Ravel: Piano Concertos / Miroirs

In 1999 Boulez released a coupling of the two Ravel piano concertos with Krystian Zimerman. The filler then was a set of the Valses nobles et sentimentales; here it is a set of Miroirs. Overlaps are numerous in the classical catalog, of course, so I suppose this one represents a desire to promote Aimard, who has had an increasing presence on the yellow label. Everything is in order, with a world-class orchestra, a fine-sounding piano, and excellent recorded sound. The soloist and conductor are like-minded in their cool, detailed approach that shortchanges emotional gestures, but in the bargain are they short on wit and personal involvement, too?

I suppose the answer depends on your expectations and not a little bit on your culture. The French appreciate clarity, detail, and refinement as hallmarks of musical style in almost everything, up to and including Mahler. The Left-Hand Cto. is full of strange sonorities and odd juxtapositions: it moves from the stygian gloom of the opening to a Bolero-like hypnotic march with impertinent trombone slides and jazzy quips along the way. I find Aimard a little too stiff and unwilling to exploit the strangeness of the score, but it's a matter of taste. His left hand is prodigiously adept, and Boulez provides a powerful, alert accompaniment. At 85 he seems preternaturally animated and youthful.

The G major has been done with more wit, panache, and attack than what we get from this CD. Aimard plays this jazz piece straight, and Boulez goes along, but in terms of nuance and musical detail, this is a platinum-grade performance. One expects nothing less. Yet I was left wondering if Ravel needs to be made dignified. The whole thing felt like Rhapsody in blue played by a Juilliard graduate. as far as Miroirs goes, let me confess to not being a fancier of Ravel's solo piano works. I picked one number form the set, the famous Alborada del gracioso, and compared a few versions with this new one. My first impression had been that Aimard was strait-laced and not remotely Spanish in mood. Quite true if you listen to the puckish pointed playing of Alexandre Theraud. Dinu Lipatti's reading all but leaps out of the speakers to grab your attention; it is also considerably faster than Aimard's. only Jacques-Yves Thibaudet mirrored Aimard's more careful, serious approach; neither is fun or exciting.

In the end, this CD reinforced by idea of Aimard as an undeniably superior musician who has real limits when it comes to letting himself go. But I can see how other listeners would be impressed all around.

One of the ways that Maurice Ravel became known as one of the greatest composers, French or otherwise, at the turn of the 20th century is the way he combined his gift for orchestration and his gift for the piano. He totally understood both aspects; and on two occasions, he combined those aspects together, with the Piano Concerto In D For The Left Hand, composed specifically for pianists who have lost mobility in their right hand, and the always tricky and jazz-inspired Piano Concerto In G. It takes a tremendous amount of skill and nerve to do either concerto at all, much less well.

Fortunately, this Deutsche Grammophon recording has not only a pianist who can do them well, but also a conductor more than willing to assist. The pianist in this case is Pierre-Laurent Aimard, who had made a lot of recordings prior to this one, primarily of the more classical concertos of Mozart and Beethoven with the Chamber Orchestra of Europe (in the Beethoven works, Nikolaus Harnoncourt was the conductor). The conductor is the deceptively colorless but always highly skilled Pierre Boulez, who knows his way around his fellow Frenchman's works. And the orchestra in this case is the Cleveland Orchestra, which Boulez has had a hugely productive relationship with since 1965, when he was first invited by George Szell to conduct the orchestra. Aimard's pianism in the Ravel concertos is something to behold, as is his handling of the solo piano collection of Ravel's known as "Miroirs", which includes the original piano version of "Alborado Del Gracioso." Boulez also must be given a standing ovation for guiding the Cleveland Orchestra through Ravel's tricky orchestration, especially the jazzy passages of the G Major concerto, which was the composer's homage to Mozart, Saint-Saens, and George Gershwin.

For me, this was one of the best recordings for the year 2010; and for anyone who likes 20th century music inspired by jazz, as Ravel was in these concertos, this is for you.

This is a great recording and will be a classic in your collection. Maestro Boulez refers to the Cleveland Orchestra as "more French than the French orchestras". It's a beautiful sounding C.D., production and performances are superb. Aimard's playing is pristine and insightful. Orchestra sounds very inspired.