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Home , Bernard Haitink, John Alldis, London Symphony Chorus

RAVEL Daphnis et Chloé

BERNARD HAITINK conductor LONDON PHILHARMONIC ORCHESTRA

A BBC recording

0059 Ravel Daphnis booklet.indd 1 12/1/2011 5:03:16 PM RAVEL DAPHNIS ET CHLOÉ

Daphnis et Chloé, Ravel’s masterpiece, was who lived in the second or third century ad. composed to Serge Diaghilev’s commission for For the music Ravel aimed ‘to compose a broad the Ballets Russes. Begun in 1909, it took the musical fresco, concerned less with archaic composer more than two years to complete, fidelity than with loyalty to the Greece of my the closing scene alone occupying a full twelve dreams, which is associated with the Greece months. There were disagreements over the imagined and depicted by the French artists scenario, and the stage production itself was of the latter part of the 18th century’. The not achieved without quarrels, but the ballet score is constructed, as he pointed out, like a finally opened at the Châtelet Theatre, Paris, with a strict system of tonality and on 8 June 1912 with Nijinsky and Karsavina a small number of themes, whose recurrence dancing the title roles and Pierre Monteux ensures homogeneity. It employs a large . Fokin was the choreographer orchestra with 15 woodwind (including alto and Bakst the designer. The ballet was not a flute and E-flat clarinet), four trumpets, two real success, partly because its creators had harps and, among the plentiful percussion, a divergent conceptions of ancient Greece. wind machine. There is also a wordless chorus, A later ballet, choreographed by Sir Frederick which makes a telling contribution to the Ashton in 1951, firmly established itself in atmosphere evoked by the music. the repertoire of the Royal Ballet, but the fact remains that Ravel’s score is largely self- In the theatre the curtain rises to disclose a sufficient. The composer, who described his meadow on the edge of a sacred wood on a work as a ‘Symphonie choréographique’, soon spring afternoon. To one side is a grotto, at the realised that the music could stand alone entrance to which stand sculptures of three in the concert hall, and for that purpose he nymphs carved from the rock. Towards the extracted two sets of ‘symphonic fragments’. back a large rock vaguely suggests the form of However, in this recording we hear the the god Pan. A chain of fifths rises mysteriously complete score. through the muted orchestral strings, a flute announces the theme associated with the Fokin’s scenario draws its simple love story nymphs of Pan, distant voices sigh and a solo from a pastoral by the Greek sophist, Longus, horn introduces the theme of the goatherd,

0059 Ravel Daphnis booklet.indd 2 12/1/2011 5:03:16 PM Daphnis. The tempo quickens slightly as scene. Daphnis runs in search of Chloé, but young men and girls enter bearing gifts for she is abducted by the pirates. Daphnis curses the nymphs, and to a new melody on divided the nymphs for failing to protect her, and falls strings they perform a religious dance. Daphnis fainting to the ground. Supernatural light enters (oboe and flute solos with pizzicato (tremolos on divided strings) illuminates the violins) and joins the shepherdess, Chloé, scene and the three nymphs come to life, their as the dance resumes and rises to a climax. theme heard in turn on flute, horn and clarinet Daphnis and Chloé pay homage before the as each figure steps from her pedestal. They statues, and the dancers stop as they see the move into a slow dance, then revive Daphnis loving pair (horn and violin solos). The girls and lead him to Pan’s rock. Slowly the god draw Daphnis into a lively dance (trumpet himself becomes visible (rising tremolos), and theme). Chloé, feeling jealous, joins the men Daphnis prostrates himself in supplication. in a waltz-like dance – the time signature is actually 7/4 – and eventually allows Dorcon, A choral interlude accompanies a scene a rough cowherd, to kiss her. Daphnis angrily change to the pirate camp on a rocky coast. pushes him aside and makes tender overtures The pirates return from their raid and go into a to Chloé. A dance contest between the ferocious dance. Then Chloé, her hands bound, two men is proposed. Dorcon’s grotesque is brought forward and commanded to dance. performance (bassoons and bass drum) is She pleads in vain for her liberty (cor anglais laughed to scorn; his rival’s graceful 6/8 dance and other woodwind) and twice tries briefly to wins the prize, a kiss from Chloé, and Dorcon is escape, but is finally carried off triumphantly chased away amid laughter. by the pirates’ leader. At this moment a strange light invests the camp. Satyrs surround the Daphnis is briefly left to himself, but Lyceion, a pirates, the menacing shadow of Pan is seen on married woman, enters (cadenza for clarinets) the rocks and the pirates flee. and attempts to seduce him with a dance. Annoyed by her failure, she mocks him and The third scene, which follows without pause, departs. Disturbing noises are heard in the returns to the grotto of Scene One. Daphnis offing, and marauding pirates rush upon the lies asleep as day breaks – and here Ravel

