Ravel: Alborada del gracioso (orchestral version)

This collection brings together all the ballets by the two so-called Impressionistic composers, Ravel and Debussy, in recordings by Bernard Haitink.

Ravel’s masterpiece is the three act ballet Daphnis et Chloé, commissioned by Diaghilev, with Nijinsky dancing the lead role. Also included are La Valse, the orchestral version of Ma mère l'oye (Mother Goose) and two works inspired by Spain, Alborada del gracioso and Boléro – a work Ravel famously described as a “piece for orchestra without music”.

Debussy is represented by two masterpieces from both ends of his career: Prélude à l'après-midi d'un faune, a turning point in the history of music that ushered in the modern harmonies of the 20th century, and converted into a sensational ballet by Nijinsky (L'après-midi d'un faune); Jeux was the composer’s last orchestral work and premiered just two weeks before The Rite of Spring.

Ravel orchestrated his piano pieces Alborada del gracioso and Pavane pour une infante défunte to great effect; the former gains in suggestive colour, and the latter evokes nostalgic pathos. Another orchestrated work is the Menuet antique, which is redolent of old French dance forms. Rapsodie espagnole, Ravel’s first major orchestral work, shimmers with expectancy and bursts into Spanish dance rhythms, themes he pursued in Pièce en forme de habanera. His earliest orchestral work, the ‘fairy overture’ Shéhérazade, is all that remains of a planned opera based on The Thousand and One Nights. The famous Boléro, an ‘orchestrated crescendo’ of undimmed power, has proved one of the most popular works in all classical music.

The best of Ravel, Ravel's greatest hits - they're all here on 2 CDs packed to the brim, containing all of Ravel's most memorable tunes.

Inevitably, the focus is on the immortal Bolero, beloved of the film industry. Ravel famously considered it to be his masterpiece, but claimed it had no music in it - an opinion with which many would take leave to disagree.

La Valse extends the theme of dance, the Rhapsodie espagnole the theme of Spanishry and exoticism, while the compilation ends with a flavour of jazz as exemplified in the Blues movement from the Violin Sonata and the Concerto for piano, left hand (which in the 1930s the famous pianist Alfred Cortot dared to play using both hands, incurring the composer's wrath).

Gloriously spectacular, yet exquisitely subtle, the orchestral music of Ravel requires players who can render its iridescent colours and intoxicating rhythms with both exuberance and accuracy. The conductor, meanwhile, must define its characteristic interplay of sensuality and delicacy, exhilaration and restraint, sentiment and irony. Here, in five of Ravel’s best-loved scores, The Philadelphia Orchestra and Riccardo Muti prove masterly in capturing the composer’s spirit and in evoking his exotic worlds.

Recording producers: John Culshaw (Glazunov); Victor Olof (Liszt); Ray Minshull (Ravel, Weber, Falla); Michael Williamson (Adam)

Recording engineers: Roy Wallace (Glazunov); James Brown (Liszt); Kenneth Wilkinson (Ravel, Weber, Falla); Ken Cress (Adam)

Recording locations: La Maison de la Mutualité, Paris, France, September 1954 (Liszt), May 1956 (Glazunov), October & November 1957 (Adam); La Maison de la Chimie, Paris, France, November 1958 (Ravel, Weber, Falla)

The recorded legacy of Albert Wolff is one of the most sought-after by collectors. Of Dutch parentage, but born in Paris, Wolff was something of a polymath: pianist, organist, conductor, composer, and had a long career in recording studios beginning in 1920. His first recordings for Decca, starting in the summer of 1951, were a complete Carmen (with Suzanne Juyol), a Manon (with Janine Micheau) as well as several French orchestral suites and individual pieces. By reciprocal arrangement with RCA that Decca had at the time, the abridged version of Giselle was issued on RCA in 1959 and had to wait fourteen years for its appearance on Decca, when it appeared on its ‘Eclipse’ imprint in 1973. This collection brings together balletic works by Glazunov, Ravel, Weber and Falla, together with Liszt’s Second Hungarian Rhapsody.

Bernard Haitink revisited the music of Ravel on recordings several times in his career, both with ‘his’ Concertgebouw Orchestra as well as with the Boston Symphony. While many of these recordings have been reissued, his earliest, and in a way, most exciting accounts of the music of Ravel, made in 1961, have never appeared internationally on CD. They include a blazing account of the second Daphnis et Chloé suite, the Pavane, Alborado and Rapsodie espagnole. In 1971 he re-recorded the two Daphnis suites and it is from these sessions that the First Suite is taken to complete this very valuable reissue.