Pomona, CA

Classics Explained: An Introduction to Ravel (Written and Narrated by Jeremy Siepmann)

Release date 2001

Tracklist

1
Introduction; Cue to Unadorned Bolero Rhythm, Part I
2:29
2
Bolero Rhythm, Part 2: An Extended Variation of, Part I
0:07
3
'Motto' Rhythm Complete (Instrumentation Will Change on Each New Hearing)
0:21
4
But Here We Have Snare Drums and Plucked Violas and Cellos
0:22
5
Section 1: Introduction of 'the Theme' (The Only One in the Piece) By Solo Flute
0:37
6
Flute continues with Part 2 of theme
0:48
7
Section 2: Complete Statement of Theme by Clarinet as Flute Joins 'Motto' Group
1:30
8
Introduction of 'Discordant' Harp Into the Unfolding Picture
0:18
9
Section 3: Bassoon Introduces Closely Related Variant of Theme
0:34
10
... but Then Veers Upwards, Slowing Rhythm and Introducting New Syncopation
0:59
11
Section 4: 'Petite' E Flat Clarinet Takes Over Theme, Including Variants
1:21
12
Section 5: Oboe D'Amore Takes Over Theme but Returns to Its Original Form
1:34
13
Section 6: Theme Now Shared by Two Instruments: Muted Trumpet and Flute
1:16
14
Section 7: Tenor saxophone takes Theme as trumpet replaces horn in 'motto'
1:39
15
Section 8: Theme Taken by Soprano Saxophone, 'Espressivo'
1:09
16
Section 9: Theme: Celeste, Piccolos and Horn; Motto: Flute and French Horn
1:24
17
Section 10: Theme: Oboes, Horns, Clarinets; Motto: Plucked Violas and Violins
2:06
18
Section 11: Theme Taken by First Trombone, Complete With Jazzy Slides
1:40
19
Section 12: Theme: Flutes, Oboes, Clarinets, Sax; Motto: Bassoons, Horns, Trumpets
1:13
20
Section 13: Violins at Last Take the Main Tune, Joining Massed Winds
1:14
21
Section 14: Violins Divide Into Four Groups, Each 'Double-Stopping'
1:04
22
Section 15: Trumpet, Trombone 2 and Tuba Join the Foreground
1:18
23
Section 16: First Trombone and Soprano Saxophone 'Rejoin' Theme
0:56
24
Section 17: Fortissimo; All Strings 'Double-Stopping'; Trumpets Added
1:26
25
Section 18: Entire Orchestra Now Employed, 'as Loudly as Possible'
1:18
26
Section 19: Sudden, Amazing Change of Key, Lurching From C to E Major
1:20
27
Section 20: Key Now Lurches Back to C, as Jazzy Trombones Whiningly Protest
0:36
28
Cue to Complete Performance
0:20
29
Bolero
16:16
30
Opening Figure on Flute; Rising, Falling, and Then Repeated
1:04
31
Same Again, With Emphasis on Delicacy of Scoring
0:30
32
Answering Variant, Accompanied by Plucked Double Basses
0:19
33
Reminder of Opening Figure
0:18
34
... and Now Its Rhythmical Mirror Image, or Almost...
0:12
35
Answering Phrase 2: A Near-Inversion, Over "James Bond" Accompaniment
0:41
36
Pivotal Phrase 3, Reversing Direction but Keeping Rhythm of Phrase 2
0:46
37
Reprise of Phrases 1 and 2, but With New Accompaniment
0:39
38
Further Reprise of Phrase 2, Now on Violin, Accompanied by Harp
0:40
39
Ma mère l'oye: Pavane de la belle au bois dormant
1:41
40
Introduction; Opening, With Multi-Metre Rising Scales From Muted Violins
0:49
41
Changes of Metre Continue as Solo Oboe Introduces Theme One
0:24
42
Oboe Yields to Cor Anglais for Theme Two, Against Lower (Still Muted) Strings
0:44
43
Theme One Returns, Shared by Clarinet and Flute; Muted Horn Added to Accompaniment
0:25
44
"Motto" Rhythm Dominates as Intensity Increases From Lower Strings to Full Orchestra
0:46
45
Fear Subsides as Theme Two Returns, Again in Cor Anglais but Now in a Different Key
0:32
46
Sensational Sound Effects Evoke a Wood at Night, With Screeches, Cuckooing etc.
0:44
47
Texture Thins; Theme One Returns, Delicately Scored for Strings and Piccolo
0:19
48
The Main Part of Movement Ends, With Waltz-Like March(!) (feat. Flute)
0:28
49
Ma mère l'oye: Petit poucet
3:28
50
Introduction; Opening (Introductory) Bars, Followed by Theme One
2:00
51
Oriental-Orchestral Equivalent of an Imperial Telephone Bell
0:15
52
... Oboe "Answers" With a Very Slightly Varied Version of Theme One
0:15
53
Expanded Derivative of the "Telephone Bell" Interrupts the Theme Again
1:00
54
Fragments of Theme in Flutes and Cor Anglais, With "James Bond" Tag in Violins
0:24
55
"Gamelan" Music From Flute and Piccolo, Accompanied by Harp, Xylophone and Strings
0:32
56
Arrival of Empress; Upper Strings Yield to Winds, Celeste, Harp And (Very Discreet) Gong
0:47
57
Ma mère l'oye: III. Laideronnette, impératrice des pagodes
3:57
58
Opening, Waltz Theme From Clarinet, With Important Downward Scale Figure in Strings
0:51
59
Characteristic Pattern of Two Short Phrases Answered by a Long One
0:36
60
Clarinet, Flutes and Violas, With "Sighing" Figure Derived From Downward String Motif
0:21
61
Varied Reprise of Opening, Entry of the "Beast" (Contra-Bassoon); "Watch It! Watch It!"
0:32
62
Again the "Beast" Growls; Again the Cautious Warning "Watch It!" From the Winds
0:40
63
Derivative of Beauty's Theme From Flute, Combined With "Caution Motif" in Strings
0:38
64
"Beast's Theme" Rises in Pitch With Each Successive "Growl" (Representing Hope?)
0:52
65
"Beauty", "Beast" and "Caution" Motifs All Combine Simultaneously
1:12
66
"Beast" (Contra-Bassoon) Climbs Ever Higher, Handing Over to Bassoon Proper
0:49
67
Harp's Upward Glide Heralds the Moment of Transformation; Love Song, Fear, Release
2:09
68
Ma mère l’oye Suite (Mother Goose Suite) (version for orchestra): IV. Les entretiens de la Belle et de la Bête
4:14
69
Introduction; Opening Bars Are Unfurled by the Strings Alone
0:40
70
The Rhythmic Basis, and Its Guises. First, a Question: "Where Went My Childhood?"
1:23
71
The Question Intensified: "Oh Where Went... My Childhood?"
0:15
72
The Answer, With a Falling Inflection: "Gone Is Your Childhood."
0:20
73
The Plea: "Bring Back My Childhood!"
0:14
74
The Response: "Seek In... Your Mem'ry. There It... Will Be."
0:25
75
Ravel's Use of Tone Colour to Change the Feeling of the Music
0:49
76
Further Illustration of the Same Point
0:27
77
Continued
1:44
78
The Nobility of the Strings
0:45
79
Bells Evoked by French Horns; The Final, Opulent, Moving Climax of the Whole Suite
1:11
80
Ma mère l'oye: V. Le jardin féerique
4:00

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