Rhythmic instability dogs him throughout. Kurt Masur’s 1993 New York PO recording boasts some magnificent soloists (his trombonist rocks), but Masur is in undemonstrative, steady-as-she-goes mood. Jeremy Nicholas wrote that the album offered a 'masterly Gaspard in which an astonishing array of touch and tonal colouring are brought to bear in Grosvenor’s vivid, distinctly defined characterisation of all three movements.'. Ravel and Ansermet Produce The Best Bolero on Vinyl. Esoteric ESSD-90207. MA Music, Leisure and Travel Boléro is experimental and conceptual art which, through no fault of its own, went mainstream. Not surprisingly Ravel himself wants to showcase Boléro’s poetic fantasy but, sadly, his conducting technique falls far short. Later the same month, Ravel himself led the Orchestre des Concerts Lamoureux in a recording for Polydor; on April 30 Serge Koussevitzky and the Boston Symphony Orchestra gave us the first American version. Boléro has attracted interpreters ranging from Pierre Boulez to James Last. Without question, this is the best recording we have had of this pungently evocative work.’ Gramophone (Rapsodie espagnole) He is often more languorous, the performance nearly four minutes slower than the Decca account. The first recording of Boléro has been attributed to Maurice Ravel himself at the head of the Concerts Lamoureux orchestra, rehearsed by Albert Wolff. After listening for a while to his music through a box set I'm realizing that I want to build a library of his work more deliberately and find better recordings. Maya Plisetskaya. Ravel’s Bolero. This article originally appeared on the Awards 2010 issue of Gramophone. Lv 4. C trombones were available and used at least sporadically in France back in the days of this piece’s premier. In the former recording Ravel pays special attention to that first game-changing polytonal twist and manufactures a mechanistic, music-box tone that resembles a pianola or orchestrion. There is a mix of classic recordings (Crespin's Shéhérazade from 1963, Boulez's 1974 Boléro) and very recent releases (Roth's Daphnis et Chloé from last year) so there should be something new and interesting to discover for even long-time Ravel lovers. Ravel is one of my favourite composers. B3. Lorin Maazel’s 1996 VPO account is similarly noncommittal, as though one day Maazel will look back over his glittering career, unable to remember if he recorded Boléro or not. Claudio Abbado, in 1985 with the LSO, isn’t entranced by Boléro’s secrets like Rattle, but his more objective view has a power all of its own. But, for all its faults, Coppola’s picaresque period details remain a fascinating portal into a lost age. The brutal collapse of the final bars invokes the equivalent moment in The Rite of Spring. [5/30/2001] Buy Now from Arkiv Music Recording Details: Maurice Ravel (1875-1937): Bolero. Last edited by Enthusiast; Jun-05-2019 at 12:59 . 5 years ago. Genre/Form: Streaming audio: Additional Physical Format: Source record: Ravel, Maurice, 1875-1937. Winner of Gramophone's Opera Award in 2014, this DVD double-bill of Ravel operas from Glyndebourne is directed by Laurent Pelly and delivers 'enormous pleasure', according to Gramophone's critic Richard Lawrence. This music is not about marking time by transforming material: Ravel drives Boléro towards motorik self-oblivion. Related posts: Including this amazing Bolero, the best copy we’ve ever heard! An impressive performance of Ravel's Bolero by the orchestra directed by the Dutch violinist and conductor Andre Rieu. The Lamoureux players are more technically stable than Coppola’s orchestra (with a special merit badge going to their extraordinary soprano saxophonist), but Ravel’s band-master tempo and the shrill rattle of his snare drum add unfortunate (presumably unintended) militaristic undertones – a historical curio rather than any sort of lead contender. DG’s remastered sound is noticeably more open than on the 3-CD complete set issued in the 1990s (now, of course, deleted). Maurice Ravel: Bolero / Gustavo Dudamel conducts the Wiener Philharmoniker at Lucerne Festival 2010; Ravel: Complete Piano Music; The Best French Classical Music | Ravel, Chopin, Debussy, Poulenc, Saint-Saëns… Ravel: Piano Solo Ravel's own recording from January 1930 starts at around 66 per quarter, slightly slowing down later on to 60–63. Sultry, languorous yet sung with a richness of tone, this is classic version of this ravishing work, coupled here with Berlioz's Les nuits d'été. : EMI Classics, [2011], p2005 (OCoLC)797985387 Explore the best Ravel works featuring 10 essential pieces including ‘Boléro’, ‘Daphnis Et Chloé’ and ‘Pavane Pour Une Infante Défunte’. In our October 