Maurice Ravel plays and conducts his own works

★★★✰

   Maurice Ravel's Bolero occupies an unquestionable place in the history of music as the most famous and indeed one of the most outstanding works of the early twentieth century. Despite the apparent simplicity of form and content, this work has everything that characterizes the final break with 19th-century music and sets new directions in symphonic music. The Bolero effect, as well as the music for Daphnis and Chloe, were the result of the composer's talent and sonic sensitivity. His achievements in the field of orchestration, however, changed the approach to instrumentation and harmonics, and as a result had an impact on later symphonic music, and indirectly also on the shaping of modern jazz harmonics. Ravel's Bolero is in the repertoire of every symphony orchestra, not to mention hundreds of more or less simplified or complicated popular, rock and jazz arrangements, to mention the excellent recording by Jacques Loussier, a pianist known for his jazz remakes of Bach's music, but also many other composers. Therefore, it is particularly important to know Ravel's interpretation of this work.

   Bolero was Ravel’s last ballet music. It was commissioned by famous dancer Ida Rubinstein who premiered this ballet November 22, 1928 in Paris Opéra in choreography by Bronislava Nijinska. The conductor of the first performance was Walter Straram. After the premiere Ravel was informed about an unknown woman, who was heard screaming Au fou, Au fou! (Madman! Madman!), Ravel replied: That lady… she understood. The idea of this work was unusual. First, whom Ravel revealed it was his friend and music critic Gustave Samazeuilh.  Composer said he promised ballet music for Ida Rubinstein. Playing melody with one finger Ravel asked: Don’t you think that has an insistent quality?And then he said about the idea of a new work: I’m going to try to repeat it a number of times without any development, gradually increasing the orchestra as best I can. He composed this work in a considerably short four months period July through October 1928.
 

Maurice Ravel – Bolero (1930)

   First working title of the new work was Fandango, but when composer realized that fandango's characteristic acceleration would be contradictory to his idea, he changed the title to Bolero. As consequently this was made, the work is a magnificent orchestral crescendo increasing tension only through orchestration. Bolero shortly became the most famous of his works. Ravel was not convinced about the value and musical potential of this “experiment”. In an interview for The Daily Telegraph he stated: I am particularly desirous there should be no misunderstanding about this work. It constitutes an experiment in a very special and limited direction and should not be suspected of aiming at achieving other or more than it actually does. Nevertheless, Bolero is his most frequently performed composition.
   Almost immediately Bolero appeared in the symphonic repertoire. Less than a year after the ballet premiere, November 14, 1929 Bolero was played as a concert performance by the New York Philharmonic Symphony Orchestra conducted by Arturo Toscanini. Two months later, on January 11, 1939 Orchester des Concerts Lamoureux conducted by composer gave Bolero the European concert premiere in Paris. And two days after this premiere Piero Coppola recorded a World premiere recording of Bolero with Grand Orchestre Symphonique du Gramophone. This recording was made onstage at the Salle Pleyel in Paris. Later, but still in January 1930 Ravel recorded his Bolero for Polydor conducting the same Orchester des Concerts Lamoureux. Three months later, on April 30, Serge Koussevitzky recorded Bolero with the Boston Symphony Orchestra. With these renditions, the position of Bolero as concert work was firmly established.

Maurice Ravel — Bolero (rec.1930)

   Ravel’s recording shows some significant features we have to consider trying to catch the composer's idea. First of all he is executing the whole performance almost in metronomic steady tempo. General change of dynamics works as a wide growing crescendo built by volume of sound and articulation but the main factor of change is timbre of instruments, which is also connected with articulation and sound expression. There were some doubts if Ravel was the only conductor and interpreter of his work. It is true Ravel called for some help from conductor Albert Wolff, but this was only technical assistance as rehearsal conductor. In spite of some writers looking for sensation, Ravel was a competent conductor, and pianist. Pressed by Turnabout album of Ravels historic performances includes orchestral recording of Bolero conducted by Ravel and three piano works played by composer: La Vallee Des Cloches, Chansons Madecasses with singer Madeleine Grey and Pavane Pour pour une infante defunte. Despite some technical imperfections, this recording can be confidently recommended to anyone, and for those interested in Ravel's work, it is a must-have.

