Maurice Ravel La Valse, Ma Mère L'oye, Tzigane, Boléro, Pavane
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CYAN MAGENTA GELB SCHWARZ Maurice Ravel La Valse, Ma mère l’Oye, Tzigane, Boléro, Pavane Netherlands Philharmonic Orchestra Gordan Nikolic´, violin Carlo Rizzi, conductor ING PIR TU S B IN E · S O D U N N U D O S · I E N B S U P T I R I G N TACET-T207_Seite_01 TACET-T207_Seite_01 Impressum Recorded: March / April 2012, Beurs van Berlage, Amsterdam Maurice Ravel Technical equipment: TACET 1 La Valse. Poème chorégraphique pour orchestre 12:16 Preamps, A/D-conversion: RME Micstasy M Madi signal distribution: DirectOut Producer.com, Split.Converter Ma mère l’Oye. 5 pièces enfantines Software: Samplitude Pro X 2 I. Pavane de la Belle au bois dormant 1:40 3 II. Petit Poucet 3:46 Translations: Michael Babcock (English) 4 Stephan Lung (French) III. Laideronnette, Impératrice des Pagodes 4:00 5 IV. Les entretiens de la Belle et de la Bête 4:57 Photo Gordan Nikolic´: c Ronald Knapp 6 V. Le jardin féerique 3:40 Photo orchestra: c TACET 7 Cover painting: “Gaspard” Tzigane. Rapsodie de concert pour violon et orchestre 9:20 by Hans-Ulrich Wagner Cover design: Julia Zancker 8 Boléro. Ballet pour orchestre 16:33 Booklet layout: Toms Spogis 9 Artistic manager Nederlands Pavane pour une infante défunte 6:25 Philharmonisch Orkest: Sven Arne Tepl Recording: Andreas Spreer, Roland Kistner Editing, mix: Andreas Spreer Netherlands Philharmonic Orchestra Amsterdam Produced by Andreas Spreer c 2012 TACET Gordan Nikolic´, violin ( 7 ) p 2012 TACET Carlo Rizzi, conductor 26 3 TACET-T207_Seite_26 TACET-T207_Seite_3 The Masks of Maurice Ravel or: sound of the word combination of the “dead Inspiring tube sound The Child and the Magic Charms? princess” (“infante défunte”) and refused to give further information. Whether the music With a thick brush and yet with fi ne strokes, There is a notion that the life and work of is in fact intended to represent a funeral Carlo Rizzi and the NedPhO paint a colourful artists form a unity and that it is possible to procession, or whether it is not rather the picture based on the notes of Maurice Ravel. decipher one by means of the other. Nowhere memory of the dancing princess herself who The best and most beautiful microphones does this frequently drawn conclusion, is roused here once more – the interlacing of help to capture this richness of colours in behind which more of a voyeuristic than a reserved tone of mourning and enraptured its entirety. a musical interest is often enough hidden, harmony with an antiquate impact holds the seem to work as smoothly as in the case subject in abeyance. Mit dickem Pinsel, mit feinem Strich malen of Maurice Ravel. The more precisely one The composer was utterly surprised by Carlo Rizzi und das NedPhO ein farbenpräch- examines it, however, the stranger and more the incredible success of this piano piece, tiges Bild nach den Noten von Maurice Ravel. incomprehensible the image becomes. which became a veritable salon standard Die besten und schönsten Mikrofone helfen, There is the young Ravel, one of the most after the fi rst offi cial performance in 1902 den ganzen Reichtum an Farben einzufangen. extravagant phenomena in the Parisian salons by Ravel’s student friend Ricardo Viñes. Not which truly did not lack such phenomena – the long after he made his own orchestration Carlo Rizzi et le NedPhO peignent avec un dandy with variable monocles, styled beard (1910), brilliantly characteristic with sparse gros pinceau et avec de fi ns traits un tableau 1 2 and quite striking ties. The mask of the snob means, he rejected the piece entirely, for its de couleurs somptueuses d’après les notes pleased him only too well, for it could stylishly form meanwhile seemed to him to be “rather de Maurice Ravel. Les meilleurs et plus beaux belie his physical stature, which he himself poor”. Not for the last time was he to fi nd microphones aident à capter toute la richesse regarded as tiny (Ravel was 1.58 m tall). His that individual hits overshadowed other parts des couleurs. contemporary Gabriel Fauré, who described of his oeuvre that he considered to be far him as “very gifted and diligent”, but had more signifi cant. 1. Tube microphone Neumann M 49: also noticed a “tendency towards the sought- Then there is the adult Ravel who loved main mics after and exaggerated”, introduced him to the children above all else. Each and every salon of Winnarette Singer. “Aunt Winnie”, the private party could bet that their vanished 2. Tube microphone Microtech Gefell UM 92.1 S: heiress to the sewing machine manufacturer guest, in case of doubt, would be found in strings, woodwinds, ambience Singer, was a patroness who commissioned the children's room, utterly engrossed in a numerous works in Paris (ranging from Satie game with them. This was also the case in 3. Tube