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Ravel: La Valse, Mother Goose, Daphnis Et Chloé Suite No 2 Etc
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Ravel: La Valse, Mother Goose, Daphnis Et Chloé Suite No 2 Etc

2 Nov. 2009 | Format: MP3

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Digital Booklet: Ravel: La Valse, Mother Goose, Daphnis et Chloé Suite No 2 etc
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Product details

  • Original Release Date: 2 Nov. 2009
  • Release Date: 2 Nov. 2009
  • Label: Warner Classics
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 1:01:55
  • Genres:
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Bestsellers Rank: 83,093 in Albums (See Top 100 in Albums)

Customer Reviews

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Most Helpful Customer Reviews

8 of 12 people found the following review helpful By Michael Wadge on 29 Jan. 2010
Format: Audio CD Verified Purchase
This is a brilliant record in every way. The sound quality of the recording,the orchestral performance and interpretation of these lovely pieces are all absolutely first rate. I recommend it unreservedly.
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Format: Audio CD
Nezet-Seguin has a natural affinity for these pieces and his orchestral balance, tonal colours and poise yield a lush blend that's both well anchored and atmospheric. Newcomers and Ravel afficiandos alike will luxuriate in these performances and the first class sonic engineering that supports these delicacies. If these sonics had been typical of CD sound in the past I doubt that SACD would ever have been brought to market.
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0 of 2 people found the following review helpful By Pierre Lebec on 4 Nov. 2013
Format: Audio CD Verified Purchase
It was nice to be able to find a CD which had some of my favourite composers. A very good recording gthat I would recommend to all.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 5 reviews
9 of 9 people found the following review helpful
Nezet Seguin, RotterdamPO: Ravel Orch Mus: Exacting, Sparkling Readings .... signifying, sophisticated, subtle to a fault, ... 17 May 2010
By drdanfee - Published on Amazon.com
Format: Audio CD
Yannick Nezet Seguin is a rather natural-likely candidate for being nominated, Next Big Thing, when it comes to leading Ravel's orchestral music. He hails from French-Speaking Canada, and has already made a super audio surround sound splash with his Atma disc of Debussy's La Mer, and that rarity work by Canadian composer Pierre Mercure, Kaleidoscope.

My personal listener's bottom line complaint mainly is: I only wish we got the Daphnis et Chloe ballet, whole, in super audio surround. Other than that, I find my positives running contrary to other commentator negatives.

The opening of the second suite from Ravel's complete ballet is properly clean, clear ... and what's more to my ears, fresh and sparkling. Compared to Jun Markl in Lyon on Naxos, Nezet Seguin in Rotterdam is warmer, and to that extent, less fiercely etched than Markl. This suite is vibrant yet modernist - not so much overflowing with sensualist excess as set afire with the very musical intervals which shape a Ravel-ian phrase-texture, seeming to magically catch fire within the phrasings, enhanced by what my ears hear as considerable tonal warmth, balanced just so, coloring the typical fires lit by the band departments etching. Nezet Seguin offers us a reading that is somewhere on the modernist spectrum of expressive manners - as so far suggested by Markl in Lyon and Boulez (New York, or Cleveland, or Berlin). Yes, Nezet Seguin lets his Rotterdam departments loose as the ballet proceedings rev up, nicely. But Ravel's musical search to inhabit old Greek myths on display in French museum cases seems entirely about a 20th century wondering where else to go with rationality and an aesthetic heritage rooted in the Golden Mean, Apollo's Temple lighted in fabulous Mediterranean Sunlight, rather pointedly in view after Wagner and Richard Strauss. This second suite from Daphnis et Chloe is definitely NOT Late Romantic Old School. One sips these liquors so deftly distilled; one does not guzzle, nor gulp. The taste and manners are sensual, even so.

Then we go on to the Valses Nobles et Sentimentales. Here again, lilting rhythms arise with just so energies, clothed in considerable tonal warmth, and never anything less than etched clarity of phrase, shape, texture across all the band departments. This is so impeccably dressed well for appearing in public that one cannot perhaps help recalling Eric Satie or Marcel Proust in gloves and spats, odd enough to nod towards Satie's collection in honor of what we might call the Secret Life of Umbrellas?