0059 Ravel Daphnis booklet.indd 3 12/1/2011 5:03:16 PM provides a marvellously sensitive evocation of a woodland dawn. At first there is only the murmur of rivulets formed by dew from the rocks. As the light strengthens, birdsong is heard and two shepherds (piccolo and E-flat clarinet) pass by. Herdsmen find Daphnis and waken him. He looks in anguish for Chloé (theme on clarinets and divided violas) and suddenly she appears. They rush into each other’s arms as the sunrise reaches its full splendour. An old shepherd explains (oboe solo) that Pan saved Chloé in remembrance of the nymph, Syrinx, whom the god loved. The young couple now mime the story of Pan and Syrinx, Daphnis at one point fashioning a flute from some stalks and Chloé dancing to the tune he plays. Eventually she falls into his arms and before the altar of the nymphs he pledges his fidelity. Their friends arrive and join the reunited lovers in a joyful, bacchanalian Danse générale.

© Eric Mason

0059 Ravel Daphnis booklet.indd 4 12/1/2011 5:03:16 PM conductor JOHN ALLDIS CHOIR

With an international conducting career John Alldis (1929–2010) was one of the spanning five and a half decades, - foremost chorus masters of his generation. His born Bernard Haitink is one of today’s most own professional ensemble, the 16-member celebrated conductors. He was Principal John Alldis Choir, was a pioneer in the high- Conductor of the London Philharmonic calibre performance of adventurous choral Orchestra from 1967–79 and has also held repertoire, but also participated in major the posts of Music Director at the Royal recordings of opera alongside such artists as Concertgebouw Orchestra, the Dresden , , Plácido Staatskapelle, House, Covent Domingo and . Garden, and Glyndebourne Festival Opera; and Principal Conductor of the Chicago Symphony The Choir launched itself in 1962 with the Orchestra. He is Conductor Laureate of the world première of ’s A Little Royal Concertgebouw Orchestra and Conductor Cantata of Proverbs. Contemporary music Emeritus of the Boston Symphony Orchestra, featured highly in the Choir’s repertory, with and continues to perform regularly with the premières of works by Malcolm Williamson, world’s leading orchestras. and , many of which were captured on As well as his recordings with the London the Argo label. In 1967, the Choir gave the first Philharmonic Orchestra, Haitink has recorded European performance of Stravinsky’s widely with the Royal Concertgebouw Canticles, conducted by . Orchestra, the Berlin and orchestras and the Bavarian Radio and Boston Alldis additionally acted at different times as symphony orchestras. He has also recorded chorus master to the London Philharmonic extensively for the LSO Live label and the Choir and , preparing Chicago Symphony Orchestra’s Resound label. them for numerous recordings. With all his ensembles, he had the ability to draw the best He has received many awards in recognition from his singers. Inspired by his affability and of his services to music, including both an charisma on the one hand, and his seriousness honorary Knighthood and the Companion of of purpose and dedication on the other, Honour in the United Kingdom, and the House they would routinely deliver their maximum Order of Orange-Nassau in the . potential for him.

