Jean-Efflam Bavouzet - Ravel: Complete Works for Solo Piano (2025) [Hi-Res]
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BAND/ARTIST: Jean-Efflam Bavouzet
- Title: Ravel: Complete Works for Solo Piano
- Year Of Release: 2025
- Label: Chandos
- Genre: Classical Piano
- Quality: flac lossless (tracks) / flac 24bits - 96.0kHz +Booklet
- Total Time: 02:23:26
- Total Size: 390 mb / 1.82 gb
- WebSite: Album Preview
Tracklist
CD1
01. Sérénade grotesque, M. 5
02. Jeux d'eau, M. 30
03. Pavane pour une infante défunte, M. 19
04. Menuet antique, M. 7
05. Sonatine, M. 40: I. Modéré
06. Sonatine, M. 40: II. Mouvement de menuet
07. Sonatine, M. 40: III. Animé
08. Menuet, M. 42
09. Menuet sur le nom d'Haydn, M. 58
10. Miroirs, M. 43: No. 1, Noctuelles. Très léger
11. Miroirs, M. 43: No. 2, Oiseaux tristes. Très lent
12. Miroirs, M. 43: No. 3, Une barque sur l'océan. D'un rythme souple
13. Miroirs, M. 43: No. 4, Alborada del gracioso. Assez vif
14. Miroirs, M. 43: No. 5, La vallée des cloches. Très lent
CD2
01. Gaspard de la nuit, M. 55: No. 1, Ondine. Lent
02. Gaspard de la nuit, M. 55: No. 2, Le gibet. Très lent
03. Gaspard de la nuit, M. 55: No. 3, Scarbo. Modéré
04. A la manière de Borodine, M. 63 No. 1
05. A la manière de Chabrier, M. 63 No. 2
06. Le tombeau de Couperin, M. 68: I. Prélude
07. Le tombeau de Couperin, M. 68: II. Fugue
08. Le tombeau de Couperin, M. 68: III. Forlane
09. Le tombeau de Couperin, M. 68: IV. Rigaudon
10. Le tombeau de Couperin, M. 68: V. Menuet
11. Le tombeau de Couperin, M. 68: VI. Toccata
12. Prélude, M. 65
13. Valses nobles et sentimentales, M. 61: No. 1, Modéré, très franc
14. Valses nobles et sentimentales, M. 61: No. 2, Assez lent, avec une expression intense
15. Valses nobles et sentimentales, M. 61: No. 3, Modéré
16. Valses nobles et sentimentales, M. 61: No. 4, Assez animé
17. Valses nobles et sentimentales, M. 61: No. 5, Presque lent, dans un sentiment intime
18. Valses nobles et sentimentales, M. 61: No. 6, Vif
19. Valses nobles et sentimentales, M. 61: No. 7, Moins vif
20. Valses nobles et sentimentales, M. 61: No. 8, Épilogue. Lent
21. La valse, M. 72 (Version for Piano)
Born in 1875, Ravel was fêted during the 1920s and ’30s as France’s greatest living composer – a remarkable achievement considering the obstacles placed in his path by the ultra-conservative Parisian musical elite of his time. (Ravel was expelled from the Paris Conservatoire twice!). His unique musical style, combining classical form and impressionistic harmony, makes his work immediately recognisable.
Compared to others, Ravel, immensely self-critical, was a slow and conscientious composer, but almost all his relatively small output remains in the repertoire and is performed and recorded regularly.
The piano was Ravel’s first instrument, and although he was no virtuoso himself, he successfully composed some of the most virtuosic pieces in the repertoire, reflecting his extraordinary understanding of the instrument and exactly what sounds and effects he wanted to achieve. He orchestrated a significant number of his piano works, which presents another challenge to the performer: once she or he has heard Ravel’s orchestration of a work, this must of course influence one’s perception of the original. (This is equally true for the listener, of course.)