2010 issue, Pierre Boulez talked of Boléro as Ravel’s “bet” to prove he could do “something outlandish”, reckoning that “Ravel’s genius is finding exactly the right colour for a melodic line”. The tenor and soprano saxophone soloists project with a pulsating, chuckling vibrato that issues warnings to later performers not to confuse this clearly defined early-20th-century saxophone style with the instrument’s subsequent immersion in American jazz. Gramophone's Duncan Druce labelled the Hyperion release a 'must-hear recital'. French Horn [Solo] – Charles Kavaloski *. But Simon Rattle’s 1990 CBSO performance is all about the mystery of the process, as he conjures up a canny balance between an orderly, catalogue-like exposition of Ravel’s evolving textures against a palpable air of something other-worldly, supernatural even, as the denouement approaches: you can’t have all this repetition without consequences, Rattle implies. Karajan relishes mulching Ravel’s strings into pretend guitar strumming but an easily fixable botched clarinet note at 1'08" and a wrong note at 5'21", as the trumpeter shadowing the snare drum rhythm errs, are emblematic of a disappointingly casual approach. Which is the best recording of Ravel's "Bolero"? Abbado goes for the kill at the end: pouncing trombone glissandos rip through the orchestra and, in the final bar, the tam-tam resonates so fiercely it stops only after the rest of the orchestra, busting through the orchestral frame. Boléro’s recorded history begins on January 13, 1930, with Piero Coppola and the Grand Orchestre Symphonique du Gramophone onstage at the Salle Pleyel in Paris. About Mark Allen Group Both sides here earned our highest grade of Triple Plus, making this the best copy to ever hit the site. Ravel went on to compose his two piano concertos, while the insistent rhythmic ebb and flow of La valse, written as early as 1920, and coming complete with an imploding climax of its own, provided something of a blueprint. Gramophone is brought to you by Mark Allen Group Boléro (Ravel, Maurice) Since this work was first published after 1925 with the prescribed copyright notice, it is unlikely that this work is public domain in the USA. It’s not totally faithful to Ravel’s intent but, I think, unless you speed up the tempo slightly at the end, the piece is much less exciting. Stereo/Multichannel Hybrid. But his Boléro is textbook; the “rightness” of his tempo is evident, and the Orchestre National de France answer back with characterful, accurate playing. That’s twist number one. Philip Clark seeks out the finest moments of an 80-year recording history. Ravel’s extremely rich orchestral and piano sound has tended to drive the envelope in recording technology. 4 years ago. An Editor's Choice recording in 2011, Ibragimova and Tiberghien paired Ravel's complete works for violin and piano with Lekeu's Violin Sonata. In 1974 Pierre Boulez recorded Boléro with the New York Philharmonic, Leonard Bernstein’s old orchestra; a year later Bernstein and the Orchestre National de France reciprocated this spirit of cultural exchange. Gramophone is part of Living Stereo 82876663742. The celesta chimes manfully against the other instruments as he balances the polytonal passage and the endgame arrives with a raucous coarsening of the orchestral tone to mark the key change; just as Boulez didn’t compromise on Ravel’s pianissimo, now he doesn’t hold back on the extra percussion Ravel deploys to stoke the roar of his final bars. My favourite is Riccardo Chailly’s, conducting the Concertgebouw Orchestra. Geoffrey Simon and the Philharmonia in 1986 deliver a trusty account, with savvy orchestral solos and a physically impressive finale. La Valse - Poème Symphonique (Mouvement De Valse Viennoise - Un Peu Plus Modéré - 1er Mouvement - Assez Animé) Engineer [Recording… I don’t know about you, but I love losing myself in unfamiliar urban terrain, the plan being to have no plan, walking aimlessly with a purpose, discovering new perspectives on skyscraper vistas, stumbling into a hitherto unseen street or square. Only by embracing Boléro’s surface similarities can the ornate splendour of Ravel’s meticulously plotted sequence of variations be appreciated. Boulez’s beginning is understated – worryingly so as he obeys Ravel’s pp marking to the letter – but his performance soon blossoms. Boléro, one-movement orchestral work composed by Maurice Ravel and known for beginning softly and ending, according to the composer’s instructions, as loudly as possible. Boléro. To which Ravel reportedly replied, "Then don't play it at all". Classical - Orchestral. Martinon cracks into the score like a bloodthirsty ritual. As the sequence of wind