| Disc: 1 |
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| An Introduction to ... RAVEL: Boléro and Ma Mère | |
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Bolero-Introduction; cue to unadorned Bolero rhyth |
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Bolero rhythm, Part 2: an extended variation of Pa |
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' Motto ' rhythm complete |
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But here we have snare drums and plucked violas an |
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Section 1: Introduction of ' the theme ' by solo |
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Flute continues with Part 2 of theme |
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Section 2: Complete statement of theme by clarinet |
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Introduction of ' discordant ' harp into the unfol |
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Section 3: Bassoon introduces closely related vari |
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...but then veers upwards, slowing rhythm and intr |
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Section 4: ' Petite ' E flat clainet takes over th |
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Section 5: Oboe d'amore takes over theme but retur |
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Section 6: Theme now shared by two instruments: ut |
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Section 7: Tenor saxophone takes Theme as trumpet |
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Section 8: Theme taken by soprano saxphone, ' espr |
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Section 9: Theme: celeste, piccolos and horn; Mott |
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Section 10: Theme: Oboes, horns, clarinets; Motto: |
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Section 11: Theme taken by First Trombone, complet |
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Section 12: Theme: flutes, oboes, clarinets, sax; |
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Section 13: Violins at last take the main tune, jo |
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Section 14: Violins divide into four groups, each |
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Section 15: Trumpet, trombone 2 and tuba join the |
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Section 16: First trombone and soprano saxophone ' |
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Section 17: Fortissimo; all strings ' double-stopp |
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Section 18: Entire orchestra now employed, ' as lo |
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Section 19: Sudden, amazing change of key, lurchin |
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Section 20: Key now lurches back to C, as jazzy tr |
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Cue to complete performance |
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Bolero (complete) |
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| Disc: 2 |
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| An Introduction to ... RAVEL: Boléro and Ma Mère | |
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Pavane de la Belle au bois dormant-Opening figure |
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Same again, with emphasis on delicacy of scoring |
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answering variant, accompanied by plucked double b |
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Reminder of opening figure |
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... and now its rhythmical mirror image, or almost |
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Answering Phrase 2: a near-inversion, over ' James |
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Pivotal Phrase 3, reversing direction but keeping |
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Reprise of Phrases 1 and 2, but with new accompani |
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Further Reprise of Phrase 2, now on violin, accomp |
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Pavane (complete) |
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Petit Poucet (Tom Thumb)-Introduction; Opening, wi |
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Change of metre continue as solo oboe introduces T |
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Oboe yields to Cor Anglais for Theme Two, against |
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Theme One returns, shared by clarinet and flute, m |
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'Motto' rhythm dominates as intensity increases fr |
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Fear subsides as Theme Two returns, again in Cor A |
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Sensational sound effects evoke a wood at night, w |
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Texture thins; Theme one returns, delicately score |
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The main part of movement ends, with waltz-like ma |
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Petit Poucet (complete) |
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Laideronnette, Imperatrice des Pagodes-Introductio |
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Oriental-orchestral equivalent of an imprial telep |
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... oboe ' answers ' with a very slightly varied v |
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Expanded derivative of the ' telephone bell ' inte |
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Fragments of theme in flutes and cor anglais, with |
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'Gamelan ' music from flute and piccolo, accompani |
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arrival of Empress; upper strings yield to winds, |
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Laideronnette, Imperatrice des Pagodes (complete) |
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Les entretiens de la Belle et de la Bete- opening |
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Characteristic pattern of two short phrases answer |
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Clarinet, flutes and violas, with ' sighing' figur |
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Varied reprise of opening, entry of the ' Beast '; |
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Again the ' Beast ' growls; again the cautious war |
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Derivative of Beauty's Theme from flute, combined |
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' Beast's theme ' rises in pitch with each success |
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' Beauty ', ' Beast ' and ' Caution ' motifs all c |
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' Beast ' (contra-bassoon) climbs ever higher, han |
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Harp's upward glide heralds the moment of transfor |
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Les entretiens de la Belle et de la Bete (complete |
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Le jardin feerique-Introduction; Opening bars are |
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The rhythmic basis, and its guises. First, a quest |
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The question intensified:' Oh where went ... my ch |
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The answer, with a falling inflection: ' Gone is y |
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The plea: ' Bring back my childhood!' |
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The response: ' Seek in ... your mem'ry. There it |
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Ravel's use of tone colour to change the feeling o |
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Further illustration of the same point |
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Continued |
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The nobility of the strings |
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Bells evoked by French horns; the final, opulent, |
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Le jardin feerique (complete) |
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