Composer(s): Ravel, Maurice
Artist(s): Siepmann, Jeremy
Label: Naxos Educational
Genre: Music Education
Period: 20th Century
Catalogue No: 8.558032-33
Barcode: 0636943803226
Release Date: 03/2001

Classics Explained: RAVEL - Bolero and Ma Mere l'oye (Smillie)

The famous Boléro and the enchanting Mother Goose Suite give us Ravel the orchestral sorcerer at the peak of his unsurpassed powers. From the fierce vitality of sun-baked Spain to the most poignant evocations of childhood and innocence, he captures the immediacy of experience as we feel it. Yet he saw himself as an artisan, not an artist, and a discoverer rather than a composer. Behind his every work was a craftsman of astonishing skill. So astonishing that we can examine his artistic workshop in the minutest detail without dispelling any of the magic.

A series exploring, in words and music, the major classical works of the concert hall. In an accessible and lively manner, Jeremy Siepmann looks at the history and the form of the great masterpieces of western music.

Tracklist

Disc 1
Ravel, Maurice
1Bolero-Introduction; cue to unadorned Bolero rhythm, Part 102:29
2Bolero rhythm, Part 2: an extended variation of Part 100:07
3' Motto ' rhythm complete00:21
4But here we have snare drums and plucked violas and cellos00:22
5Section 1: Introduction of ' the theme ' by solo flute00:37
6Flute continues with Part 2 of theme00:48
7Section 2: Complete statement of theme by clarinet as flute joins ' motto ' group01:30
8Introduction of ' discordant ' harp into the unfolding picture00:18
9Section 3: Bassoon introduces closely related variant of theme00:34
10...but then veers upwards, slowing rhythm and introducing new syncopation00:59
11Section 4: ' Petite ' E flat clainet takes over theme, including variants01:21
12Section 5: Oboe d'amore takes over theme but returns to its original form01:34
13Section 6: Theme now shared by two instruments: uted trumpet and flute01:16
14Section 7: Tenor saxophone takes Theme as trumpet replaces horn in ' motto '01:39
15Section 8: Theme taken by soprano saxphone, ' espressivo '01:09
16Section 9: Theme: celeste, piccolos and horn; Motto: flute and French horn01:24
17Section 10: Theme: Oboes, horns, clarinets; Motto: plucked violas and violins02:06
18Section 11: Theme taken by First Trombone, complete with jazzy slides01:40
19Section 12: Theme: flutes, oboes, clarinets, sax; Motto: bassoons, horns, trumpets01:13
20Section 13: Violins at last take the main tune, joining massed winds01:14
21Section 14: Violins divide into four groups, each ' double-stopping '01:04
22Section 15: Trumpet, trombone 2 and tuba join the foreground01:18
23Section 16: First trombone and soprano saxophone ' rejoin ' theme00:56
24Section 17: Fortissimo; all strings ' double-stopping '; trumpets added01:26
25Section 18: Entire orchestra now employed, ' as loudly as possible '01:18
26Section 19: Sudden, amazing change of key, lurching from C to E Major01:20
27Section 20: Key now lurches back to C, as jazzy trombones whiningly protest00:36
28Cue to complete performance00:20
29Bolero (complete)16:16
Disc 2
1Pavane de la Belle au bois dormant-Opening figure on flute; rising, falling, and then reeated01:04
2Same again, with emphasis on delicacy of scoring00:30
3answering variant, accompanied by plucked double basses00:19
4Reminder of opening figure00:18
5... and now its rhythmical mirror image, or almost...00:12
6Answering Phrase 2: a near-inversion, over ' James Bond ' accompaniment00:41
7Pivotal Phrase 3, reversing direction but keeping rhythm of Phrase 200:46
8Reprise of Phrases 1 and 2, but with new accompaniment00:39
9Further Reprise of Phrase 2, now on violin, accompanied by harp00:40
10Pavane (complete)01:41
11Petit Poucet (Tom Thumb)-Introduction; Opening, with multi-metre rising scales from muted violins00:49
12Change of metre continue as solo oboe introduces Theme One00:24
13Oboe yields to Cor Anglais for Theme Two, against lower (still muted) strings00:44
14Theme One returns, shared by clarinet and flute, muted horn added to accompaniment00:25
15'Motto' rhythm dominates as intensity increases from lower strings to full orchestra00:46
16Fear subsides as Theme Two returns, again in Cor Anglais but now in a different key00:32
17Sensational sound effects evoke a wood at night, with screeches, cuckooing etc.00:44
18Texture thins; Theme one returns, delicately scored for strings and piccolo00:19
19The main part of movement ends, with waltz-like march(!), featuring flute00:28
20Petit Poucet (complete)03:28
21Laideronnette, Imperatrice des Pagodes-Introduction; opening bars, followed by Theme One02:00
22Oriental-orchestral equivalent of an imprial telephone bell00:15
23... oboe ' answers ' with a very slightly varied version of Theme One00:15
24Expanded derivative of the ' telephone bell ' interrupts the theme again01:00
25Fragments of theme in flutes and cor anglais, with ' James Bond ' tag in violins00:24
26'Gamelan ' music from flute and piccolo, accompanied by harp, xylophone and strings00:32
27arrival of Empress; upper strings yield to winds, celeste, harp and (very discreet) gong00:47
28Laideronnette, Imperatrice des Pagodes (complete)03:57
29Les entretiens de la Belle et de la Bete- opening00:51
30Characteristic pattern of two short phrases answered by a long one00:36
31Clarinet, flutes and violas, with ' sighing' figure derived from downward string motif00:21
32Varied reprise of opening, entry of the ' Beast '; ' Watch it ! Watch it ! '00:32
33Again the ' Beast ' growls; again the cautious warning ' Watch it ! ' from the winds00:40
34Derivative of Beauty's Theme from flute, combined with ' caution motif ' in strings00:38
35' Beast's theme ' rises in pitch with each successive ' gowl ' (representing hope?)00:52
36' Beauty ', ' Beast ' and ' Caution ' motifs all combine simultaneously01:12
37' Beast ' (contra-bassoon) climbs ever higher, handing over to bassoon proper00:49
38Harp's upward glide heralds the moment of transformation; love song, fear, release02:09
39Les entretiens de la Belle et de la Bete (complete)04:14
40Le jardin feerique-Introduction; Opening bars are unfuuuuuuuuurled by the strings alone00:40
41The rhythmic basis, and its guises. First, a question: ' Where went my childhood?'01:23
42The question intensified:' Oh where went ... my childhood?'00:15
43The answer, with a falling inflection: ' Gone is your childhood.'00:20
44The plea: ' Bring back my childhood!'00:14
45The response: ' Seek in ... your mem'ry. There it ... will be.'00:25
46Ravel's use of tone colour to change the feeling of the music00:49
47Further illustration of the same point00:27
48Continued01:44
49The nobility of the strings00:45
50Bells evoked by French horns; the final, opulent, moving climax of the whole suite01:11
51Le jardin feerique (complete)04:00

Total Playing Time: 01:37:01