By the time we move on, to the darker, more off-kilter shadows and lilts and glitters of La Valse, the sixteen minutes of waltzing seems like an interlude, an introduction. The ballroom is filled with quite a lively crowd, many of whose evening characters seem to be masked, and some of whom definitely whiff of sinistre, left-handed tastes and manners. In this reading a listener may find it hard to finally settle down, knowing just how to weigh Paris or Vienna .... great cities with back alleys, dives, houses of dubious reputation, and citizens who could be reading Arthur Rimbaud and Paul Verlaine, every bit aware of their florid homosexualist hanky-panky.

While we are still puzzling over civilized dress and water front manners, we suddenly find ourselves plunk down, right in the mysterious middles of Ravel's Mother Goose Suite. This started musical life as two pianos reminiscing, redolent of nursery life, childhood, and children. But it hardly lacks shadows and depths, enough to fuel innumerable adulthoods overflowing with subtle and not so subtle ambivalence ... gone all Knaben Wunderhorn, Grimm Brothers, and Hans Christian Andersen. Nezet Seguin by this time seems to be partly demonstrating that his Dutch band is closer to France than many suspect, and he serves up this five-movement suite with marked warmth, vigor just nearly out of balance with modernist distancing, and colorist drama let loose by the exquisite orchestrating. One yet again no sooner starts thinking what a dandy technician of utterly high finesse the composer was, than one yet again realizes Ravel was sheer genius. This transformative impulse runs parallel with watching great animation and discerning something entirely witty, deep, colorful, folksy, and lasting in its lights and flickers and setups, all chasing round and round and round. No wonder Ravel immediately appreciated George Gershwin's genius, to the extent of advising him not to study orchestration after all.

So I come to disagree with the nay-sayers. I suppose I see their point, that Nezet Seguin can be faulted for not being freer in his Ravel. But I come to the composer, as much via Michelangeli and Boulez and Mark in Lyon and Mikko Franck, as by Stokowski, Bernstein with St. Cecelia, and Martinon. So I'll keep this one a while, as I expect Nezet Seguin has a Giulini-like staying power when it comes to Ravel. I only wish EMI were more user-friendly when it comes to super audio surround mastering, and of course, that they let Nezet Seguin helm up an even finer ensemble. I'd like to turn him loose in Philadelphia, or somewhere similar. Oh yes. SACD, too?
3 of 3 people found the following review helpful
wonderful performance with details never heard before 9 Dec. 2013
By rash67 - Published on Amazon.com
Format: Audio CD Verified Purchase
I have heard these pieces, these old Ravel warhorses for many decades, all of my life, in fact. A local radio station played "la Valse" and it was so staggering I pulled the car over to the curb so I could listen better!


Not only a wonderful performance but spectacular recording quality! Ravel scored subtle interior voices moving sideways or often counter to the main thrust of the melody. Like cross currents running underwater in the ocean. Voices: third violins, soft tympani notes, second bassoon, etc etc Some of these, many of these I'd never heard before , despite owning a half dozen recordings.

I bought it and listened on my high end stereo and it revealed even more. Don't expect to hear this if you listen on an IPOD with earbuds or your computer, or an old stereo. This recording will test the limits of a high end stereo.

I had a cognac and fell asleep listening. The clouds parted, there was a ballroom, women with upswept hair, in impossibly long hooped gowns dancing with men in soldiers uniforms with handlebar mustaches. On one side of the room were the French on the other side were the German officers. they were trying to outswirl and outdance each others, increasingly eccentric circles or dancers. One group challenged the other. A swirl of petticoats and shiny shoes and too toothy grins. Finally a fistfight and the sound of cannon in the distance and the whole scene dissolved into WWI trench warfare. Then it was overtaken by clouds
I woke up.
I could swear I could almost smell the fumes of Ravel's bottle of absinthe.

yes these are warhorse and I would have liked to also have Daphnis and Chloe part 1, but what is here is wonderful

with his extreme attention to detail in complex music, I would love to hear this orchestra and Nezet-Seguin take of Arnold Bax Symphony Three or his Tone Poems. I think he could really do these less well-known but similarly multi-tempo multidimensional music justice.

and no, the music is never etched or over-bright as is often the case in revealing performance.
7 of 10 people found the following review helpful
A first rate orchestra with a very talented conductor!! 26 Jan. 2010
By Basso Continuo - Published on Amazon.com
Format: Audio CD
This is surely one of the best cd's with Ravel's orchestral works that I heard in my life! When I got the cd I was not prepared for this level of playing and so much love in the execution of the orchestra! The recorded sound is clear but never harsh, with a lot of details and much atmosphere.

