（24Bit_32Bit）鹅妈妈组曲Ravel - Mother Goose - Les Siècles, Francois-Xavier Roth (2018) （FLAC/24bit/44.1）

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简介:
Artist: Les Siècles, Francois-Xavier Roth
Title: Ravel - Mother Goose
Year Of Release: 2018
Label: harmonia mundi
Genre: Classical
Quality: FLAC(tracks)24bit-44.1kHz(Booklet)
Total Time: 00:56:21
Total Size: 477 MB
It is important to recall that the three works assembled here were originally intended for the piano (Shéhérazade,
ouverture de féerie and Ma mère l’Oye for piano four hands) and were orchestrated by Ravel shortly afterwards –
orchestrations of irresistible seductive appeal. And the least one can say is that they never give the impression of stale
reworkings. ‘For it is Ravel’s privilege invariably to give the impression of writing spontaneously for the orchestra . .
. One never senses the effort of adaptation or arrangement’. 11 To orchestrate, for Ravel, is to exploit the colour of the
instruments, to match their timbres, to vary and nuance them down to the slightest detail, without ever losing sight
of the overall balance. ‘The instruments chosen by the orchestrator to express such-and-such a motif are so perfectly
suited to their function that one can no longer conceive of the text otherwise than in that sonic form.’ 12
Nevertheless, the essential thing is to understand that Ravel’s works are not only conceived for the piano, they are also
conceived through the piano. ‘He composed, so he said, both at the piano and at his desk, and declared that the piano
was useful above all in writing his orchestral works.’ 13 The result is that, in the latter, the orchestra never produces the
effect of an ‘additional trimming’. Orchestration in Ravel does not reduce the composer to the status of the supplier
of a mere coating – far from it. It does not appear to us that his scoring could be any different from what it is, or that it
could not have been what it is. It does no more than confirm itself. Ravel thought in terms of the orchestra when writing
for the piano. The two elements are merged into each other. This is so true that pianists are quite right to consider
his orchestral scores as a ‘precious auxiliary’ that can have a fundamental influence on their touch, articulation, and
even pedalling. This paradox possesses its truth. It corresponds to an aesthetic that touches on the way he conceives
creation. One would be mistaken in regarding as an effect what, in Ravel, is really a cause . . . For him, sonority is part
of the process of invention. Orchestration is not a grafting operation: it is a mainstay withi a creative process in which
everything is premeditated.


曲目:
01. Ma Mere l'Oye, M. 62: Prelude. Tres lent
02. Ma Mere l'Oye, M. 62: Premier tableau: I. Danse du rouet et scene. Allegro
03. Ma Mere l'Oye, M. 62: Interlude. Un peu moins anime
04. Ma Mere l'Oye, M. 62: Deuxieme tableau: II. Pavane de la Belle au bois dormant. Lent
05. Ma Mere l'Oye, M. 62: Interlude. Plus lent
06. Ma Mere l'Oye, M. 62: Troisieme tableau: III. Les Entretiens de la Belle et de la Bete. Mouvement de valse modere
07. Ma Mere l'Oye, M. 62: Interlude. Lent
08. Ma Mere l'Oye, M. 62: Quatrieme tableau: IV. Petit Poucet. Tres modere
09. Ma Mere l'Oye, M. 62: Interlude. Lent
10. Ma Mere l'Oye, M. 62: Cinquieme tableau: V. Laideronnette, imperatrice des pagodes. Mouvement de marche
11. Ma Mere l'Oye, M. 62: Interlude. Allegro
12. Ma Mere l'Oye, M. 62: Apotheose. Le jardin feerique. Lent et grave
13. Sheherazade, ouverture de feerie, M. 17
14. Le Tombeau de Couperin, M. 68a: I. Prelude. Vif
15. Le Tombeau de Couperin, M. 68a: II. Forlane. Allegretto
16. Le Tombeau de Couperin, M. 68a: III. Menuet. Allegro moderato
17. Le Tombeau de Couperin, M. 68a: IV. Rigaudon. Assez vif

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