Joseph Maurice Ravel Complete Orchestral Works Ray Chen (violin), Yuja Wang (piano) Lionel Bringuier Tonhalle-Orchester Zürich, Zürcher Sing-Akademie
Год издания: 2016 Жанр: Classical, Orchestral, Concerto, Impressionism Лейбл: Deutsche Grammophon Номер по каталогу: 4795524 Продолжительность: 04:02:52 Наличие сканов: Front cover + PDF booklet Источник: Куплено на prestoclassical.co.ukRecording venue: Tonhalle, Zurich, 2014-2015Контейнер: FLAC (*.flac) Тип рипа: tracks Разрядность: 24bit / 96kHz Количество каналов: 2.0Оркестровые произведения Равеля плюс концерты. Живая запись, отличное техническое качество, динамический диапазон, детализация. Достойный конкурент похожих сборников от Дютуа и Аббадо. Молодой дирижер-франкофил, получивший должность главного дирижера немолодого (150 лет) швейцарского оркестра Tonhalle Orchester Zürich.
Shéhérazade, ouverture de féerie, M. 17 01. Shéhérazade, ouverture de féerie, M. 17 Tzigane, rapsodie de concert, M. 76 02. Tzigane, rapsodie de concert, M. 76 Le Tombeau de Couperin, M.68 03. 1. Prélude 04. 2. Forlane 05. 3. Menuet 06. 4. Rigaudon Boléro, M.81 07. Boléro, M.81 Piano Concerto In G, M. 83 08. 1. Allegramente 09. 2. Adagio assai 10. 3. Presto Valses nobles et sentimentales, M.61 11. 1. Modéré - très franc 12. 2. Assez lent - avec une expression intense 13. 3. Modéré 14. 4. Assez animé 15. 5. Presque lent - dans un sentiment intime 16. 6. Assez vif 17. 7. Moins vif 18. 8. Epilogue (Lent) Ma mère l'oye, ballet, M. 62 19. 1. Prélude 20. 2. Tableau I: Danse du rouet et scène 21. 3. Tableau II: Pavane de la Belle au bois dormant 22. 4. Tableau III: Les entretiens de la Belle et de la Bête 23. 5. Tableau IV: Petit Poucet 24. 6. Tableau V: Laideronnette, impératrice des Pagodes 25. 7. Apothéose. Le Jardin féerique Fanfare From "L'eventail de Jeanne", M. 80 26. Fanfare From "L'eventail de Jeanne", M. 80 Pavane pour une infante défunte, M.19 27. Pavane pour une infante défunte, M.19 Menuet antique, M. 7 28. Menuet antique, M. 7 Miroirs, M.43 29. 3. Une barque sur l'océan Piano Concerto For The Left Hand In D, M. 82 30. 1. Lento 31. 2. Allegro 32. 3. Tempo I Rapsodie espagnole, M.54 33. 1. Prélude à la nuit 34. 2. Malagueña 35. 3. Habanera 36. 4. Feria Miroirs, M.43 37. 4. Alborada del gracioso La Valse, M. 72 38. La Valse, M. 72 Daphnis et Chloé, Symphonie chorégraphique, M. 57 / Tableau I (Une prairie à la lisiére d’un bois sacré) 39. 1. Introduction et danse religieuse 40. 2. Danse générale 41. 3. Danse grotesque de Dorcon 42. 4. Danse légére et gracieuse de Daphnis 43. 5. Danse de Lycéion 44. 6. Nocturne. Danse lente et mystérieuse des Nymphes Daphnis et Chloé, Symphonie chorégraphique, M. 57 / Tableau II (Camp des pirates) 45. 7. Introduction 46. 8. Danse guerrière 47. 9. Danse suppliante de Chloé Daphnis et Chloé, Symphonie chorégraphique, M. 57 / Tableau III (Paysage du première 1er tableau, à la fin de la nuit) 48. 10. Lever du jour 49. 11. Pantomime (Les amours de Pan et Syrinx) 50. 12. Danse générale (Bacchanale)
LIONEL BRINGUIER AND RAVEL “I love Ravel’s music.” Lionel Bringuier has good reason to say this. After all, it was with Ravel’s La Valse that he won the 2005 Besançon International Competition for Young Conductors and also carried off the audience prize. He had barely turned nineteen at the time. An international career beckoned. Since the start of the 2014/15 season he has been principal conductor and Music Director of the Tonhalle Orchestra Zurich, the largest of all the Swiss symphony orchestras, with roots that reach back to 1868. The orchestra’s international standing was immeasurably enhanced in 1999, when it was awarded the German Record Critics’ Prize for its complete recording of the Beethoven symphonies under David Zinman. During Zinman’s years in Zurich, the Tonhalle Orchestra made around fifty recordings, including acclaimed cycles of the symphonies of