As people in Europe and certainly in Holland know already for a long time there is one more fabulous orchestra in Holland apart from the Concertgebouw Orchestra and it's beautiful pluche sound: the Rotterdam Philharmonic.
The managing director of the Concertgebouw Orchestra Jan Raes put it like this: "Our sonority is closely associated with the hall: very different than in Rotterdam. If Rotterdam is "energetic" then Amsterdam is more "velvet", "rounded". The orchestra here is more introverted. Rotterdam is sometimes an orchestra of soloists and Amsterdam an orchestra of people working together to find a homogenous sound." (Quote from Musicweb International).

Two worldclass conductors only want to work with the Rotterdam Philharmonic when in Holland: Simon Rattle and Valeri Gergiev. Simon Rattle will do the Rosenkavalier with them next season and did a.o. Pélleas et Melisande, Parsifal and Tristan in the past. Gergiev's relation with them spans more than 20 years and he comes back each season for his own festival.

So, Yannick Nézet-Séguin had a dreamteam to make his first CD for EMI and a fine producer in Michael Fine. Each phrase on this cd is played with so much love and care and (especially in the Daphnis suite) you hear so many things which pass by in other performances! And let's not forget that one of Yannick's predecessors as Music Director of the Rotterdam Philharmonic was Jean Fournet:his influence on the Rotterdam Philharmonic in French music was immense.

One regret: why not the complete Ma Mère l'oye ballet? Especially when the Suite gets such a fabulous interpretation!!

In February 2010 the Rotterdam Philharmonic and Yannick Nézet-Séguin will play two concerts in Carnegy Hall and make a tour in Canada. So please: go to listen to this wonderful orchestra and it's extremely talented Music Director!! If you are not able to go this CD will give you an idea what you will miss. Warmly recommended!!
6 of 10 people found the following review helpful
Impressive Youthful Conductor 12 Jan. 2010
By Classics Lover - Published on Amazon.com
Format: Audio CD
I think Yannick breaks the stereotypes of classical music conductors. When I think of conductors, an image of an old man immediately appears. However Yannick is the exact opposite! He's a dynamic young, and might I say - attractive, conductor. You can hear his youthfulness in this record as he conducts the internationally acclaimed orchestra the Rotterdamn Philharmonic. There's power, there's grace, but most importantly - there's Yannick own touch/voice to the impressive classical works he's conducting.
4 of 10 people found the following review helpful
Strangely chaste and restrained Ravel from a rising conductor 16 Jan. 2010
By Santa Fe Listener - Published on Amazon.com
Format: Audio CD
In the past few years the fast-rising Nezet-Seguin has gotten a stream of good press, and it's a major achievement for him to become a featured conductor on EMI -- clearly the label is betting that he has a future, even though they didn't pay the considerable fee necessary to record him with a major orchestra. No matter, the Rotterdam Phil. has learned its licks under no less than Valery Gregiev, their recently departed music director. Their sound isn't plush or virtuosic -- "proficient" is the word that comes to mind -- but as their new music director, Nezet-Seguin gets a good response form them.

This debut program of familiar Ravel scores has to meet a higher standard in order to appeal to longtime serious collectors. Nezet-Seguin's approach isn't really competitive otherwise. Despite the product description's claim that he conducts with highly emotional gestures, his Daphnis and Chloe begins in a plain, almost expressionless way. There's refinement and elegance in the phrasing, but an air of restraint hangs over everything. I can't imagine why, since this is such voluptuous music. If I heard the same reading on Naxos, I would have assumed it came from an obscure Eastern European orchestra under Mr. X as conductor.

The rhythmic slackness in Daphnis is somewhat repaired in the Valses nobles et sentimentales, where Nezet-Seguin, though still low-key, has no trouble with Ravel's silvery, shadowy waltzes; he captures their atmosphere in a lovely way. The transparent orchestration works better for the orchestra, which never really made much impact in the erotic surges of Daphnis. La valse has had any number of brilliant readings from conductors who understand its mixture of irony, elegance, and violence. Nezet-Seguin prefers to be chaste and rather noncommittal. The CD ends with Ravel's pastel-tinted take on Mother Goose, music that I have never responded to; I won't give an opinion of this version.

Overall, I'm not sure why EMI thinks that Nezet-Seguin is putting his best foot forward in a Ravel recital that is so lacking in volupte. No doubt the Gramophone will rave, and the five-star brigade here at Amazon.
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