![]() ![]() Read the full Gramophone Collection article Clark concluded: 'Boulez’s forensic 1974 performance delves deeper than any other into Ravel’s sleight-of-orchestral-hand and layerings of harmony – a probing shaft of light into Boléro’s inventive, one-off weirdnesses.' The top choice in Philip Clark's 2010 Gramophone Collection article surveying all of the important recordings of Ravel's most famous work. To find the perfect subscription for you, simply visit: .uk/subscribe Subscribing to Gramophone is easy, you can choose how you want to enjoy each new issue (our beautifully produced printed magazine or the digital edition, or both) and also whether you would like access to our complete digital archive (stretching back to our very first issue in April 1923) and unparalleled Reviews Database, covering 50,000 albums and written by leading experts in their field. We have been writing about classical music for our dedicated and knowledgeable readers since 1923 and we would love you to join them. There is a mix of classic recordings (Crespin's Shéhérazade from 1963, Boulez's 1974 Boléro) and very recent releases (Roth's Daphnis et Chloé from last year) so there should be something new and interesting to discover for even long-time Ravel lovers. But here is a selection of 10 outstanding recordings that are sure to offer many hours of listening pleasure. There is great unity in the String Quartet, with the cyclical themes throughout.By its very nature, no Top 10 list could hope to include all of the wonderful recordings of Ravel's music that we have available to us today. Vigorous eighth notes open and are answered by recollections of the first movement. The finale, Vif et agité (lively and agitated), starts and ends stormily, with moments of respite. Finally, it comes to rest high and soft, giving some peace after a great deal of disquiet. Although the music is slow and contemplative, there is a sense of inevitable movement forward, as if we are strapped into a roller coaster car moving slowly on the track. At several moments, the first violin soars high, full of romantic bittersweetness, then subsides, as stranger and more suspenseful themes take over. The nocturne-like third movement, Très lent (very slow), recycles melodic material from the first movement, moving between tension and relaxation throughout, with effective use of tremolo in the supporting lines. Low, pizzicato runs leap back into the first section material, and barge ahead to a stomping conclusion. The slower, more lyrical middle section of the movement sounds at times almost timeworn – primeval or exotic – with the first violin playing creaky, rising lines while the other strings pluck out eerie accompaniment. The music shifts back and forth between pizzicato and more lyrical sections, all highlighting the triple meter with different rhythmic combinations reminiscent of Iberian folk music. The second movement, the shortest of the Quartet, is marked Assez vif (rather lively). The first movement, marked Allegro moderato – Très doux (very sweet) is full of lyrical and soaring lines on the violin. Ravel dedicated the piece to his teacher, Gabriel Fauré. Like Debussy’s String Quartet of a decade earlier, Ravel’s Quartet also uses themes cyclically throughout the work. The Quartet does follow the traditional four-movement classical structure. The String Quartet is often considered Ravel’s first masterpiece, and continues to be one of the most widely performed chamber music works in the classical repertoire, representing Ravel’s early achievements and rise from obscurity. Though Ravel may have been the consummate perfectionist composer, he seems to have felt a certain freedom to be bold and spontaneous in writing the String Quartet. ![]() So it was with Ravel, whose music blossomed under restraint. It is a common occurrence for artists to thrive within some sort of limitation or structure. ![]() At times it sounds like a much fuller string section than four instruments. However, the Quartet in F major is an early demonstration of Ravel’s brilliant juxtaposition of formality and sensuality, and his incredible use of tone color. This first and only string quartet again failed to win him the prestigious award. By this time he had been studying there for half of his life, and had entered the much-desired Grand Prix de Rome competition several times, though never receiving higher than second place. In 1903, the 28-year-old Ravel was completing his studies at the Paris Conservatory. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |