Maurice Ravel · Orchestral Works

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Maurice Ravel · Orchestral Works

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Maurice Ravel · Orchesterwerke · Orchestral Works · Œuvres pour orchestre · Composizione per orchestra · Obras Orquestales
London Symphony Chorus · London Symphony Orchestra · Claudio Abbado

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Maurice Ravel · Orchestral Works

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Maurice Ravel · Orchestral Works

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This compilation of Ravel's orchestral music represents some of Claudio Abbado's best work with the London Symphony Orchestra. A two-disc set of most of these 1980s recordings was re-released in 1999; this trio compendium adds complete versions of Daphnis et Chloé and Ma Mère l'Oye and leaves out the account of Daphnis et Chloé Suite No. 2 with the Boston Symphony Orchestra (which itself re-emerged on a recent Panorama disc). Of the so-called complete sets (the inclusion of the Piano Concertos is an option), the Dutoit/Montreal package on Decca has tended to fend off all comers since its release in 1988 (with a complete Daphnis that still claims demonstration-quality sound); but the Abbado is certainly just as satisfying and its bargain release is welcome just as the Dutoit set appears to have faded out of print for the time being.

While it is difficult to find a "bad" modern recording of Ravel's music–all professional orchestras can play it as a matter of course and its near-perfect orchestration inhibits excessive interpretation–Abbado's readings capture all that makes this music so alluring. He is especially good at coaxing the myriad orchestral textures from these scores, and this can be heard to amazing effect (the harps and celesta part in "Tom Thumb", for instance) on every track of Ma Mère l'Oye, itself one of the best recordings available.

To name a few highlights, the set is filled out with a wonderfully atmospheric Rapsodie espagnol, a buoyant Valse Nobles et Sentimentales, and a tightly-wound Bolero that really lets loose with surprising vocal outbursts from the orchestra at the finale. The only letdown (and it's a minor one) is the Daphnis, which is a bit slow and is virtually inaudible for the first 20 seconds until the harp entrance, a probable result of DG's initial attempts to wheedle out the widest dynamic range. Compare this rendition to DG's later "4D" Boulez/Berlin Philharmonic traversal and you will hear monumental improvement in the digital mastering and recording techniques. Tinkering with the volume control will be a necessity here (and in other sections, such as the closing measure of La Valse), as the loud parts get really loud. [7/17/2002]

–Michael Liebowitz, classicstoday.com