Pierre Boulez — Boulez Conducts Ravel

★★★★✰

   In preclassical music functions of composer and conductor were connected with musical profession. There were no conductors famous in contemporary meaning of this word because institutions playing music for open public were quite rare and better part of music was performed under supervision of composers. Most active musicians have to know not only how to write, but also how to teach and how to perform musical works. After classicism, when symphony orchestra was born, and later in 19th century, when performing historic works became main element of concert life, professionalism of the orchestra was subordinate to skillful leading. The result of changes was a specialization of professional musicians in precisely defined fields of musical activity. Many composers were still using their knowledge and skills performing as artists, soloists and conductors. It is significant it was only 19th century when division for creators and performers had started. And still many great musicians were composing music, sometimes with success, as well as many composers were great performers and interpreters of other composers’ works.
   One of first great composers and at the same time one of first internationally famous conductors was Gustav Mahler. As a composer he was developing postromantic musical forms and intentionally creating expressive means of orchestra. He was also one of those modern conductors who worked on sound qualities and expressive possibilities of large symphonic orchestra. After phonographic industry changed mechanisms of musical culture, many artists become more famous for conducting music of other composers than for their own works. For example almost forgotten composer Bruno Walter or recognized and well remembered composer Leonard Bernstein, both were so successful as performing conductors and their fame effectively hidden their creative works. The opposite position occupies Krzysztof Penderecki who is competent conductor but best part of his fame he achieved as a composer. One of greatest examples of balanced combination of various types of musical activity in second half of 20th century is Pierre Boulez. Being one of most significant composers of modern music he is also remarkable conductor, famous for numerous performances and recordings.

Pierre Boulez — Boulez Conducts Ravel (1971)

   As a conductor Boulez revealed masterly abilities to reach the essential idea of other composer’s works and display it with elegant distance. He was focusing especially on these composers who were creating modern musical language of symphonic sound and forms of high complicity. As much appreciated by critics and public for his perfectly balanced, elegant and gentle renditions of most complicated works in postromantic and 20th century music literature, he was specialized in recordings of Mahler, Wagner, and big symphonic repertoire of 20th century. A special place in Boulez performances was always taken by music of French composers, Hector Berlioz, Claude Debussy, Maurice Ravel, Manuel de Falla, and Edgar Varese. Every of these composers had monographic album conducted by Boulez. Four years after successful album Boulez Conducts Debussy and two years after Boulez Conducts Debussy, vol.2, CBS produced first choice of Ravel’s works. It was recorded with Cleveland Orchestra which he served in 1970 to 1972 as musical advisor. In Daphnis & Chloé choral parts were performed by The Cleveland Orchestra Chorus working under direction of Margaret Hillis.
   The first choice of Ravel’s symphonic works comprises Daphnis & Chloé: Suite No. 2, Pavane for a Dead Princess, Rapsodie Espagnole and Alborada Del Gracioso. The program was set to show most characteristic features of Ravel’s style. Merging elegance and richness of musical impressions Boulez had interpreted Ravel’s music in explorative and refined way. His renditions revealed profundity of composer’s personality and enhance the emotional nature of musical structures. Especially Daphnis & Chloé was master recording. Although the 1971 album Boulez Conducts Ravel was successful release, it was reissued only once in 1973 in the series Collection Grands Interprètes by France division of CBS. The same time in US division of the company produced series of consecutive recordings under the same title. In 1973 Boulez Conducts Ravel Vol. 2 comprising Le Tombeau De Couperin, Valses Nobles Et Sentimentales and Une Barque Sur L'Océan recorded with New York Philharmonic Orchestra, in 1975 Boulez Conducts Ravel vol. 3 with the program of La Valse, Meneut Antique and complete ballet Ma Mere L'oye. The same 1975 CBS released album of complete ballet Daphnis et Chloé recorded with New York Philharmonic Orchestra and Camarata Singers. And this edition was titled Boulez Conducts Ravel as well. Four and half stars for Boulez-Ravel-Cleveland album – this is fully well-founded rate.

