SKU: BT.PWM10566
SKU: HL.133101
UPC: 884088979355.
SKU: BR.EB-9422
ISBN 9790004188996. 9 x 12 inches.
Daphnis et Chloe is certainly not only one of Ravel's best works, but also one of French music's most beautiful creations, thus, Stravinsky's view of this ballet in his memoirs, published in 1935. Today the work is a monument to the art of Impressionist orchestration, incorporating the narration within the sound material. Each instrument is treated in the most effective way possible. Remarkable are the strings' extreme divisi, their harmonics' glissandi, and other enigmatic effects, such as utilizing a wordless chorus. Individual performances without choir likely go back to a makeshift arrangement that Ravel produced to facilitate performance at less prominent venues. But it is precisely the use of the choir that contributes to the magic of Ravel's music language.Retained for the new edition has been the original piano reduction by Ravel. The numerous changes in notes, harmony, and dynamics discovered in comparing the piano and orchestral versions are remarkable; the most important differences from the orchestral version are noted in the critical report of the conductor's score PB 5650.The Ravel specialist Jean-Francois Monnard has also edited this ballet with detailed attention to the customary Urtext standard. The preface includes numerous references to both genesis and performance history as well as interpretation, correcting also many previously handed-down errors. The large format of the piano reduction as well as the clarity and transparency of the modern notation aids in rehearsing the choir and ballet.
SKU: BR.PB-5650
ISBN 9790004215470. 10.5 x 14 inches.
Daphnis et Chloe is certainly not only one of Ravel's best works, but also one of French music's most beautiful creations, thus, Stravinsky's view of this ballet in his memoirs, published in 1935. Composing the work, commissioned by the Ballets Russes, turned out to be problematic, involving linguistic differences and remuneration disagreements that dragged on among the choreographer, impresario, and composer. Too few rehearsals, a difficult choreography, tricky 5/4-meter, and other oddities in the music probably led, ultimately, to a subdued reception of the work at its Paris premiere in 1912. Only a later production with costumes and set by Chagall significantly contributed to the ballet's success. Today the work is a monument to Impressionist orchestration, incorporating the narration within the sound material. Each instrument is treated in the most effective way possible. Remarkable are the strings' extreme divisi, their harmonics' glissandi, and other enigmatic effects, such as utilizing a wordless chorus. Individual performances without choir likely go back to a makeshift arrangement that Ravel produced to facilitate performance at less prominent venues. The appendix to the Urtext edition includes this alternative version. The Ravel specialist Jean-Francois Monnard has also edited this ballet with detailed attention to the customary Urtext standard. The preface and critical report include numerous references to both genesis and performance history as well as interpretation, correcting also previously handed-down errors. The large format of the conductor's score and orchestral parts are easy to read and support the clarity and transparency of the modern notation without any loss to the magic of Ravel's music. Stay tuned for the publication of the corresponding suites in the upcoming years.
SKU: HL.51480587
ISBN 9790201805870. UPC: 888680044091. 10.0x13.0x0.15 inches.
“Virtuoso piece in the style of a Hungarian Rhapsody†– thus reads Ravel's entry on “Tzigane†in the so-called “Autobiographical Sketch.†Composed in 1924, there are three versions of this work: with piano, with orchestra and with luthéal, a device for keyboard instruments to extend the timbre. “Tzigane†was inspired by the Hungarian-English violinist Jelly d'Aranyl, to whom Ravel had already promised a virtuoso piece in 1922 following Franz Liszt's “Hungarian Rhapsodies.†Work progressed slowly and d'Aranyl only received the music four days before the première – but she still gave a brilliant performance.
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