Schubert, Schumann, Brahms and Mahler. The Tonhalle Orchestra Zurich has now turned its attention to Ravel; for Lionel Bringuier this composer has been a familiar figure since his earliest youth. “I grew up with Ravel, so he is a part of my life. He is also closely associated with several decisive stages in my career: I was fifteen when I first conducted Boléro with the Orchestre Régional de Cannes, and at the Besançon Competition it was La Valse that was on the programme. I chose Daphnis et Chloé for my farewell concert after six years as resident conductor with the Los Angeles Philharmonic.” Bringuier has now chosen Ravel’s orchestral works as a statement of intent for his first season with the Tonhalle Orchestra. “It was fascinating to hear the sensitivity that this orchestra brings to Ravel. Among the qualities on which it can draw is great flexibility, which is why I was attracted to the idea of exploring the immensely rich palette of Ravel’s music with them.” Who was Ravel? According to his erstwhile pupil and friend Roland-Manuel, “The Ravel we knew corresponded in almost every detail with Baudelaire’s definition of the dandy: an elegant coldness, discreet refinement in dress, a horror of triviality.” For Tristan Klingsor, he was “thin and hardy, given to mocking but secretly set in his purposes”. He “took delight in setting himself up as a dandy”. In the view of Marguerite Long, “In spite of these appearances, this great prisoner of perfection hid a sensitive and passionate soul”. He was, she wrote elsewhere, “wounded by the least slight”. Nor should we forget his cigarettes: Ravel chain-smoked Caporal Bleu cigarettes. He spoke only rarely about his music and practically never about the process of composition. No one ever saw him composing. Ravel, who was a gifted pianist, conceived his works at the piano. Significantly, several of his orchestral works started life as piano compositions before he orchestrated them. “Ravel was a magnificent orchestrator,” stresses Lionel Bringuier. “Right from the beginning, even during his work at the piano, he already had the sound of an orchestra in his head.” This is demonstrably true of his Menuet antique of 1895, which he instrumented in 1929, and also of Une barque sur l’océan and Alborada del gracioso. They, too, were originally composed for the piano as the third and fourth movements of the piano cycle Miroirs of 1904–5. And the same is true of Ma mère l’Oye, a five-movement piano suite dating from 1908–10, which Ravel orchestrated in 1911 and expanded into an seven-part ballet. Even such a perfectly orchestrated score as the Pavane pour une infante défunte of 1899 began life as a piano piece. When writing it, Ravel was guided above all by its alliterative title. This work is also the first indication of the composer’s lifelong love of Spain, an affinity that he had cultivated from an earlier date with his goatee beard and beret. Another masterpiece that owes its origins to this same Iberian enthusiasm is the Rapsodie espagnole of 1908: it, too, conjures up a picture of an imaginary Andalusia. This period also witnessed a commission from the impresario Sergei Diaghilev that Ravel wrote for the legendary star of the Ballets Russes, Michel Fokine: Daphnis et Chloé is arguably his most iridescent and ambitious score. “The first time I heard the ‘Lever du jour’ in Daphnis,” recalls Lionel Bringuier, “it was a moment of absolute bliss for me. I had goosebumps – it was a feeling of ecstasy like nothing I’d ever known before.” Le Tombeau de Couperin (1919) and the Valses nobles et sentimentales (1912) are also based on piano compositions. Le Tombeau de Couperin is the last such piece, a piano suite dating from 1914–17 and inspired by French music of the 18th century. In 1919 Ravel transcribed four of its six movements and published them as an orchestral suite. The Valses nobles et sentimentales were conceived as a tribute to Schubert, their very title being based on two sets of Schubert’s dances, the Valses nobles D 969 of 1826 and the Valses sentimentales D 779 of around 1823. “Ravel doesn’t just mean French music,” insists Lionel Bringuier. “In his Valses you can hear the influence of Franz Schubert. Conversely, whenever I conduct La Valse, I sense the atmosphere of a Viennese ballroom.” Ravel did indeed conceive this dance poem as the apotheosis of the Viennese waltz. It was written for the Ballets Russes in 1919–20 but was rejected by Diaghilev. In terms of its popularity, La Valse was outstripped by Boléro. If Ravel’s summer of 1928 had gone according to plan, he would not have written this mesmerizing score at all, for he had something else in mind at that time, but copyright problems prevented him for going ahead with this alternative project, causing the composer intense annoyance: “My whole summer’s wrecked! The law is an ass! I have to work!” Weeks passed, but he then wrote to a friend to announce that he was working on a fairly unique piece: “No form in the true sense of the word, no development, hardly any modulation; a theme in the style of Padilla [the terribly vulgar composer of ‘Valencia’] together with rhythm and orchestration.” With that, Boléro was born. “I’ve written only one masterpiece – Boléro,” Ravel later admitted to the Swiss composer Arthur Honegger. “Unfortunately, there’s no music in it.” For his Tzigane, Ravel fell back not on the musical traditions of Spain but on Gypsy melodies. The idea for this piece came to the composer in 1922 at a private concert in London at which the Hungarian violinist Jelly d’Arányi played Ravel’s Duo for violin and cello with the cellist Hans Kindler. Within two days of this recital, Ravel had started work on Tzigane. He then summoned a violinist friend of his, Hélène Jourdan-Morhange, and asked her to bring him a copy of Paganini’s 24 Caprices – perhaps Paganini “might be able to suggest to him some unsuspected obstacles”. Ravel himself later admitted that the opening theme of his G major Piano Concerto had come to him during a train journey from Oxford to London. He worked on the score between 1929 and 1931, while simultaneously completing his Piano Concerto for the Left Hand in D major, a simultaneity that makes it all the more striking how different are these two concertos. Ravel himself insisted that the famous G major Concerto was a concerto in the true sense of the term, a piece in the spirit of Mozart and Saint-Saëns, whereas the Concerto for the Left Hand – a commission from the pianist Paul Wittgenstein – contained many jazz effects and was not as loosely written as its companion piece. “These two works are not so very different in terms of the way they are played,” says Yuja Wang, who made her European debut with the Tonhalle Orchestra in 2003 and who remains closely associated with the ensemble. “There are technical and stylistic similarities. However emotionally charged this music may be, it keeps its feelings tightly under wraps – and therein lies the dramatic tension and the challenge for the performer.” Werner Pfister
Код:
foobar2000 1.3.9 / Dynamic Range Meter 1.1.1 log date: 2016-05-31 02:43:45 -------------------------------------------------------------------------------- Analyzed: Ray Chen/Tonhalle-Orchester Zürich/Chris Hazell/Simon Eadon/Dave Rowell / Ravel: Complete Orchestral Works (1) Tonhalle-Orchester Zürich/Chris Hazell/Dave Rowell/Simon Eadon / Ravel: Complete Orchestral Works (2-8) Tonhalle-Orchester Zürich/Chris Hazell/Simon Eadon/Dave Rowell / Ravel: Complete Orchestral Works (9-13) Tonhalle-Orchester Zürich/Chris Hazell/Simon Eadon / Ravel: Complete Orchestral Works (14) Tonhalle-Orchester Zürich/Dave Rowell/Chris Hazell/Simon Eadon / Ravel: Complete Orchestral Works (15-21) Tonhalle-Orchester Zürich/Dave Rowell/Simon Eadon/Chris