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”. 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. In 1931 Ravel described Boléro as “consisting wholly of orchestral tissue without music” – words that have sometimes been unsympathetically fired back at him as an admission of inadequacy. Genre/Form: Streaming audio: Additional Physical Format: Source record: Ravel, Maurice, 1875-1937. Previn’s sluggish tempo is bad enough but there are surprisingly elementary slips, like at 4'53" where flute and trumpet, supposedly in unison, trip over each other’s entry. 0 0. Ravel's own recording from January 1930 starts at around 66 per quarter, slightly slowing down later on to 60–63. Ravel usually knew what he was doing in terms of orchestration, and his Bolero lies, um, awkwardly at best on a Bb trombone. ‘It is a tip-top performance, wide in dynamic range and thoroughly sensitive to the virtuosic demands of Ravel’s orchestration. ', 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. He was a student of Faure and his early career was surrounded by controversy as an avant garde member of the Apaches. Maurice Ravel’s Boléro scratches that same mesmerising itch. 0 0. fredline. This first version is nice and deliberate. ', Régine Crespin; Suisse Romande Orchestra / Ernest Ansermet. 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. 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. About Mark Allen Group In 1968 Charles Munch and the Orchestre de Paris slugged it out at a still broader tempo (17'08" to Karajan’s 16'09"), and both performances stumble into the same trap: the players struggle to phrase and sustain their lines as the music inches forwards. Anonymous. La Valse - Poème Symphonique (Mouvement De Valse Viennoise - Un Peu Plus Modéré - 1er Mouvement - Assez Animé) Engineer [Recording… Martinon, Rattle and Abbado score highly, but Boulez digs deepest into Boléro’s complex substructures of harmonic trompe l’œil and orchestral illusion. Without question, this is the best recording we have had of this pungently evocative work.’ Gramophone (Rapsodie espagnole) Ravel is one of my favourite composers. A year later, André Cluytens and the Orchestre de la Société des Concerts du Conservatoire run in the opposite direction. 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. International licensing, Quatuor Ebène's album also includes quartets by Debussy and Fauré. 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. 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.'. 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. [7] Its total duration is 15 minutes 50 seconds. : EMI Classics, [2011], p2005 (OCoLC)797985387 Maurice Ravel (1875-1937): Bolero. Published on March 6, 2020 Bolero: Orchestral Masterpieces Maurice RAVEL (1875-1937) Bolero (1928) [14:50] Alborada Del Gracioso (1918) [7:24] La Valse (1919-20) [13:09] Ma Mère L’Oye - Suite (1911) [16:55] Piano Concerto in D Major for the Left Hand [18:32] Piano Concerto in G Major [21:50] Tzigane [9:51] Shéhérazade [16:27] Cracking into the Spanish roots of the bolero dance form, he unpicks Boléro’s ritual core and rides the tension like a bullfight. Boléro has attracted interpreters ranging from Pierre Boulez to James Last. 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. 5 years ago. Choreography by Maurice Béjart. ', Winner in the Instrumental category at the 2012 Gramophone Awards, Benjamin Grosvenor's debut album for Decca was highly auspicious. Ozawa’s ending also comes with a sting but there are too many shortcomings (lots of obvious edits, too) along the way. 1 decade ago. Leonard Slatkin’s über-slow performance with the St Louis SO (1980) is uncaring and shockingly unpolished; the Cincinnati SO’s woodwind soloists, under Jesús López-Cobos in 1988, let the side down badly; at 17'04" Dmitri Kitaenko and the Bergen PO (1989) is another slow burner…except not much heat is generated and the players sound like rabbits caught in the headlights; Adrian Leaper offers two versions (1991 and 1996), his first (with the RPO) rushed and full of raggedy ensemble passages while his second (Gran Canaria PO) is merely a “job done” sort of performance. 4- Did Ravel actually record his Boléro? The top choice in Philip Clark's 2010 Gramophone Collection article surveying all of the important recordings of Ravel's most famous work. A version paying fulsome homage to the Spanish roots of Boléro. Released in 2006, Jos van Immerseel and Anima Eterna is the only recording to engage with Historically Informed Performance issues. Martinon’s view is refreshing and individual. Only by embracing Boléro’s surface similarities can the ornate splendour of Ravel’s meticulously plotted sequence of variations be appreciated. 