Zubin Mehta — Maurice Ravel — Daphnis and Chloé 2nd Suite, Ma Mere l'Oye, La Valse

★★★★★

   Maurice Ravel was one of most famous composers of early 20th century. And he was really unusual one. What was common for many modern composers, he attempted to create original style and as many others he was clearly different from his contemporaries. But in opposition to trends dominating in modern music, the intellectual factor of his works was explicitly present in thematic and semantic associations. This was Ravel’s own way of creating the distance and classical stability. While inducing some elements of ancient cultures and intertextual references to historic styles, he became famous for his harmonic masterity of orchestration and color imagination. He seen music in various perspectives and this feature decided on differentiation of his oeuvres. He was also great composer of ballet music and his most popular symphonic pieces are connected to the dance. Even rare compositions written specially for orchestra have their dance context and the perfect example is La valse.

   Ravel was one of first composers writing for Sergei Diaghilev, and these cooperation gave him position of prominent composer in the world of contemporary art. As avantgardist he was recognized and valued, and his ballets gave him widespread acceptance. Diaghilev comissioned Daphnis and Chloé in 1909, before successes of Stravinsky’s The Firebird (1910) and Petrushka (1911). Later Diaghilev commissioned also works by Claude Debussy (1913) and Eric Satie (1917). So Ravel was the one who opened for impressionistic style this most famous avant-garde ballet company. He did this with one of best scores ever written for stage. Its formal integrity is based on four leitmotivs and emotional profundity on plentitude of harmonic meanings. The whole scenic work duration is almost an hour, so composer made two suites, one for orchestra and one for orchestra and choir to promote this great music also during symphonic concerts.

Maurice Ravel – Daphnis and Chloé (1971)

   Second suite is almost exact equivalent of third part of the ballet, and it was originally arranged by Ravel for large orchestra and wordless chorus. Shortly it became very popular as a symphonic piece and is frequently performed without the choir, which is quite understandable since choir parts are unisons with some instrumental parts. But as it was arranged by such master as Ravel, it is not good practice to curtail his work of human voice sound. The composer himself considered 2nd Suite from Daphnis and Chloé as a “choreographic symphony in three parts”. The music of 2nd Suite follows libretto from the morning at the grotto to the ending bacchanalia. The following movements’ titles are: Lever du jour, Pantomime and Danse générale. Recorded by Los Angeles Philharmonic Orchestra conducted by Zubin Mehta 2nd Suite “Daphnis and Chloé” became model performance with choral parts and in perfect interpretation. Published together with ballet music Ma Mère L'Oye and La Valse, it was second “Ravel album” LAPO and Mehta recorded for Decca (after Ravel’s version of Mussorgsky’s Pictures at an Exhibition from 1967). The cover of the album features set design by Leon Bakst for the world premiere in Paris in 1912 of Daphnis and Chloé ballet.
   Los Angeles Philharmonic Orchestra, one of best symphony orchestras in the world its prominent position owes to great conductors and music directors. After series of famous conductors Artur Rodziński, Otto Klemperer, Alfred Wallenstein and Eduard van Beinum, in 1960 post was proposed to Georg Solti who accepted proposal, but resigned when Philharmonic Directors Board appointed 26 year-old Zubin Mehta as an assistant conductor. In effect in 1962 Mehta started his tenure and last on the director’s post to 1978. Successes of Los Angeles Philharmonic Orchestra in sixties and seventies were in big part effect of development leading by Zubin Mehta. Recordings are great opportunity to understand what artistic representation of these achievements was. The great test of orchestra quality is 2nd Suite “Daphnis and Chloe”. Orchestra sounds clearly independently of dynamics, with lots of space and precise articulation in pianissimo and fortissimo. Second side with even more narrative music and opulent La Valse show more perfect sound and large orchestra qualities. This is five stars, resplendent performance and old Decca pressing keeps it in almost natural state.

