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Ravel - Ma Mere l'Oye, Le tombeau de Couperin, Sheherazade - Les Siecles, Roth (2018) [FLAC]

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Torrent File Content (21 files)

Description

Music : Classical : Lossless
 

Artist: Les
Siècles & François-Xavier Roth
Title: Ravel: Ma Mère l'Oye, Le tombeau de Couperin &
Shéhérazade, ouverture de féerie
Year Of Release: 2018
Label: harmonia mundi
Genre: Classical
Quality: FLAC (tracks) + cover + booklet
Total Time: 56:14
Total Size: 204
Tracklist:

1. Ma
Mère l'Oye, M. 62: Prélude. Très lent 03:05
2. Ma Mère l'Oye, M. 62: Premier tableau: I.
Danse du rouet et scène. Allegro 01:58
3. Ma Mère l'Oye, M. 62: Interlude. Un peu moins animé
01:15
4. Ma Mère l'Oye, M. 62: Deuxième tableau: II. Pavane de la Belle au bois dormant. Lent 01:38
5. Ma Mère l'Oye, M. 62: Interlude. Plus lent 00:50
6. Ma Mère l'Oye, M. 62: Troisième
tableau: III. Les Entretiens de la Belle et de la Bête. Mouvement de valse modéré 04:00
7. Ma Mère
l'Oye, M. 62: Interlude. Lent 00:40
8. Ma Mère l'Oye, M. 62: Quatrième tableau: IV. Petit Poucet.
Très modéré 03:32
9. Ma Mère l'Oye, M. 62: Interlude. Lent 01:20
10. Ma Mère l'Oye,
M. 62: Cinquième tableau: V. Laideronnette, impératrice des pagodes. Mouvement de marche 03:24
11. Ma Mère
l'Oye, M. 62: Interlude. Allegro 01:07
12. Ma Mère l'Oye, M. 62: Apothéose. Le jardin féerique.
Lent et grave 03:35
13. Shéhérazade, ouverture de féerie, M. 17 13:13
14. Le Tombeau de Couperin, M.
68a: I. Prélude. Vif 03:00
15. Le Tombeau de Couperin, M. 68a: II. Forlane. Allegretto 05:39
16. Le Tombeau
de Couperin, M. 68a: III. Menuet. Allegro moderato 04:42
17. Le Tombeau de Couperin, M. 68a: IV. Rigaudon. Assez
vif 03:16

In this recording, it’s interesting to compare the two works for so-called ‘small
orchestra’, Le Tombeau de Couperin and Ma mère l’Oye. For, when discussing Ravel’s orchestral
music, one thinks more readily of the large symphony orchestra in all its luxuriance, of the teeming array of
percussion, which often requires a timpanist and seven percussionists. In these two pieces, the orchestration is
deliberately reduced, for two very different reasons. In one case, Ravel was writing with an eye to childhood –
indeed, to children themselves – with Ma mère l’Oye; in the other, he was composing Le Tombeau de
Couperin in homage to his friends who had been killed in the war. So we’re looking here at composition in two
totally different sets of circumstances.

Ma mère l’Oye is a cycle of pieces originally written for
piano played by four childish hands. The version we have recorded with Les Siècles is an orchestration to which Ravel
added transitions and a tableau (Danse du rouet et scène) in order to create a ballet, premiered in 1912 at the
Théâtre des Arts. Le Tombeau de Couperin is a tribute to French Baroque music, in which each piece clearly refers
to a dance of that period. The French music of the seventeenth and eighteenth centuries had been brought back into
fashion by Camille Saint-Saëns, among others, shortly before Ravel’s musical education began. He seized on
this repertory, and here he produced a work of an entirely novel kind. As is always the case with Ravel, each work is an
experiment, a sort of unique diamond, without an earlier model. These are genuine études on Baroque dance, with each
piece presenting a tempo, a rhythm, a melodic and harmonic language of its own, like an étude by Chopin. Imbued with
nostalgia and great melancholy, but also vivacity and virtuosity, this music offers a new role to the wind instruments
and especially the woodwind, which Ravel set about transcending. This new role for the wind instruments was of decisive
importance in the evolution of their playing style in the course of the twentieth century.

Shéhérazade,
ouverture de féerie is a more rarely performed work, because it dates from much earlier in Ravel’s career.

Yet it’s very touching to hear the young composer writing for large orchestra in this overture and
undertaking experiments with orchestral textures that he was later to use in Daphnis et Chloé or La Valse.

Naturally, we play all these works on the instruments that Ravel knew; these French-built instruments of the late
nineteenth or early twentieth century are here often placed under great strain, pushed to their furthest limits of
virtuosity and dynamics, as for example with the oboe in Le Tombeau de Couperin. We find in this music the fragility and
urgency that Ravel quite deliberately aimed to achieve, with his detailed knowledge of the French style of
wind-instrument making. For their part, the gut strings still used at that time contribute their silky, enveloping
sonority and their incisive attack and articulation. F-X Roth

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