Jean-Efflam Bavouzet notes: ‘I subscribe completely to Ravel’s idea that a composer does not have to be profound in order to write good music. And furthermore, owing no doubt to his modest character, Ravel rarely addresses us in the first person. He does not confide in us intimately except on the rarest occasions. At these exceptional moments, our admiration for this musical giant, for his intelligence and elegant style of writing, for his perfect proportions, give way to a wave of emotion that is difficult to contain.’
CD1
01. Sérénade grotesque, M. 5
02. Jeux d'eau, M. 30
03. Pavane pour une infante défunte, M. 19
04. Menuet antique, M. 7
05. Sonatine, M. 40: I. Modéré
06. Sonatine, M. 40: II. Mouvement de menuet
07. Sonatine, M. 40: III. Animé
08. Menuet, M. 42
09. Menuet sur le nom d'Haydn, M. 58
10. Miroirs, M. 43: No. 1, Noctuelles. Très léger
11. Miroirs, M. 43: No. 2, Oiseaux tristes. Très lent
12. Miroirs, M. 43: No. 3, Une barque sur l'océan. D'un rythme souple
13. Miroirs, M. 43: No. 4, Alborada del gracioso. Assez vif
14. Miroirs, M. 43: No. 5, La vallée des cloches. Très lent
CD2
01. Gaspard de la nuit, M. 55: No. 1, Ondine. Lent
02. Gaspard de la nuit, M. 55: No. 2, Le gibet. Très lent
03. Gaspard de la nuit, M. 55: No. 3, Scarbo. Modéré
04. A la manière de Borodine, M. 63 No. 1
05. A la manière de Chabrier, M. 63 No. 2
06. Le tombeau de Couperin, M. 68: I. Prélude
07. Le tombeau de Couperin, M. 68: II. Fugue
08. Le tombeau de Couperin, M. 68: III. Forlane
09. Le tombeau de Couperin, M. 68: IV. Rigaudon
10. Le tombeau de Couperin, M. 68: V. Menuet
11. Le tombeau de Couperin, M. 68: VI. Toccata
12. Prélude, M. 65
13. Valses nobles et sentimentales, M. 61: No. 1, Modéré, très franc
14. Valses nobles et sentimentales, M. 61: No. 2, Assez lent, avec une expression intense
15. Valses nobles et sentimentales, M. 61: No. 3, Modéré
16. Valses nobles et sentimentales, M. 61: No. 4, Assez animé
17. Valses nobles et sentimentales, M. 61: No. 5, Presque lent, dans un sentiment intime
18. Valses nobles et sentimentales, M. 61: No. 6, Vif
19. Valses nobles et sentimentales, M. 61: No. 7, Moins vif
20. Valses nobles et sentimentales, M. 61: No. 8, Épilogue. Lent
21. La valse, M. 72 (Version for Piano)
Born in 1875, Ravel was fêted during the 1920s and ’30s as France’s greatest living composer – a remarkable achievement considering the obstacles placed in his path by the ultra-conservative Parisian musical elite of his time. (Ravel was expelled from the Paris Conservatoire twice!). His unique musical style, combining classical form and impressionistic harmony, makes his work immediately recognisable.
Compared to others, Ravel, immensely self-critical, was a slow and conscientious composer, but almost all his relatively small output remains in the repertoire and is performed and recorded regularly.
The piano was Ravel’s first instrument, and although he was no virtuoso himself, he successfully composed some of the most virtuosic pieces in the repertoire, reflecting his extraordinary understanding of the instrument and exactly what sounds and effects he wanted to achieve. He orchestrated a significant number of his piano works, which presents another challenge to the performer: once she or he has heard Ravel’s orchestration of a work, this must of course influence one’s perception of the original. (This is equally true for the listener, of course.)
Jean-Efflam Bavouzet notes: ‘I subscribe completely to Ravel’s idea that a composer does not have to be profound in order to write good music. And furthermore, owing no doubt to his modest character, Ravel rarely addresses us in the first person. He does not confide in us intimately except on the rarest occasions. At these exceptional moments, our admiration for this musical giant, for his intelligence and elegant style of writing, for his perfect proportions, give way to a wave of emotion that is difficult to contain.’
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