Rhapsody! – Dorati & The Detroit Symphony

★★★★

   In the history of romantic music the rhapsody is interesting example of form based on free invention and one more connection between popular and artistic music. It was rooted mainly in virtuoso phantasia. Improvisational attitude in romantic period was common part of musical techniques. Most improvisational type of composition was phantasy and there were lots of various forms of phantasies. Probably most popular among them was rhapsody. Free flowing form of rhapsody characterizes often changing, emotionally differential character of the music. It was composed mainly as instrumental work, although the name came from ancient Greek ῥαψῳδία which means epic song. Thus stylistic and thematic base for romantic rhapsody was always a folk song. Early rhapsodies were composed mainly in phantasy style, later it was resembled more song form. As it was so much popular in romantic culture, dozens of composers have written rhapsodies. Most famous rhapsodies start from 19 Hungarian Rhapsodies by Franz Liszt, and were often mimicked by other composers.
   The cycle of Liszt’s rhapsodies, a virtuoso solo piano pieces is rarely performed as complete program for its technical difficulties. In his rhapsodies Liszt uses Hungarian folk tunes, mainly heard from Hungarian Roma bands, with elements of Roma improvisational style, characteristic rhythmic and harmonic idioms of csardas and verbunkos. Some more popular rhapsodies are played often, especially Rhapsody No. 2 for many listeners became a synonymous for rhapsody at all. Three decades later composer arranged them for orchestra. Rhapsodies were composed by Johannes Brahms (Two Rhapsodies Op. 79), Claude Debussy (Première rhapsodie for clarinet and piano and Rhapsody for alto saxophone and orchestra), Bela Bartok (Rhapsody No. 1 and Rhapsody No. 2 for violin and piano), Sergei Rachmaninoff (Rhapsody on a Theme of Paganini Op. 43), George Gershwin (Rhapsody in Blue), Ralph Vaughan Williams (Norfolk Rhapsody No. 1 for orchestra) and many others. 

Antal Dorati &The Detroit Symphony – Rhapsody! (1979)

   In April 1978 Detroit Symphony Orchestra under the baton of Antal Dorati recorded four rhapsodies of various composers. Antal Dorati was great conductor as orchestra leader, as performing and recording artist. His discography is the great collection of consecutive albums with various orchestras. In years he was working with the Detroit Symphony Orchestra, he recorded with this ensemble as well. After albums with symphonic music by Peter Tchaikovsky and Bela Bartok he recorded album Rhapsody! – a choice of four rhapsodic pieces for orchestra. Three of them were connected to Central European and one to West European folkloristic patterns, all showing how different the cultural context of rhapsody can be. The first is Romanian Rhapsody No. 1 op. 11 by George Enescu, most famous composer of Romania. Then one can find orchestral version of Hungarian Rhapsody No. 2 by Franz Liszt - almost an obvious choice. Second side program is Slavonic Rhapsody Op. 45 No. 3 by Czech composer Antonin Dvořak and Rhapsodie Espagnole by Maurice Ravel.
   The Rhapsody! album was published in 1979 under the label of London Records Inc. Recording sessions took place a year before, in April 1978 at United Artists’ Auditorium in Detroit. Designed in Spanish-Gothic style this hall for more than two thousands viewers was one of most beautiful theatres of USA. When in 1976 furniture was sold out, the main hall was used for symphonic recording sessions as its acoustics proved to be ideal. In years 1978 to 1983 Detroit Symphony Orchestra have placed all recording sessions in this place. The sound of orchestra is deep and clear, with short but steady response and rich color. Orchestral sound and rhythmic intensity gave these compositions great outfit. Especially Ravel’s Rhapsodie Espagnole founded on colorful orchestration provided for the band lots of chances to build visionary and deeply emotional performances. For Detroit Symphony Orchestra playing symphonic rhapsodies in spirited interpretations of Antal Dorati adequate appraisal is four stars.

Karajan conducts Ravel and Debussy

   Maurice Ravel and Claude Debussy were artists who have created new, revolutionary music in the time of decline the romantic era. As prominent composers, they have been jointed together by historic moment, cultural circumstances and artistic attitude. Both were musical rebels although private reasons of every one were quite different, both became the most prominent composers in antiromantic movement and last but not least, both are included to impressionism as major figures of the style. Despite many differences between them, the two composers are often shown together in one philharmonic evening, radio program or one record. And most frequent program of such exposure was always, two symphonic poems by Debussy and one or two of symphonic works by Ravel. Programs based on Ravel’s Bolero and La Mer by Debussy are always best choice.
   Bolero by Maurice Ravel was commissioned by dancer Ida Rubinstein and choreographed by Bronislava Nijinska. Premiere took place in Paris Opera on November 22, 1928. Next year New York premiere was conducted by Arturo Toscanini and in 1930 four gramophone recordings were made under direction of Piero Coppola, composer himself, Serge Koussevitzky and Willem Mengelberg. After first reactions composer was surprised this uncomplicated work achieved so huge success, and he was criticizing his own work for lack of musical development. He called this work “one very long, gradual crescendo”. In classical symphonic categories, repeating two melodies changing leading instruments and accompanied instruments is neither original nor capacious idea.

