Label: Challenge Classics
Format: SACD
Barcode: 0608917275728
Catalog number: CC 72757
Releasedate: 03-11-17
Format: SACD
Barcode: 0608917275728
Releasedate: 03-11-17
- Two impressionistic orchestral masterpieces which were not yet available on Challenge catalogue
- Both works were composed in the first decade of XIXth Century
- Antonello Manacorda conducts the Arnhem orchestra in their second release on Challenge (after Mahler’s 4th Symphony – CC 72659)
- Both works were composed in the first decade of XIXth Century
- Antonello Manacorda conducts the Arnhem orchestra in their second release on Challenge (after Mahler’s 4th Symphony – CC 72659)
The bulk of La mer was composed during a visit to Burgundy – a long way from the nearest sea – although the work was completed in the English seaside town of Eastbourne. The composer himself argued that his inspiration was drawn from a range of ocean view paintings and from literature in which the sea played a major part. Debussy described the work as 'Three symphonic sketches for orchestra' (Trois esquisses symphoniques pour orchestre), thus avoiding the term 'symphony', which would have imposed a specific musical structure, as well as the expression 'symphonic poem', which would imply that the music was descriptive in nature. 'Sketches' was a wise choice, precisely because it neatly conveys that the music is meant to do no more than provide an impression.
Whereas Debussy occupied himself spontaneously and intuitively with looking for new sounds, Ravel placed much more emphasis on the effect that the sounds could have in the context of a musical story.
One of these dazzling impressionist tales was the suite Mother Goose (Ma mère l’Oye). Between 1908 and 1910, he wrote a simple suite of piano pieces for four hands for the children of some friends, inspired by a few fairy tales that he took in part from the Tales of Mother Goose by Charles Perrault. Albeit the music was not technically difficult, the subtlety of the sound and melodies imbued the work with extreme refinement. This became clearly evident when he subsequently arranged to work for orchestra, refining the music even further with the larger orchestral sound palette. Ravel used this orchestral version in 1912 for a ballet.
Whereas Debussy occupied himself spontaneously and intuitively with looking for new sounds, Ravel placed much more emphasis on the effect that the sounds could have in the context of a musical story.
One of these dazzling impressionist tales was the suite Mother Goose (Ma mère l’Oye). Between 1908 and 1910, he wrote a simple suite of piano pieces for four hands for the children of some friends, inspired by a few fairy tales that he took in part from the Tales of Mother Goose by Charles Perrault. Albeit the music was not technically difficult, the subtlety of the sound and melodies imbued the work with extreme refinement. This became clearly evident when he subsequently arranged to work for orchestra, refining the music even further with the larger orchestral sound palette. Ravel used this orchestral version in 1912 for a ballet.
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1La Mer, Trois esquisses symphoniquesI. De l'aube à midi sur la mer09:50
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2La Mer, Trois esquisses symphoniquesII. Jeux de vagues07:22
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3La Mer, Trois esquisses symphoniquesIII. Dialogue du vent et de la mer09:02
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4Ma Mère l?OyePrélude03:18
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5Ma Mère l?OyeTableau I: Danse du Rouet et Scène03:40
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6Ma Mère l?OyeTableau II: Pavane de la Belle au Bois dormant02:39
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7Ma Mère l?OyeTableau III: Les Entretiens de la Belle et de la Bête05:09
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8Ma Mère l?OyeTableau IV: Petit Poucet04:49
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9Ma Mère l?OyeTableau V: Laideronnette, Impératrice des Pagodes04:53
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10Ma Mère l?OyeApothéose: Le Jardin féerique04:13