Maurice Ravel: Daphnis et Chloé / La Valse - Berliner Philharmoniker / Pierre Boulez
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Composer: Maurice RavelConductor: Pierre Boulez
Orchestra: Berlin Philharmonic Orchestra
Edition: Music CD
CD Release Date: 1995-09-19
Music Label: Deutsche Grammophon
Soundtracks:
- Daphnis et Chloé, ballet for orchestra: Part 1: Introduction; Lent - Très modéré
- Daphnis et Chloé, ballet for orchestra: Part 1: Religious Dance; Modéré - Un peu plus lent
- Daphnis et Chloé, ballet for orchestra: Part 1: Religious Dance; Vif General Dance; Beaucoup moins vif - Vif - Plus modéré
- Daphnis et Chloé, ballet for orchestra: Part 1: Dorcon's grotesque dance - Très modéré
- Daphnis et Chloé, ballet for orchestra: Part 1: The light and graceful dance of Daphnis; Assex lent_Animé - Lent - Moins lent
- Daphnis et Chlo�©, ballet for orchestra: Part 1: Tr�¨s libre - Tr�¨s mod�©r�© - Mod�©r�©ment anim�© - Tr�¨s anim�© - Tr�¨s agit�©
- Daphnis et Chlo�©, ballet for orchestra: Part 1: Mod�©r�© - Plus lent
- Daphnis et Chlo�©, ballet for orchestra: Part 2: M�ªme mouvement
- Daphnis et Chlo�©, ballet for orchestra: Part 2: War Dance; Anim�© et tr�¨s rude - Tr�¨s rude
- Daphnis et Chloé, ballet for orchestra: Part 2: Chloé's Dance of Supplication; Modéré - Animé_Assez lent - Animé_Lent - Assez animé -
- Daphnis et Chloé, ballet for orchestra: Part 3: Lent
- Daphnis et Chloé, ballet for orchestra: Part 3: Lent - Lent_Animé - Lent_Animé
- Daphnis et Chloé, ballet for orchestra: General Dance - Dance of Daphnis and Chloé - Dance of Dorcon - Final Dance: Bacchanal
- La valse, poème choréographique for orchestra: Poème chorégraphique: Mouvement de valse viennoise
Music reviews of Maurice Ravel: Daphnis et Chloé / La Valse - Berliner Philharmoniker / Pierre Boulez
Music Review: WIZARDRY: TRY TO IMAGINE OPENING NIGHT
Rating: 5 Stars
For years the Charles Munch performance of DAPHNIS was the one to own. It was one of the early miracles of LP vinyl; not merely because of the grealy improved Hi-Fi reproducion technique, but because for the first time you could experience the entire ballet. Suddenly it was't just bautiful; it made sense. The Munch performance is still a great performance (didn't he premier the ballet?) and the Dutoit is excellent, as well. But there is no soubt the Boulez recording is the best, and that, in and of itself is phenomenal considering the high quality of the Munch and the Dutoit recordings.
When I play the Daphnis I don't do anything but listen. All distractoins are put away. This is not "backgrond" music; its foeground music. To me this is one of the handfull of great symphonies of the world. It isn't often thought of as a symphony, though Ravel called it a Choreographic Symphony. Three movements with chorus. Seems unorthodox, but the French symphonies are usually different in some way. Consider the Saint-Saens for Organ for example, or the five movement Berlioz Fantastic Symphony, or the Lalo Symphony on a Mountain Air, or the Cesar Franc: Why not the Martinu symphonies as well? All vividly sensual, emotional, all out-of-the ordinary -- or anti-scholastic though academic exercises, like the Bizet -- and all frequently theatrical.
One can't really comment on Boulez's work coherently if one is a layman, because, face it, you have to be at near genius-level even to read the score. This incredible music begins at the highest level of virtuosity for all the instruments in the orchestra. All I can say is that Pierre does his "disappearing act" before us, and in a rush of wind machine sound offers us this music for a great Diaghalev ballet, written expressly for Nijinski's dancing, and played or performed before astonishing scenery by the great Baxt. Now, enter Ravel, the Wizard!
None of that pre-WW I magic exists for us today, though if you are new to it you might see what you can find in your local College Library, picture section. Vanished world... And then, finally, switch off anything that might distract you and put the diskette in the player. Open your set carefully: This recording is daring because Boulez accepted that articulation of volume range was and is an integral part of Ravel's compositional method, and therefore the recording level wasn't determined in the engineer's booth. Previously the ends (highs and lows) of musical performances were trimmd by engineers so that the result in playback sounded like something you got out of a large, expensive RCA or Zenith or Magnavox radio-phonograph, in a large, expensively and comfortably furnished living room. O, That beautiful bourgeois sound! Instead, with this recording it was decided to produce as closely as digital media allowed, the sound he, Boulez heard while he directed the work in a symphonic hall. Which would be about what you heard in the first or second row of the audience. (This is a kind of re-creation of the approach Mercuy Records took when it chose to record some of the best pieces of the Chicago Symphony when Rafael Kublik led it: They decided not to record in a studio, but in Orchestra Hall itself. A single Telefunken microphone was hung directly over the conductor's head and the material was recorded without cuts or edits. The results were phenomenal and set the standard for symphonic recordings on vinyl. The performances are still available, and better than most.) So, play the first quiet notes just to gage the sound and set levels. Woodwinds fluttering quietly is what you should hear. So, start it again, lie down on the floor -- which is what I usually do -- and with your mind, just watch the music unfold... A morning breeze stirs the vegetabion, gently blowing sand from the shore; the birds wake as the first rays of sunlight fall on you as you rise and look out over the Agean sea. The world is new, pristine. A small band of young people appear, laughing and playing; lightly dressed or nearly naked. Innocent, they look as though they've only just leapt off a frieze. Tritons blow their conchs. The ancient story begins.
This is what the modern symphony orchestra is for, and modern recording. If you're at all like me you'll find that when the music finishes you won't be able to listen to any other music for a while. Some hours? Maybe a day. To me, everything else sounds second-rate, so I take time to decompress.
Some scholars have told us that the most important and influential music of the first half of the 20th cenury was Stravinski's RITE OF SPRING, and others say the second half belongs to Bartok's CONCERTO FOR ORCHESTRA. They may be right. I don't dispute it. But, I prefer to think that the century's artistic glory ought to be measured in thirds, and that between the Neo-Cubist Primitivism of Le Sacre and the courageous Hungrian Anti-Soviet, anti-bombastic ridicule of Bartok's, there stands like a fulcrum of sane civility, Ravel's declaration in music of our human need for and fervent love of (Father) Nature, the great god Pan.
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