Maurice Ravel – Bolero,  Claude Debussy – La Mer (1979)

   With its simplicity and expression, Bolero is work of genius. Written in C Major, ¾ time, based on ostinato rhythm of bolero, repeating by snare drum and sequentially joining instruments it is perfect vehicle for imagination. Two themes are following in repetition 18 times in more and more massive orchestration. Both themes are diatonic, although with modal shift in the second theme to Dorian mode, which gives some kind of moving impulse. Impressionistic sound sensibility gives best orchestras a lot of room to maneuver. It’s hard to find anyone more promising than Herbert von Karajan, one of best conductors ever. In Herbert von Karajan’s brilliant career complete set of great symphonic repertoire was performed and recorded many times in span of six decades. Some blockbusters and most popular concert pieces were just symphonic fragments from stage music. And Maurice Ravel’s Bolero was probably the piece most admired ever. And one of most reliable interpretation was recorded in 1966 by Herbert von Karajan with Berliner Philharmoniker where he was principal conductor from 1954 to 1989.
   In 1965 Karajan recorded with Berliner Philharmoniker program of three great impressionist works – on A-Side La Mer by Claude Debussy and on B-Side Ravel’s Suite N° 2 from «Daphnis Et Chloé» and Debussy’s Prélude à l'après-midi d'un faune (Deutsche Grammophon Gesellschaft 138 923 SLPM). One year later, in 1966 Karajan recorded with the same orchestra album with Mussorgsky’s Pictures At An Exhibition in Ravel’s brilliant orchestration and Bolero (DGG 139 010 SLPM). In 1979 recordings from those albums were base for new compilation of most popular works by Ravel and Debussy. Besides Bolero, program of this record includes La Mer and Prélude à l'après-midi d'un faune, two symphonic poems by Claude Debussy, defining musical impressionism more specifically. The new set of old recordings was published in budget series Resonance (Deutsche Grammophon 2535 351). The dance nature of these compositions was shown in an impressive cover art.

Charles Munch and BSO – Debussy’s La mer and Ravel’s Rapsodie Espagnole

   Between 1903 and 1905 Claude Debussy wrote three part symphonic work called La mer. The formal idea was so brave, it would allow composer to call this work symphony. But Debussy was very careful with historical forms and so he called his work: La mer, trois esquisses symphoniques pour orchestra. This title shows how humble he was, deciding not to use the qualification to symphony or symphonic poem and limiting it to the “symphonic sketches”. In fact the foundation and fulfillment of the work was deeply rooted in symphonic orchestra coloristic possibilities, so the richness of the work was derived strictly from symphonic tradition, and this could be easily called impressionistic symphony. The more that the three movements have programmatic titles: From down till noon on the sea; Play of the waves; and Dialogue of the wind and the sea. The idea of impressionistic musical rendering of extra-musical narrative was to focus on human emotions and sensibility.
   Debussy was 43 years old when La mer was premiered October 15th, 1905 in Paris. Two years later, his younger colleague, often regarded as second great impressionist, Maurice Ravel composed his Rhapsodie espagnole. In the moment of his new orchestral work premiere, Ravel was 32 years old. These two composers are bound each other as two great pillars of impressionistic style. But they are so different, it is hard to formulate a definition of the style on the basis of common points in their music. Four-part Rhapsody is a kind of a suite including dances and musical scenes: Prélude à la nuit, Malagueña, Habanera and Feria. Stylizations on Spanish folklore and clear rhythms are main difference between Ravel and Debussy. He was contextually connected to romantic national schools and in his later works Ravel evolved towards more decided rhythmic structures what makes him even more independent composer.