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The London Philharmonic Orchestra is May each year. In summer, the Orchestra one of the world’s great orchestras with a moves to Sussex where it has been Resident at reputation secured by its performances in Glyndebourne Festival Opera for over 40 years. the concert hall and opera house, its many The Orchestra also performs at venues around award-winning recordings, its trail-blazing the UK and has made numerous tours to international tours and its pioneering America, Europe and Japan, and visited India, education work. Distinguished conductors Hong Kong, China, South Korea, Australia, who have held positions with the Orchestra South Africa, Oman and Abu Dhabi. since its foundation in 1932 by Sir include Sir , Sir John The London Philharmonic Orchestra made its Pritchard, Bernard Haitink, Sir , first recordings on 10 October 1932, just three , Franz Welser-Möst and Kurt days after its first public performance. It has Masur. was appointed the recorded and broadcast regularly ever since, Orchestra’s Principal Guest Conductor in and in 2005 established its own record label. March 2003 and became Principal Conductor These recordings are taken mainly from live in September 2007. The London Philharmonic concerts given by conductors including LPO Orchestra has been resident symphony Principal Conductors from Beecham and Boult, orchestra at Southbank Centre’s Royal Festival through Haitink, Solti and Tennstedt, to Masur Hall since 1992 and there it presents its main and Jurowski. series of concerts between September and lpo.org.uk © Patrick Harrison © Patrick

0059 Ravel Daphnis booklet.indd 6 12/1/2011 5:03:17 PM Also available on the London Philharmonic Orchestra’s label

For more information or to purchase CDs telephone +44 (0)20 7840 4242 or visit lpo.org.uk LPO-0029 LPO-0045 LPO-0054 ‘This blazing account of the ‘A German Requiem that doesn’t ‘A performance of revelations, is searing in every rush and achieves a remarkable and easily the most illuminating respect’ The Glasgow Herald inwardness ... I found so many to have appeared on disc in a things to enjoy.’ Gramophone very long time.’ Gramophone LPO-0056 LPO-0057 LPO-0058 ‘Buried treasure indeed … ‘This has to be one of the best ‘The Fourth Symphony is full of A rewarding and fascinating recordings around of Sibelius’s charm and tactile invention, document, and one not to be Fifth.’ Classic FM magazine vividly realised in this live missed.’ Classicalsource.com recording.’ The Sunday Times

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MAURICE RAVEL (1875–1937)

57:48 Daphnis et Chloé

01 08:07 Part I: Introduction et Danse religieuse 02 03:28 Les jeunes filles attirent Daphnis – Danse Générale 03 01:45 Danse grotesque de Dorcon 04 07:57 Danse légère et gracieuse de Daphnis – Lyceion danse – Les pirates 05 05:24 Un lumière irréelle enveloppe le paysage – Danse lente et mystérieuse – Daphnis se prosterne suppliant 06 08:04 Part II: Voix, très lointaines – Animé et très rude (Danse guerrière) – Bryaxis ordonne d’amener la captive 07 05:53 Danse suppliante de Chloé – Bryaxis veut l’entraîner – L’ombre de Pân apparaît 08 04:12 Part III: Lever du jour – Daphnis cherche pour Chloé et il rêve d’elle – Daphnis et Chloé miment l’aventure de Pân et de Syrinx 09 08:50 Chloé réapparaît 10 04:08 Animé (Entre un groupe de jeunes filles costumées en bacchantes) – Danse Générale – Danse de Daphnis et Chloé – Danse de Dorcon – Danse finale (Bacchanale)

BERNARD HAITINK conductor LONDON PHILHARMONIC ORCHESTRA JOHN ALLDIS CHOIR Roy Gillard leader

Recorded live at Southbank Centre’s ROYAL FESTIVAL HALL, London

LPO – 0059

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