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. Explore the best Ravel works featuring 10 essential pieces including ‘Boléro’, ‘Daphnis Et Chloé’ and ‘Pavane Pour Une Infante Défunte’. Ravel teases the senses. He crashes it into itself as the curtain falls because, let’s be honest, where else could this material go? For his ready wit and the fact that history proved the composer right: Ravel: 1 - Toscanini: 0. Stereo/Multichannel Hybrid. 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. Just before the E flat clarinet solo, Boulez also spotlights an effectual, but often buried, descending bass-line in the harp. Tuesday, June 3, 2014. His technicoloured climax is spectacular, the only concern here being his tenor saxophonist’s hammy dance-band honk. By its very nature, no Top 10 list could hope to include all of the wonderful recordings of Ravel's music that we have available to us today. 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. 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 However, it is in the public domain in Canada (where IMSLP is hosted), the EU, and in those countries where the copyright term is … The forensic detail flows en route – when the double basses enter at 3'19" Ormandy makes their thud count and I like the undertone clank of celesta audible throughout the polytonal passage. Bassoon, Contrabassoon – Sherman Walt. Incidentally just like the minimalist composers of today, Ravel developed the Bolero piece in a controlled form of monotony but contained within its self the capacity to sedate and capture an audience, the Bolero piece is simple, combined with the fact that it is an extraordinarily original piece of music done in the key of C major, carefully brushing into a minor key it produces a beautiful atmosphere, this piece is repeated over and over again, lacking elements of ornaments and is persistent to a constant drone of a side dru… The brutal collapse of the final bars invokes the equivalent moment in The Rite of Spring. An impressive performance of Ravel's Bolero by the orchestra directed by the Dutch violinist and conductor Andre Rieu. 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. [S.l.] 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. Here’s hoping that the remainder of this fabulous collection will be forthcoming. But Simon fails to make the case that Ravel – asking an orchestra to repeat the same melody reductio ad absurdum – is doing anything especially unusual. Having composed scores as refined as Miroirs, Ma Mère l’Oye and Daphnis et Chloé, Boléro’s instant success bemused Ravel. 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”. As we reach the 1980s and ’90s, other performances discount themselves immediately. Woven subliminally into the slipstream comes a moment of pure psychedelic make-believe as two piccolos, horn and celesta tickle Ravel’s theme in three keys simultaneously (C, E and G), a misterioso hybrid sound-colour that leaps out of the orchestra like a fish and registers as unearthly, synthesised, electrical without all the wires. Two further Cincinnati-based performances were released in 2003 and 2007. 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. 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. I understand the Montreal Symphony conducted by Dutoit is a good one. 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. Both sides here earned our highest grade of Triple Plus, making this the best copy to ever hit the site. Critic Rob Cowan noted that 'There’s a fluidity to the Ebène’s playing of both works that suits the music’s character, a mood of wistfulness too that the Ravel especially benefits from. Sols; Glyndebourne Chorus; London Philharmonic Orchestra / Kazushi Ono. I concur with Cluytens and Martinon as being generally highly recommendable. But Cluytens atones for this problematic start as he stirs the blood with a potent Spanish tinge as the climax approaches. The wind solos are strong (although flute overtones, picked up by the microphones, inadvertently “whistle” above the texture). Eugene Ormandy’s severe 1960 Philadelphia performance is more dancing machine than music box. Boulez’s beginning is understated – worryingly so as he obeys Ravel’s pp marking to the letter – but his performance soon blossoms. Lv 4. Receive a weekly collection of news, features and reviews, Philip Clark Bernstein’s performance evokes a word not ordinarily associated with him: sensible. 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. Last edited by Enthusiast; Jun-05-2019 at 12:59 . 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. Its hypnotic melodies, rhythms and brilliant orchestral colors have insured its popularity with audiences everywhere. 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. There’s a strange episode at 10'29" as the snare drummer’s tone changes abruptly – whether because of a ham-fisted patch or Karajan adding in a second drummer too soon, it’s impossible to say – but neither is in the proper spirit. 