microphone Neumann U 47: and Stravinsky to Poulenc, Milhaud and Kurt the salon of the Godebski couple: to their double bassoon, violoncelli, double-basses Weill), also including Ravel’s piano piece children Mimie and Jean, Ravel was the teller Pavane pour une infante défunte (1899). of fairytales, and he soon became so as a 4. Tube microphone Neumann U 67: Ravel claimed to have given the piece this composer with his little fantasy La Belle au snare drums; Tzigane: violin solo; unconventional title only due to the attractive bois dormant as well. To add to this brief La Valse: trumpet 3 4 4 25 TACET-T207_Seite_4 TACET-T207_Seite_25 Musique Codarts de Rotterdam. Un an plus Sleeping Beauty scene (again, the Pavane of thieves. The subject of the concluding tard, Gordan Nikolic´ devint directeur artisti- one who appears to be dead), Ravel’s pub- “fairytale garden” (Le jardin féerique) is que de l’Orchestre de Chambre des Pays-Bas à lisher Jacques Durand commissioned four not a concrete fairytale; instead, it is about Amsterdam. Gordan Nikolic´ est régulièrement more numbers of such “pièces enfantines”, all the fabulous itself, more or less the triumph l’invité de festivals comme The Proms London, for piano four hands. Ma mère l’Oye (“Mother of the magical world. le Festival d’Edinburgh, de Kuhmo en Finlande, Goose”, 1910) was created, named after the Ravel did not only dream up such a magic La Folle Journée de Nantes, avec des musi- subtitle of the fairytale collection of Charles garden in his compositions. His fascination ciens comme Vladimir Mendelssohn, Pieter Perrault, in which appeared the story of Petit for everything having to do with fairytales Wispelwey, Christophe Coin, Eric Le Sage, Poucet, Tom Thumb, alongside the Sleeping and things childlike, small and bizarre went Maria João Pires et Emmanuel Ax. Beauty material. so far that he acquired property (named after Il s’est produit comme soliste avec l’Or- Since Ravel hoped that the Suite would be the roof tower “Belvédère”) in the early 1920s chestre de la Suisse Romande, l’Orchestre played or even premiered by the Godebski in Montfort-L’Amaury, about 50 kilometres Symphonique de Bâle, le Combattimento children, just six and seven years old, he took from Paris, transforming house and garden Consort d’Amsterdam, l’Orchestre de Cham- the possibilities of children’s hands (which, into his own fairytale domicile during a rage bre d’Israël, le Symphonique de Varsovie et incidentally, were not much smaller than of decoration lasting several years. The result l’Orchestre Symphonique de Londres sous la his own) into consideration in the piano was such a cabinet of curiosities that the direction de chefs comme Sir Colin Davis, Ber- writing. Thus the fi ve fairytale miniatures whole ensemble appears like a model case nard Haitink, Daniel Harding et André Prévin. are technically quite simple to realise, but for psychoanalysts. The Japanese garden with Il a joué la première du concerto pour violon all the more refi ned in their compositional bonsais and other botanical miniatures not de James MacMillan « Deep But Dazzling technique. The motifs revolve around them- only corresponded to furnishings inside the Darkness » avec l’Orchestre Symphonique selves as if submerged in a dream world, in house precisely coordinated to their physi- de Londres. Gordan Nikolic´ a enregistrés des which Sleeping Beauty sleeps magically and cally slight owner, but there was also a col- CD qui ont remporté des prix pour différents Tom Thumb, indescribably sad, never recov- lection of kitsch of every type wherever one labels (Olympia, Lyrinx, Syrius, LSO Live, Alpha ers his breadcrumb track. Then there is the looked, extending to the fully packed piano et Penta Tone). Chinoiserie of the black-key pentatonic to lid. Everything was represented, from toy Gordan Nikolic´ joue sur un violon de Petrus which the pagodas dance around the bath wind-up birds and other mechanical toys Guarnerius de 1735. of the Laideronnette (from the tale The and countless ornamental boxes to fi gurines Green Serpent); and the waltz to which the out of Chinese porcelain. A large wall paint- Beauty fi nally redeems the Beast, grumbling ing of his mother looked down upon all this and emerging from the depths. Ravel clothed seriously, but not without pride. One can still them all in fantastically brilliant orchestral visit this big toy chest today, a psychocom- attire in the instrumental version of 1911; plex that has become architecture, a Ravel in Petit Poucet he took the opportunity to Museum. Nothing seems to speak against weave in a few bird calls of the breadcrumb understanding this house as the symbolic key 24 5 TACET-T207_Seite_24 TACET-T207_Seite_5 to the essence of its owner – a relationship unclear what exactly is supposed to be visible Philharmonique de Vienne, le Symphonique Un ballo in maschera.