solos unfolds, he keeps the accompanying wind instruments – like the trumpet shadowing the snare drum mentioned previously – crisply articulated, and the insistent peck of the NYPO’s flautists as they tongue their repeated note adds weight to the impetus. Bolero (1928). A version paying fulsome homage to the Spanish roots of Boléro. Were they persuaded by Boléro’s lollipop status that it was easy? 4- Did Ravel actually record his Boléro? ', Winner in the Instrumental category at the 2012 Gramophone Awards, Benjamin Grosvenor's debut album for Decca was highly auspicious. Boléro’s obsessive-compulsive temperament has even raised questions about whether Ravel was already exhibiting symptoms of the brain disease that would kill him in 1937. [14] Coppola's first recording, at which Ravel was present, has a similar duration of 15 minutes 40 seconds. Boléro is about developing a single moment in time, obsessively rethought/re-shaded/redrawn/revisited, revealed through shifting perspectives on itself; a single moment that snakes around its own melodic contours, that looks to future time and imagines an orchestra filled with exotica such as saxophones and an oboe d’amore, underpinned by the most famous snare drum part in all music. The first track of Ravel's Greatest Hit - The Ultimate Bolero is a traditional, yet recent, performance from the Boston Symphony with Charles Munch conducting. What is the best recording of Ravel's Bolero? What to make of Boléro in the hands of these two ideologically polarised maestros? Gramophone is brought to you by Mark Allen Group Bassoon, Contrabassoon – Sherman Walt. With the performance motoring towards its climax the tempo fluctuates wildly but, as a first airing, Coppola gives a decent account. His woodwind soloists (clarinet especially) fumble around their solos, and the woodwind section at 9'20", as they attempt to carry the theme, are partially obscured by the brass and percussion. The tight, high-pitched drone of his snare drum focuses attention on the remorseless continuum as the tension escalates and, excepting some unfortunate tuning from the E flat clarinet, the other woodwind soloists are alert and soulful. Answered 1 year ago. For the rest, the Monteux recording of Daphnis et Chloe has long been a favourite but Philippe Jordan is also very good. Les Siècles & Ensemble Aedes / François-Xavier Roth, Released just last year, this is a modern, period-instrument, alternative to Pierre Monteux's 1959 classic recording which seeks to evoke the soundworld of the 1912 Paris premiere performance. Transcription for recorder and piano by Massimo Pennesi. 7:38. But its enduring presence in the recording studio is not difficult to account for. Sols; Glyndebourne Chorus; London Philharmonic Orchestra / Kazushi Ono. Its hypnotic melodies, rhythms and brilliant orchestral colors have insured its popularity with audiences everywhere. In 1980 Eduardo Mata, with the Dallas SO, get off to a bracing start with snare drum strokes sounding as taut as a drill bit. Best Bolero. Despite Ravel’s title, Boléro’s roots as a ballet written for Ida Rubinstein in 1928 might be easily overlooked because it feels like such a “music thing”. [14] I’ve ignored the many transcriptions but Ravel’s own two-piano arrangement is worth checking out, especially in the 1988 performance by Wyneke Jordans and Leo Van Doeselaar, as is Humphrey Lyttelton’s tribute, Blues in Bolero, on his 2005 album “Sad, Sweet Songs & Crazy Rhythms”. Visit our Subscriptions page to choose a subscription package that suits you. [7] Its total duration is 15 minutes 50 seconds. Tuesday, June 3, 2014, Boléro has attracted interpreters ranging from Pierre Boulez to James Last. If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information. About Mark Allen Group Gramophone is part of | Maurice Ravel: NPR Ravel: Bolero on CD, SACD, DVD, Blu-ray & download. This first version is nice and deliberate. But let’s go out on a high. The Best Of: 冨田勲: 1984-11-05 ... PD83412: 1.5: Bolero (Ravel) 9:20: Tomita's Greatest Hits CD: ... recording of: Boléro: Related works Boléro. The cry of the sultry, off-shrill woodwind section at 9'00" is awe-inspiring but Ormandy’s dogged control poleaxes the impact of the long-deferred climax when it eventually arrives. He gives the steering wheel two game-changing twists and revs up the engine with a killer paradox. No one who loves French music or exquisite piano-playing will want to miss this. Pavane Pour Une Infante Défunte. Two further Cincinnati-based performances were released in 2003 and 2007. This interactive score was published first in the post Bolero, in the blog educacionmusical.es. And therein is its essence. However, Roth