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Ravel: Daphnis et Chloe (Complete Ballet); Pavane / Rotterdam PO, Nézet-Séguin

Album Summary

>Ravel, Maurice : Daphnis et Chloé
>Ravel, Maurice : Pavane pour une infante défunte
Performers Conductor Ensemble Composer

Notes & Reviews:

When Maurice Ravel in 1909 was commissioned by the ballet impresario Serge Diaghilev to write a score based on the ancient Greek novel Daphnis and Chloe, he decided to compose 'a huge musical fresco, concerned less with archaism than with faithfulness to the Greece of my dreams'. Three years later, when Daphnis et Chloé was first performed by the Ballets Russes, it had indeed grown into Ravel's longest work, playing for about an hour and requiring a large orchestra with an extended percussion section, not to mention a choir. The first production was fraught with difficulties and the première in Paris was less than successful. It was only the following year, in London, that the composer received proper recognition for his music, which Stravinsky later described as 'not only Ravel's best work, but one of the most beautiful products of all French music'. Ravel himself labelled it a 'choreographic symphony', and although he did extract two suites from it, the complete ballet score has also entered the concert repertoire. It is here performed by the Rotterdam Philharmonic Orchestra and Yannick Nézet-Séguin, a team with the best possible credentials for realizing the full spectrum of this sumptuous music - from the idyllic evocation of dawn in Lever du jour to the orgiastic Danse générale which closes the work. If Daphnis et Chloé is one of Ravel's most highly regarded works, his Pavane pour une infante défunte is one of the most popular. The brief piano piece from 1899 was orchestrated by the composer in 1910, while he was working on Daphnis. Its profound melancholy has caught the imagination of listeners ever since, in combination with the poetic title - which was only chosen because of its agreeable sound, however: Ravel never had a particular dead princess in mind, and finding many interpretations too sluggish, famously remarked that the piece was not, after all, 'a dead pavane for an infanta'.

Gramophone Magazine, May 2015
NTzet-STguin seems to have this music in his soul, and he unquestionably has it at his fingertips, with a secure hold on the drama, the unfolding of events and the ballet's cohesive span... the Netherlands Radio Choir add wordless halos to a characterful, involving interpretation.

American Record Guide, September/October 2015

American Record Guide, September/October 2015
This is a well thought-out, structurally solid Daphnis and Chloe. The approach is controlled, even buttoned-down, with every note and phrase in its place. There are few marked bursts of energy or big washes of color. Gestures like the trombone glissandos are polite, and the famous long flute solo is controlled and disciplined.

The Pavane for a Dead Princess is consistently slow, with interesting phrasing and rubato. The atmosphere is gentle and intimate, and the pacing floats. The aura is one of chamber music. Some performances are played for sheer beauty or as a lyrical afterthought. This one is more serious, and it is clear that some thought went into it.

The sound is terrific, especially in the bass, which is a strong selling point. This program is worth a try. I came to appreciate it the more I heard it.

Notes & Reviews:

Recording information: De Doelen Hall, Rotterdam, The Netherlands.



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Works Details

>Ravel, Maurice : Daphnis et Chloé
  • Performer: Juliette Hurel (Flute)
  • Conductor: Yannick Nézet-Séguin
  • Ensemble: Rotterdam Philharmonic Orchestra
  • Notes: Composition written: 1909-12.
  • Running Time: 22 min. 50 sec.
  • Period Time: Modern
  • Form: Ballet
  • Written: 1909-1912

>Ravel, Maurice : Pavane pour une infante défunte
  • Performer: Martin Merwe (Horn)
  • Conductor: Yannick Nézet-Séguin
  • Ensemble: Rotterdam Philharmonic Orchestra
  • Running Time: 6 min. 30 sec.
  • Period Time: Modern
  • Written: 1899