If it isn't Krautrock, it's krap.
"And it's only the giving
That makes you what you are" - Ian Anderson
Yes, correct. Kudos on owning that set! I don't have that set but I do own the Thibaudet set alone, which is really quite outstanding (I bought it before the Decca box was released). Another great solo piano set that I can highly recommend is Angela Hewitt's (on Hyperion). She is renowned for her Bach keyboard works, but her Ravel set is magnifique! It always amazes me how different interpretations of this music can have such a profound effect on the listener, even something that I have heard a gazillion times such as Pavane pour une infante défunte; who takes it slightly more staccato, slight variances in tempi, etc make such a big difference.
If it isn't Krautrock, it's krap.
"And it's only the giving
That makes you what you are" - Ian Anderson
I used to be a big Ravel fan, but not quite so much anymore. My tastes have shifted much more toward the atonal and polytonal.
Of course "Daphnis and Chloe" still holds up quite well for me. It could be the earliest piece of classical music that I still like. I also enjoy his piano concerto every once in a while.
I hate, and have always hated "Bolero". Ravel himself was hardly a fan.
A 15 minute crescendo, with the same 2 themes repeated 8 times each. What's not to dislike?
And if there were a god, I think it very unlikely that he would have such an uneasy vanity as to be offended by those who doubt His existence - Russell
This is from a 17 CD box I picked up for under 20 dollars.
https://www.amazon.com/Marcelle-Meye.../dp/B00PD476SM
I went straight for her Gaspard ii. Le Gibet......wonderful interpretation. The more haunting this movement is played, the better imo. That pedal tone throughout is magical. And he (Ravel) superimposes these chords over the top of this, creating a colorful cascade of moods and pictures. Genius movement. Thanks Reid, I will explore more of her set.
If it isn't Krautrock, it's krap.
"And it's only the giving
That makes you what you are" - Ian Anderson
I bought the Meyer set when I was on a baroque keyboard kick, but it's filled with loads of wonderful music.
R-2544998-1289756189.jpeg.jpg
Reid, have you ever heard this disc? My Desert island Le Tombeau (orchestrated) and Ma Mer L'oye (suite). Unfortunately its not the full ballet of Ma Mere, but what is there is not to be beat from all of the recordings that I've heard and own (which is a shitload). The big crescendo in iii. Menuet (on Le Tombeau) is total goosebumps, the best on record. It seems like its difficult to find these days, even Amazon doesn't have any used copies anymore and its definitely OOP. I got it from BMG way back in the day and glad I did.
If it isn't Krautrock, it's krap.
"And it's only the giving
That makes you what you are" - Ian Anderson
Hurtleturtled Out of Heaven - an electronic music composition, on CD and vinyl
https://michaelpdawson.bandcamp.com
http://www.waysidemusic.com/Music-Pr...MCD-spc-7.aspx
If it isn't Krautrock, it's krap.
"And it's only the giving
That makes you what you are" - Ian Anderson
Hurtleturtled Out of Heaven - an electronic music composition, on CD and vinyl
https://michaelpdawson.bandcamp.com
http://www.waysidemusic.com/Music-Pr...MCD-spc-7.aspx
Good analysis! I'm of the same opinion!
The two classical pieces I remember I liked at a very early age (pre-school) are Beethoven's fifth and Bolero. I believe I share that with many! Many years later, learning Syrinx on the flute, I got hooked on Debussy - I still am. Debussy and Ravel have remained on my top 5 list (the other three are interchangeable )
Talking Le tombeau de Couperin, one of my favourite compositions, I fell for it while listening to a CD where it was played quite slowly, with a serene feel to it - however I lost the specific CD. When I tried other recordings (didn't find the same version I lost), I was terrified by the sped up tempo that most recordings have - and I can't cope... I think that particular love for a particular piece depends so much on connecting with the interpretation - tempo, dynamics, phrasing. Specifically with those "impressionist" works, the interpretation is so crucial.
Last edited by hFx; 08-14-2018 at 05:36 PM.