Hazell / Ravel: Complete Orchestral Works (22-24) Tonhalle-Orchester Zürich/Dave Rowell/Will Brown/Chris Hazell / Ravel: Complete Orchestral Works (25) Tonhalle-Orchester Zürich/Simon Eadon/Chris Hazell/Dave Rowell / Ravel: Complete Orchestral Works (26-31) Tonhalle-Orchester Zürich/Simon Eadon/Dave Rowell/Chris Hazell / Ravel: Complete Orchestral Works (32-37) Tonhalle-Orchester Zürich/Zürcher Sing-Akademie/Chris Hazell/Simon Eadon/Zürcher Sing-Akademie/Dave Rowell / Ravel: Complete Orchestral Works (38-39) Tonhalle-Orchester Zürich/Zürcher Sing-Akademie/Dave Rowell/Chris Hazell/Zürcher Sing-Akademie/Simon Eadon / Ravel: Complete Orchestral Works (40) Tonhalle-Orchester Zürich/Zürcher Sing-Akademie/Dave Rowell/Simon Eadon/Zürcher Sing-Akademie/Chris Hazell / Ravel: Complete Orchestral Works (41) Tonhalle-Orchester Zürich/Zürcher Sing-Akademie/Simon Eadon/Dave Rowell/Zürcher Sing-Akademie/Chris Hazell / Ravel: Complete Orchestral Works (42-44) Yuja Wang/Tonhalle-Orchester Zürich/Chris Hazell/Dave Rowell/Simon Eadon / Ravel: Complete Orchestral Works (45-47) Yuja Wang/Tonhalle-Orchester Zürich/Dave Rowell/Chris Hazell/Simon Eadon / Ravel: Complete Orchestral Works (48) Yuja Wang/Tonhalle-Orchester Zürich/Dave Rowell/Simon Eadon/Chris Hazell / Ravel: Complete Orchestral Works (49) Yuja Wang/Tonhalle-Orchester Zürich/Simon Eadon/Dave Rowell/Chris Hazell / Ravel: Complete Orchestral Works (50) -------------------------------------------------------------------------------- DR Peak RMS Duration Track -------------------------------------------------------------------------------- DR16 -0.10 dB -22.90 dB 10:04 02-Tzigane, rapsodie de concert, M. 76 DR16 -0.34 dB -22.56 dB 15:24 07-Boléro, M.81 DR13 -10.20 dB -29.22 dB 1:07 15-Valses nobles et sentimentales, M.61: 5. Presque lent - dans un sentiment intime DR14 -8.91 dB -30.73 dB 2:31 35-Rapsodie espagnole, M.54: 3. Habanera DR15 -0.10 dB -20.71 dB 5:50 36-Rapsodie espagnole, M.54: 4. Feria DR15 -0.18 dB -21.29 dB 11:14 38-La Valse, M. 72 DR15 -0.28 dB -24.28 dB 2:46 43-Daphnis et Chloé, Symphonie chorégraphique, M. 57 / Tableau I (Une prairie à la lisiére d’un bois sacré): 5. Danse de Lycéion DR15 -11.75 dB -33.33 dB 4:50 44-Daphnis et Chloé, Symphonie chorégraphique, M. 57 / Tableau I (Une prairie à la lisiére d’un bois sacré): 6. Nocturne. Danse lente et mystérieuse des Nymphes DR16 -1.99 dB -26.18 dB 4:49 05-Le Tombeau de Couperin, M.68: 3. Menuet DR13 -1.39 dB -19.28 dB 1:24 11-Valses nobles et sentimentales, M.61: 1. Modéré - très franc DR15 -3.27 dB -24.43 dB 3:08 20-Ma mère l'oye, ballet, M. 62: 2. Tableau I: Danse du rouet et scène DR13 -3.60 dB -22.60 dB 6:09 28-Menuet antique, M. 7 DR14 -0.85 dB -24.06 dB 1:58 34-Rapsodie espagnole, M.54: 2. Malagueña DR14 -0.67 dB -21.98 dB 4:09 25-Ma mère l'oye, ballet, M. 62: 7. Apothéose. Le Jardin féerique DR13 -4.12 dB -24.77 dB 3:14 03-Le Tombeau de Couperin, M.68: 1. Prélude DR15 -1.01 dB -23.07 dB 3:09 06-Le Tombeau de Couperin, M.68: 4. Rigaudon DR14 -7.77 dB -29.33 dB 2:18 12-Valses nobles et sentimentales, M.61: 2. Assez lent - avec une expression intense DR12 -7.85 dB -24.77 dB 1:10 14-Valses nobles et sentimentales, M.61: 4. Assez animé DR14 -2.96 dB -23.47 dB 0:59 16-Valses nobles et sentimentales, M.61: 6. Assez vif DR11 -12.13 dB -29.35 dB 3:13 18-Valses nobles et sentimentales, M.61: 8. Epilogue (Lent) DR15 -1.31 dB -23.09 dB 6:46 29-Miroirs, M.43: 3. Une barque sur l'océan DR15 -6.91 dB -30.66 dB 2:28 21-Ma mère l'oye, ballet, M. 62: 3. Tableau II: Pavane de la Belle au bois dormant DR15 -6.13 dB -29.79 dB 5:02 23-Ma mère l'oye, ballet, M. 62: 5. Tableau IV: Petit Poucet DR14 -4.52 dB -23.75 dB 1:43 41-Daphnis et Chloé, Symphonie chorégraphique, M. 57 / Tableau I (Une prairie à la lisiére d’un bois sacré): 3. Danse grotesque de Dorcon DR13 -0.10 dB -19.31 dB 12:52 01-Shéhérazade, ouverture de féerie, M. 17 DR14 -9.00 dB -28.23 dB 5:29 04-Le Tombeau de Couperin, M.68: 2. Forlane DR13 -1.27 dB -20.62 dB 2:38 17-Valses nobles et sentimentales, M.61: 7. Moins vif DR15 -4.58 dB -26.53 dB 4:32 22-Ma mère l'oye, ballet, M. 62: 4. Tableau III: Les entretiens de la Belle et de la Bête DR15 -2.92 dB -25.56 dB 4:34 24-Ma mère l'oye, ballet, M. 62: 6. Tableau V: Laideronnette, impératrice des Pagodes DR16 -4.07 dB -29.98 dB 4:33 33-Rapsodie espagnole, M.54: 1. Prélude à la nuit DR17 -6.10 dB -30.14 dB 5:25 49-Daphnis et Chloé, Symphonie chorégraphique, M. 57 / Tableau III (Paysage du première 1er tableau, à la fin de la nuit): 11. Pantomime (Les amours de Pan et Syrinx) DR13 -11.04 dB -30.17 dB 1:54 13-Valses nobles et sentimentales, M.61: 3. Modéré DR14 -4.73 dB -26.29 dB 3:02 19-Ma mère l'oye, ballet, M. 62: 1. Prélude DR12 -0.10 dB -20.99 dB 1:30 26-Fanfare From 'L'eventail de Jeanne', M. 80 DR15 -7.19 dB -28.55 dB 6:27 27-Pavane pour une infante défunte, M.19 DR15 -0.69 dB -22.63 dB 7:47 37-Miroirs, M.43: 4. Alborada del gracioso DR15 -1.00 dB -23.40 dB 1:14 40-Daphnis et Chloé, Symphonie chorégraphique, M. 57 / Tableau I (Une prairie à la lisiére d’un bois sacré): 2. Danse générale DR16 -1.33 dB -24.55 dB 5:28 48-Daphnis et Chloé, Symphonie chorégraphique, M. 57 / Tableau III (Paysage du première 1er tableau, à la fin de la nuit): 10. Lever du jour DR14 -0.10 dB -19.39 dB 4:43 50-Daphnis et Chloé, Symphonie chorégraphique, M. 57 / Tableau III (Paysage du première 1er tableau, à la fin de la nuit): 12. Danse générale (Bacchanale) DR15 -1.83 dB -25.04 dB 5:30 47-Daphnis et Chloé, Symphonie chorégraphique, M. 57 / Tableau II (Camp des pirates): 9. Danse suppliante de Chloé DR14 -6.39 dB -29.76 dB 4:13 42-Daphnis et Chloé, Symphonie chorégraphique, M. 57 / Tableau I (Une prairie à la lisiére d’un bois sacré): 4. Danse légére et gracieuse de Daphnis DR13 -3.03 dB -23.70 dB 10:08 39-Daphnis et Chloé, Symphonie chorégraphique, M. 57 / Tableau I (Une prairie à la lisiére d’un bois sacré): 1. Introduction et danse religieuse DR14 -4.04 dB -27.35 dB 2:47 45-Daphnis et Chloé, Symphonie chorégraphique, M. 57 / Tableau II (Camp des pirates): 7. Introduction DR15 -1.03 dB -21.87 dB 4:32 46-Daphnis et Chloé, Symphonie chorégraphique, M. 57 / Tableau II (Camp des pirates): 8. Danse guerrière DR18 -0.13 dB -23.55 dB 8:20 08-Piano Concerto In G, M. 83: 1. Allegramente DR17 -8.49 dB -30.83 dB 8:16 09-Piano Concerto In G, M. 83: 2. Adagio assai DR15 -0.18 dB -22.33 dB 7:42 30-Piano Concerto For The Left Hand In D, M. 82: 1. Lento DR15 -0.13 dB -20.90 dB 5:02 32-Piano Concerto For The Left Hand In D, M. 82: 3. Tempo I DR15 -1.88 dB -22.30 dB 4:51 31-Piano Concerto For The Left Hand In D, M. 82: 2. Allegro DR16 -0.04 dB -22.51 dB 3:59 10-Piano Concerto In G, M. 83: 3. Presto -------------------------------------------------------------------------------- Number of tracks: 50 Official DR value: DR15 Samplerate: 96000 Hz Channels: 2 Bits per sample: 24 Bitrate: 2388 kbps Codec: FLAC ================================================================================
Сейчас эту тему просматривают: нет зарегистрированных пользователей и гости: 1
Вы не можете начинать темы Вы не можете отвечать на сообщения Вы не можете редактировать свои сообщения Вы не можете удалять свои сообщения Вы не можете добавлять вложения
Ресурс не предоставляет электронные версии произведений, а занимается лишь коллекционированием и каталогизацией ссылок, присылаемых и публикуемых на форуме нашими читателями. Если вы являетесь правообладателем какого-либо представленного материала и не желаете чтобы ссылка на него находилась в нашем каталоге, свяжитесь с нами и мы незамедлительно удалим её. Файлы для обмена на трекере предоставлены пользователями сайта, и администрация не несёт ответственности за их содержание. Просьба не заливать файлы, защищенные авторскими правами, а также файлы нелегального содержания!
