland. October Haus der Kunst, Munich, Germany.

December 3. Presented in Cairo in , and Herford in Tri Postal. Lille Editions North Tiles, Kvadrat, Denmark. Il est aussi ouvert aux visites neuf fois par semaine. Le dernier en date Camarade la lutte continue! Il est triste de penser que M. It sounds a bit like a machine breaking down: notes follow one another jerkily just as a machine slows down and speeds up due to tiny bits of rust lodged in the grooves of its cogs.

This feeling in and through the flesh might be understood as a physical transduction of the psychic and indeed physical pain experienced in intense grief. Bach, and Handel that display extended passages of perpetual-motion-style keyboard technique. Roger-Ducasse's G-sharp minor Etude, which Long tells us was composed specifically as a way of persuading her to begin performing publicly again, demands an extraordinary degree of technical skill and employs a large amount of figural repetition. After each of these mid-Etude moments of repose, the pianist must immediately return to her fast-paced perpetuum mobile.

Roger-Ducasse composes lengthy passages where the performer plays the exact same fingering pattern over and over again, only shifting her hands up and down the keyboard according to pitch set.

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Gaubert, for instance, whose Sonata for Flute and Piano was completed in June , writes a moving letter to Nadia Boulanger in April about having buried a friend of his who had been killed in the trenches on January 26 th. Thus it is not difficult to imagine that for Ravel, Debussy, Roger-Ducasse, and Gaubert, creating these challenging and yet somewhat hypnotic compositions gave them the opportunity to bring a sense of rhythmic stability and comfort back to their minds and bodies.

Although Ravel had initially wanted to compose a piano concerto to play himself, he decided instead to write a concerto specifically for Long.

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In addition, when Ravel brings back this theme at the end of the movement, he gives this melody to the English horn, an instrument traditionally associated with mourning and lament. In yet another incredibly kind gesture of musical friendship, Ravel chooses this precise moment to give Long what he knows might help her most: the opportunity to hear her grief sympathetically voiced by someone else while her fingers move through measure after measure of technical-exercise-like and highly rhythmically regular passagework composed of steady thirty-second notes.

They say that I play this concerto well. It is because it evokes for me so many poignant memories! However, it is likely that the concerto was also a touching reminder in sound and movement of her friendship with Ravel, their shared experience of resistant mourning, and the ways in which, for both of them, making music offered a way to express and cope with grief. I am indebted to Professor Buch and the graduate students who attended his seminar, as well as to all of the respondents to previous versions of this paper for their invaluable feedback.

I would also like to thank Nina Eidsheim for encouraging me to explore the relationship between grief and pianistic performance in her UCLA graduate seminar, Musicology in the Flesh, in the spring of In addition, I would like to thank Robert Pearson, Erin Jerome, Karen Turman, and Fanny Gribenski, as well as my fellow UCLA graduate students who participated in dissertation seminar in January , for providing immensely helpful feedback on earlier versions of this paper. Finally, special thanks go to Tamara Levitz for her always thoughtful and invaluable comments on earlier versions of this article, as well as for her incredible and continuing support as my dissertation advisor.

Laffont, , p.

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  • It is still unclear as to whether the performer for that recording was Casadesus or Ravel. D diss. For more on this, see the my dissertation, op. Toute la nuit, seule dans le grand lit de maman, je ne pus dormir une minute. On les portait presque. Ils ne pouvaient rester debout. For more on the relationship between social rules regarding emotional display and World-War-I-era French cultures of heroic masculinity, see my dissertation, op.

    The ability to speak about the death in question, however, is a significant factor as well.


    Julliard, , p. Le seul et vrai et long adoucissement est de sentir que la souffrance ne passe pas. BnF, Mus. Daubin, , p. It is not known precisely when he died, although it was sometime in late or early She had performed in a solo recital to benefit prisoners of war at the Golf Hotel in Saint Jean-de-Luz in the summer of Contemporaries of Long such as Alfred Cortot and Blanche Selva promoted pianistic performance styles that used far more of the wrist, arms, and upper body, as well as more pedal.


    I do not wish to diminish the extent to which these performance styles may have been utilized as a means of coping with grief at the keyboard in World War I-era France. There were, I would argue, many different ways in which people used time at keyboard as a means of accomplishing emotional work, whether in France or elsewhere. As I discuss at greater length in my dissertation, op, cit.

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