2 Debussy: La Mer, Prélude à l'après-midi d'un faune Musically (medically I’m not qualified to say) this seems unlikely. Stereo Hybrid. Put the Boston Symphony into the equation and the quality of orchestral sonority rises exponentially, but Koussevitzky leads an efficient and largely nondescript account, at 13'25" the fastest on record. 6:14. What is the best recording in your opinion? Herbert von Karajan gives the impression of not liking Boléro much in an unwieldy performance from 1966. However, Roth attacks the ‘Danse guerrière’ with more vim and also whips up a faster bacchanalian finale. 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. MA Music, Leisure and Travel Living Stereo 82876663742. 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. B3. 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. Sensible in all the right ways. Gramophone is brought to you by Mark Allen Group Bolero (1928). 4 years ago. 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. Philip Clark seeks out the finest moments of an 80-year recording history. Pavane Pour Une Infante Défunte. Answered 1 year ago. Which is the best recording of Ravel's "Bolero"? But let’s go out on a high. Source(s): https://shrinkurl.im/bavKj. 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. Ravel: Bolero, Pavane, Daphnis et Chloe - Suite No. And therein is its essence. B2. Ravel and Ansermet Produce The Best Bolero on Vinyl. What is the best recording of Ravel's Bolero? ', The first of two discs dedicated to Ravel's complete solo piano music in this list, Bertrand Chamayou's album for Erato was shortlisted for a Gramophone Award in 2016 and our critic, Patrick Rucker, was full of praise: 'Superlative Ravel seems almost in abundance these days – think Bavouzet, Thibaudet, Queffélec or Lortie. No room for slackening in the orchestral ranks. This music is not about marking time by transforming material: Ravel drives Boléro towards motorik self-oblivion. 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. MA Music, Leisure and Travel Edo de Waart avoids banana skins (aside from his E flat clarinettist sneaking in a cheeky glissando) but his is a cautious and academic performance. Wednesday, March 7, 2018, From Boléro to Daphnis et Chloé, here are Maurice Ravel's greatest works in outstanding recordings. 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. This significance is not lost on Koussevitzky, who magics up an appropriately fantastical sound world. Maya Plisetskaya. Maurice Ravel Frontispice - Bolero. Maurice Ravel: NPR Ravel: Bolero on CD, SACD, DVD, Blu-ray & download. In his review, Mark Pullinger noted: 'François-Xavier Roth teases a much more expansive opening than Monteux, a slow burn leading to an ecstatic first choral entry. Esoteric ESSD-90207. With a tempo marginally quicker than Monteux or Bernstein’s benchmark, the guitar-like patterns in the strings knit seamlessly inside Ravel’s increasingly insistent brass stabs. The sonic intrigue stems from a simple but effective piece of acoustic engineering: as the instruments slide in three parallel keys simultaneously, their harmonic overtones collide, cloaking the sound in distortion and haze. Hi all. Gramophone is part of Gramophone is part of Ansermet accompanies exquisitely. 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. The "Bolero" that begins this recording, however, is by the Halle Orchestra under the baton of Sir John Barbirolli. This interactive score was published first in the post Bolero, in the blog educacionmusical.es. I downloaded a version of Bolero and it is nice, but is missing something -- it's pretty pale. 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. With fine choral contributions from the Ensemble Aedes, this new recording is highly recommended. 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. All these, together with Thibaudet's discs, represent the creme de la creme. That’s twist number one. International licensing, If you are a library, university or other organisation that would be interested in an institutional subscription to. But here is a selection of 10 outstanding recordings that are sure to offer many hours of listening pleasure. It is almost 14 minutes long, aspiring to Ravel's ideal of a near 15 minute piece. Another sacrificial dance. 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. 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”. French Horn [Solo] – Charles Kavaloski *. With the performance motoring towards its climax the tempo fluctuates wildly but, as a first airing, Coppola gives a decent account. The more opinionated Bernstein’s performances, the more striking they are. Pierre Monteux in 1964 lavishes his LSO strings with attention. 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. 