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  • 古典音乐解说: 拉威尔 - 波莱罗舞曲及鹅妈妈组曲 (斯米利)
    Classics Explained: RAVEL - Boléro and Ma Mère l’oye (Smillie)
    专辑号：8.558032-33
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• • 古典音乐解说: 拉威尔 - 波莱罗舞曲及鹅妈妈组曲 (斯米利)/Classics Explained: RAVEL - Boléro and Ma Mère l’oye (Smillie)
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  • Classics ExplainedAn Introduction to... RAVEL: Boléro and Ma Mere l’oyeAuthor and narrator: Jeremy Siepmann2 CDs, including the complete work108-page bookletNaxos 8.558032-33ISBN: 1-84379-093-9The famous Boléro and the enchanting Mother Goose Suite give us Ravel the orchestral sorcerer at the peak of his unsurpassed powers. From the fierce vitality of sun-baked Spain to the most poignant evocations of childhood and innocence, he captures the immediacy of experience as we feel it. Yet he saw himself as an artisan, not an artist, and a discoverer rather than a composer. Behind every work was a craftsman of astonishing skill - so astonishing that we can examine the artistic workshop in minute detail without dispelling any of the magic.’Boléro is the most formula-ridden, deliberately repetitious piece of music ever to enter the mainstream concert repertoire,’ says Jeremy Siepmann. Ravel himself regarded it as an experiment in form - yet it has proved one of the most popular and seemingly spontaneous works in all classical music. In his informative manner, Siepmann explains, ’Ravel seems to put all his cards on the table right at the outset... but like all top-class magicians... he had endless surprises up his sleeve.’ With the surprises revealed, the spotlight put also on the enchanting Mother Goose Suite, and Ravel’s fascinating life and behaviour related in the accompanying booklet, this is a compelling recording.
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      CD01

      An Introduction to ... RAVEL: Bol廨o and Ma M鋨e Loye

      

      1: Bolero-Introduction; cue to unadorned Bolero rhythm, Part 1

      02:29

      2: Bolero rhythm, Part 2: an extended variation of Part 1

      00:07

      3: Motto rhythm complete

      00:21

      4: But here we have snare drums and plucked violas and cellos

      00:22

      5: Section 1: Introduction of the theme by solo flute

      00:37

      6: Flute continues with Part 2 of theme

      00:48

      7: Section 2: Complete statement of theme by clarinet as flute joins motto group

      01:30

      8: Introduction of discordant harp into the unfolding picture

      00:18

      9: Section 3: Bassoon introduces closely related variant of theme

      00:34

      10: ...but then veers upwards, slowing rhythm and introducing new syncopation

      00:59

      11: Section 4: Petite E flat clainet takes over theme, including variants

      01:21

      12: Section 5: Oboe damore takes over theme but returns to its original form

      01:34

      13: Section 6: Theme now shared by two instruments: uted trumpet and flute

      01:16

      14: Section 7: Tenor saxophone takes Theme as trumpet replaces horn in motto

      01:39

      15: Section 8: Theme taken by soprano saxphone, espressivo

      01:09

      16: Section 9: Theme: celeste, piccolos and horn; Motto: flute and French horn

      01:24

      17: Section 10: Theme: Oboes, horns, clarinets; Motto: plucked violas and violins

      02:06

      18: Section 11: Theme taken by First Trombone, complete with jazzy slides

      01:40

      19: Section 12: Theme: flutes, oboes, clarinets, sax; Motto: bassoons, horns, trumpets

      01:13

      20: Section 13: Violins at last take the main tune, joining massed winds

      01:14

      21: Section 14: Violins divide into four groups, each double-stopping

      01:04

      22: Section 15: Trumpet, trombone 2 and tuba join the foreground

      01:18

      23: Section 16: First trombone and soprano saxophone rejoin theme

      00:56

      24: Section 17: Fortissimo; all strings double-stopping ; trumpets added

      01:26

      25: Section 18: Entire orchestra now employed, as loudly as possible

      01:18

      26: Section 19: Sudden, amazing change of key, lurching from C to E major

      01:20

      27: Section 20: Key now lurches back to C, as jazzy trombones whiningly protest

      00:36

      28: Cue to complete performance

      00:20

      29: Bolero (complete)

      16:16

      CD02

      1: Pavane de la Belle au bois dormant-Opening figure on flute; rising, falling, and then reeated

      01:04

      2: Same again, with emphasis on delicacy of scoring

      00:30

      3: answering variant, accompanied by plucked double basses

      00:19

      4: Reminder of opening figure

      00:18

      5: ... and now its rhythmical mirror image, or almost...

