It has become a platitude to claim that Ravel (1875-1937) delighted in paradox and harmless deception. In a sense, therefore, nothing would have pleased him more than to learn that his stupendous reputation as an orchestrator continues to rest on works not expressly written for the medium. One must be careful not to misconstrue this allegation. …
28th December 2012 marks the 75th Anniversary of the death of Maurice Ravel, the great French composer, best-known for his beautiful melodies, orchestral & instrumental textures and mesmeric compositional effects. Many consumers will know Ravel through his masterpieces, such as: Boléro, Pavane pour une infant défunte, Rapsodie espagnole, Gaspard de la nuit, Ma Mère l’oye, Daphnis et Chloë, Le Tombeau de Couperin and La Valse. For the first time ever, a 14-CD Box Set containing the COMPLETE EDITION of Ravel’s compositions. This is the flagship product, the first time ever that a complete Ravel Box has been issued by any classical label.
"…Recommended with enormous pleasure. " ~sa-cd.net
A solitaire in French is a single mounted jewel, a concept that seems less than apt for the rather hefty works recorded here by British pianist Kathryn Stott. But this fine recital holds together in another way: Ravel, who so often provides the temporal endpoint for traditional piano recitals, is here, to a greater or lesser extent, the launching point for the other three composers featured. Stott's reading of the neoclassical Le Tombeau de Couperin is beautifully precise and balanced, catching the economy of this Baroque-style suite to the hilt. That economy carries over into the later works, even the rarely performed Piano Sonata of Henri Dutilleux, a work that deftly fuses Ravel's sense of classical forms with a largely dissonant language. The opening Prelude and Fugue of Jehan Alain, actually two separate works that are reasonably enough combined here, is another seldom-played piece that makes an arresting curtain-raiser, and the final "Le baiser de l'Enfant Jésus" of Messiaen, part of the giant Vingt regards sur l'Enfant Jésus, is the splendid climax of the whole, its spiritual, dreamlike ascent at the end superbly controlled.
The acclaimed Fidelio Trio make their Resonus debut with an exquisite recording of French piano trios – Camille Saint-Saëns’ large-scale Op. 92 second trio, and Maurice Ravel’s sole foray into the genre dating from 1914. Coming off the back of a Royal Philharmonic Society Award nomination in 2016, this recording sees the trio expand on their unparalleled reputation for new music, demonstrating the vast range of this brilliant chamber group’s abilities and talent.