Munch & BSO - Debussy - La mer, Ravel - Rapsodie espagnole (1958)

   What makes these works so strongly connected to impressionistic style in fine arts is attitude to coloristic issues. Lack of clear melodic component, undecided, somehow blurred shapes are corresponding with lack of black contours on canvas, the flickering of shredded rhythms is like pointyllistic technique in impressionistic paintings. But this kind of sound coloristic is typical mainly in some of Debussy’s orchestral music and in limited range of early Ravel’s works. The secret of Ravel’s style is his sensitivity to the color of the instruments and creative orchestrations of different instrumental settings in various harmonic and rhythmic contexts. His ingenuity in this area seemed to be unlimited. And so it is with interpretative possibilities of his works. Many perfect performances of impressionistic works, especially those of Claude Debussy and Maurice Ravel were recorded in late 1950’s by Boston Symphony Orchestra under the button of Charles Munch.
As music director of Boston Symphony from 1949 to 1962, Charles Munch was famous for his premiere performances of modern and contemporary music. As a creative interpreter of impressionistic music by Debussy and Ravel, Munch gave Boston Symphony Orchestra strong impetus to the development. The result was the legendary excellence of orchestral sound. It’s worth to notice, he was also a war hero supporting the Resistance movement in occupied Paris. For these acts of courage he was honored just after the war in 1945 with highest French order Légion d'honneur. Many of his Boston recordings made in 50’s were published in various sets on vinyl and later on silver discs budget editions in 60’s and in 70’s. Two great works recorded for RCA in 1958 (La mer) and 1959 (Rhapsodie espagnole) were reissued in RCA Camden Classics Victrola (CCV 5039). These renditions make it perfectly clear, this was impressionism what gave the full power to the color in symphonic orchestra. Treated as a factor of musical form, impressionistic ideas pave the way for 20th century music.

Eduard van Beinum conducts Ravel and Debussy

   Each turn of the periods is very interesting time for many reasons. The collapse of the old order and the absence of new rules makes apparent whether the worst instincts and noblest dreams, allowing us better understand ourselves. Nineteenth century was a real explosion of extreme efforts in art and social improvements. After romantic ideas determined life of few generations, marking goals and setting ratings in every kind of creativity, a part or complete defiance was a natural reaction. And the stronger cultural changes were, the greater was the pressure for a change. In the end of the century many romantic ideas were looking just hackneyed schemes.  After defeat of Franco-Prussian war, opposition against “German romanticism” in the city on the River Seine was even more than natural pose. This may be the reason why among many composers developing modern idea of symphonic music the group of French artists was strongest.
   The cultural reaction gave development on many fields and in different new directions. One of clearest anti-romantic styles was impressionism, inspired by new painting school. Marking anti-romantic turn, composers changed position of melodic factor and spread coloristic using of harmonic elements. As every kind of an avant-garde artistic action, impressionism in music was the movement of very few artists. In fact there were two French composers who highlighted the route, Claude Debussy (1862-1918) and Maurice Ravel (1875-1937). The others, Frederic Delius, Manuel de Falla, Ralph Vaughan Williams, Karol Szymanowski, Arnold Bax, Paul Dukas and Maurice Duruflé were not so closely connected and not consequently “impressionistic”. Ironically, the most prominent representatives of this style did never recognize themselves as the Impressionist composers. And in fact impressionism is not as clearly the style as the attitude to sound colors and orchestration and even best works of Debussy and Ravel are rather representation of their personal style than any impressionistic pattern.

Eduard van Beinum conducts Ravel and Debussy (1972)

