London Symphony Orchestra / Pappano,Antonio - Ravel: Daphnis Et Chloe - SUPER-AUDIO CD [Super Audio CD (SACD)]

Almost every pianist, it seems, wants to record Ravel, but virtually all of them have overlooked a treasure trove of music for solo piano the composer's short score for Daphnis et Chloé. Some parts of it are unplayable by a single pair of hands, but with judicious arrangement this working draft can be mined for diamonds. Only a handful of musicians have made their own suites for solo piano; here the Lithuanian pianist Indre Petrauskaite, carefully observing Ravel's original textures, has produced something new a 40-minute concert suite of unsuspected Ravel for solo piano that also respects the dramatic outline of the original ballet. The other, more familiar works here extend the ideas of antiquity and transcription. Indre Petrauskaite recently performed this programme at City University of London for the completion of her DMA degree. Album Tracks 1. Daphnis Et Chloé, Suite for Piano (2005-15) 2. Menuet Antique (1895) 3. Menuet Sur Le Nom D'haydn (1909) 4. Miroirs No. 3, Une Barque Sur L'océan (1904-5) 5. À la Manière de... Alexander Borodine Valse (1913) 6. À la Manière de... Emmanuel Chabrier Paraphrase Sur Un Air de Gounod (1913) 7. La Valse (1919-20)

On this album, the London Symphony Orchestra and Chief Conductor Sir Antonio Pappano capture two British masterpieces that continue to astonish and inspire. Journey through the cosmos with Gustav Holst's beloved Planets suite. From the relentless energy of Mars, the Bringer of War to the jubilant optimism of Jupiter, the Bringer of Jollity, the work remains one of the most visionary creations of the 20th century. The voyage concludes in mystery with Neptune, the Mystic, featuring the voices of Tenebrae in a wordless, otherworldly chorus. Arnold Bax's Tintagel closes the album with a sweeping portrait of Cornwall's rugged coastline. Inspired by a visit to the legendary castle in 1917, Bax's symphonic poem evokes windswept cliffs, ancient history and mythology in music that surges like the sea itself. Details 1. Holst The Planets 2. Holst The Planets I. Mars, the Bringer of War 3. Holst The Planets II. Venus, the Bringer of Peace 4. Holst The Planets III. Mercury, the Winged Messenger 5. Holst The Planets IV. Jupiter, the Bringer of Jollity 6. Holst The Planets V. Saturn, the Bringer of Old Age 7. Holst The Planets VI. Uranus, the Magician 8. Holst The Planets VII. Neptune, the Mystic 9. Bax Tintagel

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 'symphoni e 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 pa ndemic 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.' Details 1. Daphnis et Chloé, M. 57~Première Partie. Une prairie à la lisière d'un bois s