• ELQ4829041 Katalognummer
  • 028948290413 EAN
  • 2CD Format
  • 2019 Utgivelsesår

Artist
Fergus-Thompson, Gordon

Komponist
Ravel, Maurice

Plateselskap
Eloquence

Verk

MAURICE RAVEL (1875–1937)

Complete Music for Solo Piano

CD 1
1–8 Valses Nobles et Sentimentales, M.61
9–11 Gaspard de la Nuit, M.55
12 Jeux d’eau
13–18 Le Tombeau de Couperin, M.68

CD 2
1 Prélude
2–6 Miroirs, M.43
7 Menuet sur le nom de Haydn
8 Menuet antique
9 Sérénade grotesque
10–12 Sonatine, M.40
13 À la manière de… Borodine
14 À la manière de… Chabrier
15 Pavane pour une infant défunte

Produktbeskrivelse

Recorded for the ASV label in 1990, this collection of Ravel’s piano music has never previously been released
complete. Now reissued for the first time in more than a decade, this set presents not the kind of coolly objective view of the fastidious composer-craftsman that modern recordings have accustomed us to, but more of a poet in sound and in touch with his Basque origins.

The piano was for Ravel the principal medium of musical thought, and his approach to the instrument was at once
lavish and precise. Lisztian virtuosity is entwined with an antique spirit of French dance in both the darkly
Impressionist Gaspard de la nuit and the much gentler strains of the Valses nobles et sentimentales. Likewise Jeux
d’eau takes its inspiration from a Lisztian template while Le tombeau de Couperin pays deeply affectionate tribute
both to friends killed in the First World War and to an imagined Eden of formal manners and gentility, presumed lost forever.

Although his repertoire ranges from Bach to Webern, Gordon Fergus-Thompson has won particular renown as a
Franco-Russian specialist in command of the most technically challenging repertoire by the likes of Balakirev.
Following the reissue of his complete Scriabin recordings, and his renowned Debussy, Eloquence brings back another pair of albums which find the pianist in his element: rhythmically free yet in complete control of Ravel’s fastidiously exacting scores; timbrally refined yet abandoned to the Viennese excess of La valse as well as the blurred, dream-like moods of the Miroirs.

‘Fergus-Thompson sounds sparkier and freer, with a gentler flow of tone and more space in the recording … There’s no problem, at least, about brilliance of effect. The finale of the Sonatine finds more vigour and purpose, and some of the minor pieces have an attractive light touch.’ BBC Music Magazine

‘Fergus-Thompson […] confirms his calibre and status as a distinguished, most individual Francophile … Even the most experienced Ravelians will find themselves returning to these finely recorded accounts for a special and magical enlightenment.’ Gramophone, October 1993

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