Sinfonia of London | John Wilson: Ravel's Daphnis et Chloé
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- Опубліковано 23 жов 2024
- Available for pre-order now, released on Friday 3rd November!
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Ravel’s early masterpiece, Daphnis et Chloé, was commissioned by Serge Diaghilev for his Ballets Russes, and was premièred in the Théâtre du Châtelet in July 1912. Described by Ravel as a ‘symphonie chorégraphique’ (choreographic symphony), the work was performed just twice in that 1912 season, and was given only three more performances the following year. Press reaction was muted, and it is now much more often performed as a concert work than as a ballet. Daphnis, a shepherd, and Dorcon, a cowherd, dance for the privilege of a kiss from Chloé. Daphnis wins the contest and Chloé’s kiss leaves him in ecstasy. Chloé is kidnapped by a band of pirates; Daphnis prostrates himself before the god Pan. The pirates are celebrating their successful raid in their camp when Pan appears and frightens them all away. Some shepherds find Chloé (with Pan’s help) and reunite her with Daphnis.
This recording uses John Wilson’s new performing edition of the work, a project which Wilson took on during the pandemic lockdown in 2020. He writes: ‘The standard performing materials for Daphnis et Chloé have long been the subject of much discussion among orchestral players, conductors, and musicologists. Aside from a mass of errors in the 1913 published full score, the orchestral parts contain many hundreds of inconsistencies, omissions, and wrong notes. It became apparent that numerous changes made by Ravel in rehearsals were transferred directly into the parts but not carried over into the full score. I have tried to rationalise such (and other) inconsistencies as best I could to arrive at what is, I hope, a useful practical performing edition in which the parts match the full score in every detail and - crucially, for a work of such complexity - everything is carefully laid out and easy to read.’
Video filmed by Alex James at Church of St Augustine, Kilburn, London
Sensational, exciting
Over the years, Chandos have sure-footedly managed their growth from being a ‘minor’ record label to one of the most imaginative and important and the new link-up with Wilson and the Sinfonia is I think inspired, promising many marvellous recordings to come.
It would be lovely if John Wilson and the Sinfonia of London recorded Alfredo Casella's orchestrations for Balakirev's Islamey and for J.S. Bach's Chaconne BWV1004, respectivelly. Especially Alfredo Casella's orchestration for Mily Balakirev's Islamey, is an orchestral tour de force. It will stretch the orchestra to the limit. There is incredible volume per page, at least one page requires 30 staves, there is textural complexity, divisi strings, tutti passages that demand voluminous instrumentation, but there are also passages full of colour and delicacy with subtle and fine instrumental soli emitting a mesmerising melodic writing. On the other hand, the Bach-Casella Chaconne BWV1004 is splendid, into the bargain.
Dave Hurwitz literary destroyed this performance.
Mr Hurwitz is a loud-mouthed bigot who blames any new directions in musical interpretation as heinous crimes imposed upon an innocent public by The Gramophone magazine. He has a claque of other loud-mouthed bigots who hang onto his every word.
I always regard this gentleman's reviews as positive recommendations and I have only once been disappointed
Correction: I always regard this gentleman's damning reviews as positive recommendations ...
Exquisite flute solo.
The flautist is Adam Walker who was Principal Flute of the London Symphony Orchestra 2008-2020.
I should add that the Sinfonia of London includes many front-desk players from other London orchestras and indeed elsewhere. It isn't just any old 'pick up band'.
Excellent. I've always wanted to hear what it sounded like in the sewers.
Then show a bit of initiative and squeeze your way round the S bend.
Is this what Ravel wrote? All the tempos are a little weird. Sorry, but does this really cut the mustard? I would love to hear what John's intentions were. The balances seem a little offset as well. The recording made me feel uncomfortable, but maybe that was the intention to bring a new dimension to the score. Someone help me here.
Yeah, I completely agree that something’s a bit off in the recording. John got rid of every drop of romanticism in Ravel’s music and the result is the choir sounding like it’s from a digital sample library
I’ve heard traffic jams that sound better than this.
Given that your biggest musical passion in life is Doris Day, I can imagine your finding this performance a bit modern ...
that's just rude
That was awful.