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Les Siècles & François-Xavier Roth - Ravel: Ma mère l'Oye, Le tombeau de Couperin & Shéhérazade, ouverture de féerie (2018)

Posted By: delpotro
Les Siècles & François-Xavier Roth - Ravel: Ma mère l'Oye, Le tombeau de Couperin & Shéhérazade, ouverture de féerie (2018)

Les Siècles & François-Xavier Roth - Ravel: Ma mère l'Oye, Le tombeau de Couperin & Shéhérazade, ouverture de féerie (2018)
EAC Rip | FLAC (tracks+log+.cue) - 219 Mb | MP3 CBR 320 kbps - 132 Mb | Digital booklet | 00:56:31
Classical | Label: harmonia mundi

After their revelatory recording of Ravel’s Daphnis et Chloé, Les Siècles and François-Xavier Roth give us the exotic Mother Goose suite and Le tombeau de Couperin which sound so new thanks to this period-instrument guise (light on vibrato, and with instruments appropriate to the time of composition). Ma Mére l’Oye, with its unique colours, benefits most from this approach, less sweet than normal and always strikingly original. Le tombeau…, a work tinged with sadness, really does seem to reach back into the depths of French music, evoking a past age to remember the composer’s friends lost to the First World War.


In this recording, its interesting to compare the two works for so-called small orchestra, Le Tombeau de Couperin and Ma mre lOye. For, when discussing Ravels orchestral music, one thinks more readily of the large symphony orchestra in all its luxuriance, of the teeming array of percussion, which often requires a timpanist and seven percussionists. In these two pieces, the orchestration is deliberately reduced, for two very different reasons. In one case, Ravel was writing with an eye to childhood indeed, to children themselves with Ma mre lOye; in the other, he was composing Le Tombeau de Couperin in homage to his friends who had been killed in the war. So were looking here at composition in two totally different sets of circumstances.

Ma mre lOye is a cycle of pieces originally written for piano played by four childish hands. The version we have recorded with Les Sicles is an orchestration to which Ravel added transitions and a tableau (Danse du rouet et scne) in order to create a ballet, premiered in 1912 at the Thtre des Arts. Le Tombeau de Couperin is a tribute to French Baroque music, in which each piece clearly refers to a dance of that period. The French music of the seventeenth and eighteenth centuries had been brought back into fashion by Camille Saint-Sans, among others, shortly before Ravels musical education began. He seized on this repertory, and here he produced a work of an entirely novel kind. As is always the case with Ravel, each work is an experiment, a sort of unique diamond, without an earlier model. These are genuine tudes on Baroque dance, with each piece presenting a tempo, a rhythm, a melodic and harmonic language of its own, like an tude by Chopin. Imbued with nostalgia and great melancholy, but also vivacity and virtuosity, this music offers a new role to the wind instruments and especially the woodwind, which Ravel set about transcending. This new role for the wind instruments was of decisive importance in the evolution of their playing style in the course of the twentieth century.

Shhrazade, ouverture de ferie is a more rarely performed work, because it dates from much earlier in Ravels career.

Yet its very touching to hear the young composer writing for large orchestra in this overture and undertaking experiments with orchestral textures that he was later to use in Daphnis et Chlo or La Valse.

Naturally, we play all these works on the instruments that Ravel knew; these French-built instruments of the late nineteenth or early twentieth century are here often placed under great strain, pushed to their furthest limits of virtuosity and dynamics, as for example with the oboe in Le Tombeau de Couperin. We find in this music the fragility and urgency that Ravel quite deliberately aimed to achieve, with his detailed knowledge of the French style of wind-instrument making. For their part, the gut strings still used at that time contribute their silky, enveloping sonority and their incisive attack and articulation. F-X Roth
Tracklist:
01. Ma mre lOye, M. 62: Prlude. Trs lent (03:05)
02. Ma mre lOye, M. 62: Premier tableau. Danse du rouet et scne. Allegro (01:58)
03. Ma mre lOye, M. 62: Interlude I. Un peu moins anim (01:15)
04. Ma mre lOye, M. 62: Deuxime tableau. Pavane de la Belle au bois dormant. Lent (01:38)
05. Ma mre lOye, M. 62: Interlude II. Plus lent (00:50)
06. Ma mre lOye, M. 62: Troisime tableau. Les Entretiens de la Belle et de la Bte. Mouvement de valse modr (04:00)
07. Ma mre lOye, M. 62: Interlude III. Lent (00:40)
08. Ma mre lOye, M. 62: Quatrime tableau. Petit Poucet. Trs modr (03:32)
09. Ma mre lOye, M. 62: Interlude IV. Lent (01:20)
10. Ma mre lOye, M. 62: Cinquime tableau. Laideronnette, impratrice des pagodes. Mouvement de marche (03:24)
11. Ma mre lOye, M. 62: Interlude V. Allegro (01:07)
12. Ma mre lOye, M. 62: Apothose. Le jardin ferique. Lent et grave (03:35)
13. Shhrazade, ouverture de ferie, M. 17 (13:13)
14. Le tombeau de Couperin, M. 68a: I. Prlude. Vif (03:00)
15. Le tombeau de Couperin, M. 68a:: II. Forlane. Allegretto (05:39)
16. Le tombeau de Couperin, M. 68a:: III. Menuet. Allegro moderato (04:42)
17. Le tombeau de Couperin, M. 68a:: IV. Rigaudon. Assez vif (03:16)

Exact Audio Copy V1.3 from 2. September 2016

EAC extraction logfile from 8. August 2018, 16:14

François-Xavier Roth / Ma mère l'Oye, Le tombeau de Couperin & Shéhérazade, ouverture de féerie

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17 | 53:15.34 | 3:16.33 | 239659 | 254391


Track 1

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Track 2

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Track 3

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Track 4

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Track 6

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Track 8

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Track 9

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Track 10

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Track 11

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Track 12

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Track 13

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Track 14

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Track 15

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Track 16

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Track 17

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All tracks accurately ripped

No errors occurred

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–– CUETools DB Plugin V2.1.6

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Submit result: i_Q0plBs_W3OFkMIY.lVDaV2UWA- has been confirmed
Track | CTDB Status
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9 | (13/13) Accurately ripped
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12 | (13/13) Accurately ripped
13 | (13/13) Accurately ripped
14 | (13/13) Accurately ripped
15 | (12/13) Accurately ripped
16 | (13/13) Accurately ripped
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==== Log checksum 2ED8BF0AD390138020AC50112217717F0031C33D4F9E4D9DD85BAD3B83D00240 ====

Thanks to the Original ripper signeurAlfred !