      00:12

      6: Answering Phrase 2: a near-inversion, over James Bond accompaniment

      00:41

      7: Pivotal Phrase 3, reversing direction but keeping rhythm of Phrase 2

      00:46

      8: Reprise of Phrases 1 and 2, but with new accompaniment

      00:39

      9: Further Reprise of Phrase 2, now on violin, accompanied by harp

      00:40

      10: Pavane (complete)

      01:41

      11: Petit Poucet (Tom Thumb)-Introduction; Opening, with multi-metre rising scales from muted violins

      00:49

      12: Change of metre continue as solo oboe introduces Theme One

      00:24

      13: Oboe yields to Cor Anglais for Theme Two, against lower (still muted) strings

      00:44

      14: Theme One returns, shared by clarinet and flute, muted horn added to accompaniment

      00:25

      15: Motto rhythm dominates as intensity increases from lower strings to full orchestra

      00:46

      16: Fear subsides as Theme Two returns, again in Cor Anglais but now in a different key

      00:32

      17: Sensational sound effects evoke a wood at night, with screeches, cuckooing etc.

      00:44

      18: Texture thins; Theme one returns, delicately scored for strings and piccolo

      00:19

      19: The main part of movement ends, with waltz-like march(!), featuring flute

      00:28

      20: Petit Poucet (complete)

      03:28

      21: Laideronnette, Imperatrice des Pagodes-Introduction; opening bars, followed by Theme One

      02:00

      22: Oriental-orchestral equivalent of an imprial telephone bell

      00:15

      23: ... oboe answers with a very slightly varied version of Theme One

      00:15

      24: Expanded derivative of the telephone bell interrupts the theme again

      01:00

      25: Fragments of theme in flutes and cor anglais, with James Bond tag in violins

      00:24

      26: Gamelan music from flute and piccolo, accompanied by harp, xylophone and strings

      00:32

      27: arrival of Empress; upper strings yield to winds, celeste, harp and (very discreet) gong

      00:47

      28: Laideronnette, Imperatrice des Pagodes (complete)

      03:57

      29: Les entretiens de la Belle et de la Bete- opening

      00:51

      30: Characteristic pattern of two short phrases answered by a long one

      00:36

      31: Clarinet, flutes and violas, with sighing figure derived from downward string motif

      00:21

      32: Varied reprise of opening, entry of the Beast ; Watch it ! Watch it !

      00:32

      33: Again the Beast growls; again the cautious warning Watch it ! from the winds

      00:40

      34: Derivative of Beautys Theme from flute, combined with caution motif in strings

      00:38

      35: Beasts theme rises in pitch with each successive gowl (representing hope?)

      00:52

      36: Beauty , Beast and Caution motifs all combine simultaneously

      01:12

      37: Beast (contra-bassoon) climbs ever higher, handing over to bassoon proper

      00:49

      38: Harps upward glide heralds the moment of transformation; love song, fear, release

      02:09

      39: Les entretiens de la Belle et de la Bete (complete)

      04:14

      40: Le jardin feerique-Introduction; Opening bars are unfuuuuuuuuurled by the strings alone

      00:40

      41: The rhythmic basis, and its guises. First, a question: Where went my childhood?

      01:23

      42: The question intensified: Oh where went ... my childhood?

      00:15

      43: The answer, with a falling inflection: Gone is your childhood.

      00:20

      44: The plea: Bring back my childhood!

      00:14

      45: The response: Seek in ... your memry. There it ... will be.

      00:25

      46: Ravels use of tone colour to change the feeling of the music

      00:49

      47: Further illustration of the same point

      00:27

      48: Continued

      01:44

      49: The nobility of the strings

      00:45

      50: Bells evoked by French horns; the final, opulent, moving climax of the whole suite

      01:11

      51: Le jardin feerique (complete)

      04:00

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