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. But my top choice needs to communicate that Boléro is of a different order, a freak of history that speaks of the future. 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. Although not the best recording of "Bolero" (that distinction belongs to Pierre Boulez and the Berlin Philharmonic), it is certainly up to the standards of the remainder of the album. 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. Receive a weekly collection of news, features and reviews, Gramophone Maurice Ravel Ravel was a major figure in the French Impressionist composers - somewhat younger than Debussy and Satie who were both significant influences. Were they persuaded by Boléro’s lollipop status that it was easy? Unfortunately Mata’s emotionally charged conclusion is spoilt by muddy and slapdash ensemble. An Editor's Choice recording in 2011, Ibragimova and Tiberghien paired Ravel's complete works for violin and piano with Lekeu's Violin Sonata. Related posts: Critic Rob Cowan noted that ', If you are a library, university or other organisation that would be interested in an institutional subscription to. 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. Geoffrey Simon and the Philharmonia in 1986 deliver a trusty account, with savvy orchestral solos and a physically impressive finale. For the rest, the Monteux recording of Daphnis et Chloe has long been a favourite but Philippe Jordan is also very good. This improvisatory approach is hardly surprising from an ensemble that is also celebrated for its jazz performances. He is often more languorous, the performance nearly four minutes slower than the Decca account. His tempo, pacier than Ravel’s, is eminently danceable and rhythms are articulated with a clear sense of purpose. Could Ravel have conceived of Boléro for the concert hall? Ravel was a master of orchestration, as is borne out by his ever popular arrangement of Mussorgsky’s famous set of piano pieces, Pictures at an Exhibition. 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 This is crude stuff compared to Boulez’s supple balance of the same section; also the bassoon makes a horrible squawk as it underpins the oboe d’amore solo. His crash cymbals, bass drum and tam-tam strokes make your speakers sizzle. Boléro is a one-movement orchestral piece by the French composer Maurice Ravel (1875–1937). But his Boléro is textbook; the “rightness” of his tempo is evident, and the Orchestre National de France answer back with characterful, accurate playing. Not surprisingly Ravel himself wants to showcase Boléro’s poetic fantasy but, sadly, his conducting technique falls far short. 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. Including this amazing Bolero, the best copy we’ve ever heard! A ruder, more cantankerous route through Boléro. 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. Visit our Subscriptions page to choose a subscription package that suits you. Full, rich, spacious, BIG and present, with energetic performances the likes of which you may have never heard. ... turn's out that's the only recording of Bolero I have. Ravel’s extremely rich orchestral and piano sound has tended to drive the envelope in recording technology. ', 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. He gives the steering wheel two game-changing twists and revs up the engine with a killer paradox. 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. 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. But, for all its faults, Coppola’s picaresque period details remain a fascinating portal into a lost age. 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. 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. [14] Clark concluded: 'Boulez’s forensic 1974 performance delves deeper than any other into Ravel’s sleight-of-orchestral-hand and layerings of harmony – a probing shaft of light into Boléro’s inventive, one-off weirdnesses. Boléro. For the Left-Hand Concerto I admire the suavity and ravishing textures of Louis Lortie. What to make of Boléro in the hands of these two ideologically polarised maestros? Best Bolero. Zimerman’s phenomenal pianism sets its own agenda and brings its own rich rewards; he has a place of honour in that exalted company. However, a few years before his death, Albert Wolff stated that he himself had conducted the recording. The sheer number of dud performances by conductors of the highest calibre has surprised me. C trombones were available and used at least sporadically in France back in the days of this piece’s premier. Martinon cracks into the score like a bloodthirsty ritual. His nuances of orchestration and harmony only taste as pungent as they do because there’s nothing else to listen to. 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.
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