My Progressive Workshop at http://soundcloud.com/hfxx
So glad to see some Ravel fans, even if we number in the 5's or 6's
Hey, Uncle Frank lists him as a influence in the Freak Out! liner notes, and that did have an impact on me being such an FZ freak - if Zappa loved Varese, Bartok, Stravinsky, Webern, and Ravel, then in my mind those cats had to be worth checking out. When I found out he covered "Bolero" in 1988, I was thrilled, and it was just around the time when I heard Ravel for the first time - when I heard The Best Band album for the first time.
hFx - I totally agree with what you are saying about tempi, mood, phrasing in this music....those aspects have such a profound impact on both Debussy and Ravel. It's the classical music "curse" of having to buy multiple versions of the same piece in order to find "the one". Non-classical fans have some difficulty wrapping their heads on occasion around this concept of searching out multiple versions. Sort of O/T but while I remember - if you guys love Debussy's Preludes (I and II), then I HIGHLY HIGHLY recommend Paul Jacob's recording on Nonesuch. It is an incredible performance and the sonics are equally as good. It's my go-to of that piece, and I feel like I will never need to find another version, even with Aimard, Michaelangeli, Pollini as competitors, although there is a newer recording with Marc-Andre Hamelin that has become my number two.
hFx - Back to Le Tombeau - I am right with you in regards to this being one of my favorite pieces of music, period. I remember driving around the Burgundy region in 2004 on our honeymoon through the winding country vineyard roads playing Le Tombeau on repeat mode - it still brings me back. I am going to post the entire orcheswtrated version here, and I want your impression (well, all of you actually) on this particular version. It was recorded in 1994 by Sir Neville Marriner/Academy of St Martin of The Fields on the German label Hänssler Classic. It's my desert island orchestral version, total bliss and perfection in every which way. I own many, many versions but this is the one I would choose if I had to whittle it down to just one choice. Please let me know what you think, especially of the gorgeous Menuet movement. I'll post on the next one down here.
If it isn't Krautrock, it's krap.
"And it's only the giving
That makes you what you are" - Ian Anderson
If it isn't Krautrock, it's krap.
"And it's only the giving
That makes you what you are" - Ian Anderson
If it isn't Krautrock, it's krap.
"And it's only the giving
That makes you what you are" - Ian Anderson
A taste of the Paul Jacob's remarkable Preludes recording.
If it isn't Krautrock, it's krap.
"And it's only the giving
That makes you what you are" - Ian Anderson
Funny I just watched a BBC Proms concert with the National Youth Orchestra playing the Piano Concerto for Left Hand on Sunday evening via vpn. I think my favourite piece by Ravel is his almost throwaway piece Introduction and Allegro for Harp, Flute, Clarinet and String Quartet. He wrote this as an exercise in chamber orchestration and lost the score for years. It is simply exquisite.
On Bolero - what's not to like???? It is an absolute masterpiece of orchestration where the melody is passed around the orchestra as the tension rises and the harmonies become more bizarre - a result of Ravel's studying some techniques of Stravinsky. A pure masterpiece.
If it isn't Krautrock, it's krap.
"And it's only the giving
That makes you what you are" - Ian Anderson
If it isn't Krautrock, it's krap.
"And it's only the giving
That makes you what you are" - Ian Anderson
During the crescendo at it's premiere a woman purportedly stood up and shouted "Au fou! Au fou!"
The madman! The madman!
(I heard something like this during The Ancient at MSG in February 1974. Steve Howe kept on playing.)
When Ravel was told of the reaction he said "That woman, she understands."
I guess otherwise the premiere of the piece went reasonably well.
Last edited by Frankh; 08-15-2018 at 04:30 AM.
Perhaps finding the happy medium is harder than we know.
Preludes is ridiculously good. I have the Claudio Arrau interpretation, which I adore, but I think I will delve into Jacobs' soon enough. It sounds like 20% slower than the Chilean one, but really interesting.
But Frank, you need to spend some time with Pelleas et Melisande. In my opinion there lies Debussy's most beautiful music. No words to describe it.
Maybe it's time to return to some "classical" music myself. I've been away for decades, for no particular reason. Maybe I am afraid that if I return, it will be the end to my prog days.
A very musical performance and beautiful recording. Again I have my preference cemented to that lost CD - can't even remember the label. The interpretations are slightly different. Most noteworthy are that the "feel" in the first two parts are interchanged. On "my" recording the Prelude is 10-15% slower and serene, similar to the feel of the Forlane in the Marriner/ASIF-recording. Yet again "my" Forlane is light and almost bouncy - just like the Prelude is when played by Marriner/ASIF
However, the Menuet are quite similar as far as I remember. Maybe I would actually prefer Marriner/ASIF as the performances feel more (rightfully) solemn and soulful, albeit a bit oh the slow side. The final Rigaudon is also similar between the two versions.
I do wish I could get my hands and ears over that particular CD once again.
My Progressive Workshop at http://soundcloud.com/hfxx
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