attacks the ‘Danse guerrière’ with more vim and also whips up a faster bacchanalian finale. Wednesday, March 7, 2018, From Boléro to Daphnis et Chloé, here are Maurice Ravel's greatest works in outstanding recordings. ... turn's out that's the only recording of Bolero I have. However, it is in the public domain in Canada (where IMSLP is hosted), the EU, and in those countries where the copyright term is … Ravel usually knew what he was doing in terms of orchestration, and his Bolero lies, um, awkwardly at best on a Bb trombone. Date / Artists / Record company (review date), 1930 Gramophone SO / Coppola Andante AN1978, 1930 Lamoureux Orch / Ravel Pearl GEMMCD9927 (1/93); Urania SP4209, 1930 Boston SO / Koussevitzky RCA 09026 61392-2, 1954 RAI Orch, Turin / Celibidache Nuova Era 23938, 1960 Philadelphia Orch / Ormandy Sony SBK48163, 1961 Paris Cons Orch / Cluytens EMI 767897-2, 1964 LSO / Monteux Decca 475 7798DC7; Philips 464 733-2PM, 1966 BPO / Karajan DG 427 250-2GGA (7/89); 447 426-2GOR (12/95); 469 184-2GP2; 477 7161GM, 1974 NYPO / Boulez Sony 88697 56229-2 (2/91R; 6/10), 1974 Orch de Paris / Martinon EMI 568610-2; 492395-9; 575526-2; 500892-2, 1974 Rotterdam PO / de Waart Pentatone PTC5186 167, 1975 French Nat Orch / Bernstein Sony SMK60565, 1977 Melbourne SO / Serebrier ASV CDQS6078, 1980 Dallas SO / Mata RCA VD60485 (2/91); 74321 68015-2, 1980 St Louis SO / Slatkin Telarc CD80052, 1985 LSO / Abbado DG 439 414-2GCL (6/94); 445 519-2GMA; 459 439-2GTA2; 469 354-2GTR3, 1986 Philharmonia / Simon Cala CACD1004 (11/91); CACD0102, 1988 Cincinnati SO / López-Cobos Telarc CD80171 (12/88), 1988 Jordans, Van Doeselaar (arr Ravel for two pfs) Et’cetera KTC1054, 1989 Bergen PO / Kitaenko Virgin 561901-2, 1994 Munich PO / Celibidache EMI 556526-2, 1996 Gran Canaria PO / Leaper Arte Nova 74321 43317-2, 2003 Cincinnati SO / P Järvi Telarc CD80601 (7/04); SACD60601, 2005 Anima Eterna / Immerseel Zig-Zag Territoires ZZT060901 (10/06), 2007 Cincinnati Pops Orch / Kunzel Telarc CD80703. Ravel’s BOLERO is the most-recognizable piece of orchestral music ever written. Ansermet accompanies exquisitely. This recording features a trombone pitched in “C,” not Bb. Sergiu Celibidache does take a definite view: at 18'11" his 1994 version is by far the longest and it’s a wonder the Munich PO manage to keep going. He crashes it into itself as the curtain falls because, let’s be honest, where else could this material go? Three years later José Serebrier and the Melbourne SO get off to the worst start imaginable: the snare drum player throws the first bar into confusion by failing to give each note its proper proportional duration. ', Read the full Gramophone Collection article, Gramophone's Recording of the Year in 2009, Quatuor Ebène's album also includes quartets by Debussy and Fauré. A year later, André Cluytens and the Orchestre de la Société des Concerts du Conservatoire run in the opposite direction. I understand the Montreal Symphony conducted by Dutoit is a good one. A 1954 Celibidache recording from Turin also flops badly: split notes, infirm rhythms and intonation to make you wince. His technicoloured climax is spectacular, the only concern here being his tenor saxophonist’s hammy dance-band honk. 0 0. Commissioned by the Russian dancer Ida Rubinstein, Boléro was first performed at the Paris Opéra on November 22, 1928, with a dance choreographed by Bronislava Nijinska. Released in 2006, Jos van Immerseel and Anima Eterna is the only recording to engage with Historically Informed Performance issues. Perhaps taking a leaf out of Boulez’s book, he realises the importance of those harp bass-lines, and fastidiously tiered dynamics are gradually released as the structure unfolds, adding to the sensation of being sucked inside Ravel’s enigma. The BSO’s extra clout comes into its own around 9'00" as the strings take over the theme; at the same time there’s an abrupt lurch forward in tempo, but the seamless uniformity of string tone is hugely impressive. Ravel knew of what he wrote. For the Left-Hand Concerto I admire the suavity and ravishing textures of Louis Lortie. As is his wont, this is a personal perspective, but all the phenomenology in the world can’t make this exaggerated and buttoned-up performance better. Critic Rob Cowan noted that ', If you are a library, university or other organisation that would be interested in an institutional subscription to. With fine choral contributions from the Ensemble Aedes, this new recording is highly recommended. Similar questions surround Debussy’s Jeux and Stravinsky’s The Rite of Spring – ballet scores that, like Boléro, feel liberated from the narrative and symphonic expectations of a concert