   One of iconic manifestations of new style called impressionism is Claude Debussy’s La mer (1905), subheaded as trois esquisses symphoniques pour orchestra (three symphonic sketches for orchestra). This three part composition is often interpreted as a cycle of symphonic pictures. First De l'aube à midi sur la mer in B minor and very slow tempo shows changes of the sea between down to the midday. Next two composed in C-sharp minor are more animated, showing Jeux de vagues (Play of waves) and Dialogue du vent et de la mer (Dialogue of the wind and the sea). Many musicologists see this cycle in relation to romantic symphony, and some features justify considering this work as the open symphonic form. Interpretations of this work one can find in almost every symphonic orchestra discography ant the one especially full of colorful and sensitive moments is the rendition recorded by Eduard van Beinum and Concertgebouworkest in Amsterdam.
   In late 50’s Eduard van Beinum with Concertgebouw-Orchester he led, made for Phillips series of archival recordings. From this series three recordings were choosen for album presenting highlights of impressionistic music: Claude Debussy’s La mer and two later Ravel’s works, choreographic poem La valse (1920) and his most famous balet Bolero (1928). Amsterdam orchestra recorded these works in the daring style of virtuoso band. Ravel’s and Debussy’s music is giving performers many chances to show deep coloristics and harmonic nuances and expressive possibilities of French modern symphonic style. This recording documents good years of legendary orchestra successful under the baton of great conductor. Ravel’s symphonic works were recorded in 1958 and Debussy’s in 1959. The album is very interesting for historical and artistic values. It is widely known in 1972 edition of Eterna – original pressing with black labels or in reprint with blue label. Vintage recordings and well produced album. Until it’s in perfect quality, album deserves four stars out of five.

Bernard Haitink conducts Maurice Ravel

   In outburst of impressionistic music, two names are commonly cited – Claude Debussy’s and Maurice Ravel’s. Both were great composers, both created new idea of musical language. But even between these two great individuals, one composer occupies a separate although still prominent place. While Debussy’s idea was widely adopted by composers who treated it as a core of new trend, Ravel’s works imitation was very difficult if at all possible. Maurice Ravel was great impressionist, but most of his works are composed without the idiomatic elements of impressionism like blurred rhythm or vague harmonics. The secret ingredient of Ravel’s style was absolute masterity of orchestration augmenting orchestral coloristic possibilities.
   Maurice Ravel has strong connections with dance music, which was giving him an inspiration for developing phrases and melodic lines in accordance to the rules of human body movement. Also his dance music was always more than accompaniment only. Ravel described his ballet Daphnis et Chloé as a “symphonie choréographique”, which means this music was intentionally meaningful and self sufficient. Sometimes the name of the dance in title of Ravel’s work was only reference to particular moment in history and emotional context. Series of ephemeral feelings included in shimmering orchestral colors were the background of his impressionistic compositions.

Concertgebouw-Orchester plays Ravel (1987)

   Undeniably impressionistic music demands full spectrum of orchestra capabilities. Many layers of musical narration, decisive role of sound quality, fine nuances in articulation and dynamics are the features giving Ravel’s music exceptional style. The perfect recordings of Ravel’s works made by Concertgebouw-Orchestra in Amsterdam show how great this orchestra really is. From many editions of Ravel’s works played by Amsterdam orchestra conducted by Bernard Haitink, Eduard van Beinum and Ricardo Chaily, one almost forgotten masterpiece is series of performances recorded in September 1961 in Amsterdam Grotezaal. It was published in 1987 by Eterna, the East-German label of great merit in building cultural bridges over the political borders. These recordings were also reedited and published on CD augmented with recorded in 1971 “Daphnis et Chloé” Suite No. 1 by Decca Eloquence label in Australia.
   The vinyl album includes only four 1961 recordings. Perfect rendition of “Daphnis et Chloé” Suite No. 2 in sound and rhythmic changes gives nice notion of idiomatic impressionism. This work could be an emblem of impressionism, especially in fragments giving feeling the vision is full of light. The dark and soft melody of Pavane pour une infante défunte is like an answer although it was composed before the suite. The rule of contrast comes back in two pieces filling B-Side, full of sparkling humor Alborada del gracioso and symphonic Rapsodie espagnole are two works of joyous, dancing energy and subtle, silky sounds giving sense of enchanting picture. Balancing between restrained emotionalism and light cleverness Bernard Haitink gave absolutely astonishing vision of Ravel’s works and Concertgebouw-Orchestra played this with the best sound one can imagine.
   The cover of Eterna album features Max Slevogt’s painting The dancer Marietta di Rigardo. The natural size image of the Spanish dancer is in possession of New Masters Gallery in Dresden. The piece was painted in 1904, so it is contemporary to the Ravel’s music, these pieces were composed between 1899 (Pavane) and 1912 (Daphnis et Chloé). The portrait of dancing lady perfectly fits the music, showing fine example of German impressionism.