- Boléro, ballet for orchestra
- Miroirs, for piano (or orchestra): Alborada del gracioso
- Ma Mère L'oye, ballet, Nos 1-6, complete
- Miroirs, for piano (or orchestra): Une barque sur l'océan
- Rhapsodie espagnole for orchestra (or 2 pianos)
- La valse, poème choréographique for orchestra
- Pavane pour une infante défunte, for piano (or orchestra)
- Le tombeau de Couperin, for orchestra
- Valses (8) nobles et sentimentales, for piano (or orchestra)
- Menuet antique, for piano (or orchestra)
- Fanfare, for orchestra (for collaborative ballet L'eventail de Jeanne)
- Daphnis et Chloé, suite No. 2 for orchestra
Maurice Ravel was an impeccable musical craftsman. His music is woven so intricately woven that its harmonies and orchestration glisten like a dewy spider's web caught by the sun. Take the famous "Boléro," for instance, a remarkably simple piece in which a sinuous theme first played in the flute is repeated over and over again to the accompaniment of a relentless snare drum riff. But with each repetition, new instruments are added -- and new harmonies -- so the piece builds in intensity and holds your attention until its ultimate climax. His other orchestral pieces are even more masterly: the magical atmosphere of "Ma Mère l'Oye" (Mother Goose), the crisp elegance of "Le Tombeau de Couperin," the tender sadness of the "Pavane," the restless, relentless dance of "La Valse," and the almost erotic sensuality of "Daphnis et Chloé." On this two-disc set, Charles Dutoit's and the Montreal Symphony perform these pieces with an authentic French accent and a suppleness that underlines the music's intoxicating sensuousness.
Most Helpful Customer Reviews
Ravel: Bolero, Daphnis et Chloe Suite, etc. based on 0 ratings. 2 reviews.
October 25, 1990 .... Revisited .............
This recording of Bolero - Espana carries you back in time to eighteenth century Spain.
The interpretation is well set as to make us imagine a soloist or a couple or a combination of four dancers.
The tempo is moderately slow; at time you will be led to think that the dancers are the absolute performers with their castanets' percussion clicking together in complete rhythm with the dance as if conducting the music, the guitars, and the short lyrics.
Ravel, Falla, Rimsky-Korsakoz, and many more (Chopin! not here though) wrote such music for Bolero Dancing; they are the stars of this recording.
Maurice Ravel's (1875-1937) Boléro (premiered in 1928) is one of his most famous works, originally written as a ballet score but here played as a concert piece .
My God!! Falla's Ritual Fire dance (also known as, "fire spinning,") is a group of performance arts or disciplines that involve manipulation of objects on fire, like juggling or baton twirling now transfused in this music giving us a visual picture of rhythmic gymnastics fully molded in musical language.
Rimsky-Korsakov (1844-1908) wrote Scheherazade, Capriccio Espagnol and the Russian Easter Overture. He noted that these three works "show a considerable falling off in the use of contrapuntal A Spanish dance in triple time accompanied by guitar and castanetskind of figuration which sustains the technical interest of my compositions." Only Capriccio Espagnol is shown in this recording but I enjoyed some fifteen minutes of beautiful work.