environment. ', Jean-Yves Thibaudet's album was critic Bryce Morrison's top choice in his 2008 Gramophone Collection article surveying recordings of Ravel's complete piano music. Unfortunately Mata’s emotionally charged conclusion is spoilt by muddy and slapdash ensemble. He establishes a fact-of-life from which no subsequent recording has been immune – Boléro can make an orchestra shine brightly, yes, but Ravel’s ritual of instrumental solos, featuring the woodwind and brass principals, also regularly exposes weak links in the orchestral chain: the flautist orientates him/herself around Ravel’s snaking melody by making a feature of his slurring and staccato indications, staying unswervingly in tune while the clarinettist and bassoonist suffer from rhythmic wobbles and uncertain intonation. Philip Clark seeks out the finest moments of an 80-year recording history. It is, of course, part of the wallpaper of popular culture, the only piece that both Pierre Boulez and James Last have an opinion about. 6:14. Ravel: Bolero - Browse all available recordings and buy from Presto Classical of organ sounds, one which he feels best corresponds to those of the orchestra. Here’s hoping that the remainder of this fabulous collection will be forthcoming. When he originally reviewed the album in 1992, Morrison usefully summed up what he saw as the (then) competition on record: 'No Ravel piano collection would be complete without a Gaspard from Argerich (DG, 12/87), Pogorelich (DG, 11/84), Gavrilov (EMI, 4/88), Ashkenazy (Decca, 6/85) and Nojima (Reference, 10/90) and, dividing the issue still further, the ''Prelude'' and ''Toccata'' from Le tombeau de Couperin from Casadesus (Sony Classical) and Gilels (Olympia, 11/88) respectively. His crash cymbals, bass drum and tam-tam strokes make your speakers sizzle. The "Bolero" that begins this recording, however, is by the Halle Orchestra under the baton of Sir John Barbirolli. The wind solos are strong (although flute overtones, picked up by the microphones, inadvertently “whistle” above the texture). Immerseel revels in local colour: the low-end interference of the contrabassoon and bass clarinet buzzing under the trombone solo is thrilling, and the last few bars are flooded with rude, lecherous trombone glissandos. Cracking into the Spanish roots of the bolero dance form, he unpicks Boléro’s ritual core and rides the tension like a bullfight. MA Music, Leisure and Travel Then twist number two: after cruising in C major for 15 minutes, Ravel slips the harmonic gearstick up into E, causing a jolt that refuels his narrative and readies listeners for that crash-land climax. 1 decade ago. Top 10 Ravel recordings Gramophone Wednesday, March 7, 2018 From Boléro to Daphnis et Chloé, here are Maurice Ravel's greatest works in outstanding recordings A good performance, one sensitive to Ravel’s timbral adventures, can lend an orchestra a brilliant shine. If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information. Source(s): https://shrinkurl.im/bavKj. Receive a weekly collection of news, features and reviews, Philip Clark Our original reviewer, David Fanning, placed the recording in context: 'In the G major Concerto I’ll still turn happily to Argerich for mischief and abandon, and to Michelangeli for breathtaking eloquence in the slow movement. Choreography by Maurice Béjart. The HIP performance (both meanings of the word included), with authentically sourced instruments and re-thought orchestral textures. And 1974 proved a vintage year, with performances by Jean Martinon (the Orchestre de Paris again), Seiji Ozawa (the Boston SO again) and Edo de Waart (with the Rotterdam PO). The opening woodwind solos are a muddle: the solo flute is given a wholly inappropriate ambient veneer, while the accompanying flute figure (marked pp) dominates later as the clarinet (marked p) is supposed to take the lead. He was a student of Faure and his early career was surrounded by controversy as an avant garde member of the Apaches. André Previn and the LSO, also from 1980, are disappointing. ‘It is a tip-top performance, wide in dynamic range and thoroughly sensitive to the virtuosic demands of Ravel’s orchestration. 2 Debussy: La Mer, Prélude à l'après-midi d'un faune His tempo, pacier than Ravel’s, is eminently danceable and rhythms are articulated with a clear sense of purpose. I concur with Cluytens and Martinon as being generally highly recommendable. Maurice Ravel Frontispice - Bolero. Paavo Järvi, like López-Cobos before him, struggles with the Cincinnati SO woodwinds, while Erich Kunzel, leading the Cincinnati Pops, manages a more characterised but unexceptional performance.
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