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Maurice Ravel (1875-1937) Miroirs, M. 43
00:00 I. Noctuelles. Très léger (2024 Remastered, Paris 1960)
04:32 II. Oiseaux tristes. Très lent (2024 Remastered, Paris 1960)
08:15 III. Une barque sur l'océan. D'un rythme souple (2024 Remastered, Paris 1960)
15:01 IV. Alborada del gracioso. Assez vif (2024 Remastered, Paris 1960)
21:37 V. La vallée des cloches. Très lent (2024 Remastered, Paris 1960)
Piano: Jean Doyen
Recorded in 1960, at Paris
New mastering in 2024 by AB for CMRR
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Frédéric Gonet: All of Maurice Ravel's art might be summed up in a few words: Spain, classicism, lyricism, provocation, sensitivity, daring, childhood, wager... Almost all these elements are already present in the Sérénade grotesque—missing from this recording since it was unpublished at the time—which he composed at the age of 18. Unlike many others, Ravel would not have to search for himself; he was immediately himself and, in this short piece, unveiled his favorite themes, with Spain at the top of the list.
Just like the Menuet antique, which followed it, this Sérénade straightaway reveals those influences and immediately belies the generally accepted idea of Ravel as an epigone of Debussy, to whom he owed very little and even less to Wagner (this fact was sufficiently surprising for the period that it is worth stressing). If there is any influence, it is heard immediately, and the words themselves say it all: 'serenade' and 'grotesque'; 'emotion' and 'humorous piece': the model is Emmanuel Chabrier. This influence is so obvious that Ravel would mention it himself in his Esquisse autobiographique concerning his highly famous Pavane pour une infante défunte (Spain again) of 1899, about which, moreover, he would be quite severe.
In those three works, the scene is set; a new century had just begun, and Ravel was taking an interest in pianism. This would result in Jeux d'eau (1901). At that time, Debussy had composed practically nothing of significance for the instrument, and Ravel, in a discreet homage, finally took up piano technique where Liszt had left it. But it is especially the Sonatine (1903-05) that one must look at, for it is doubtless, in its unassuming surroundings, the most intimately Ravelian of his works. The title itself is a provocation, for this is a piece of great technical difficulty, and, above all, it sums up by itself all the themes mentioned at the beginning.
An in-depth analysis reveals the Spanish turns, and here one learns a great deal about Ravel's classicism: whereas that of the Menuet antique illustrates (as the composer himself would emphasize on the subject of the Tombeau de Couperin) that the "homage addressed itself less to Couperin than to French music of the 18th century," the classicism of the Sonatine teaches us that Ravel venerated Mozart. How many riches in those 12 minutes: a concise, precise art, a harmonic language as personal as it is audacious, much tenderness and lyricism but always considerable restraint: Ravel in a nutshell.
Written only a few years later, **Miroirs** (1905) provides a violent contrast. This is perhaps his most unexpected work and, in the final analysis, the least personal—as if he had composed the Sonatine for himself and Miroirs for the others. Noctuelles and Oiseaux tristes dazzle with their daring and mystery, but ultimately, Une barque sur l'océan, the only real intrusion into Debussy's universe, is perhaps less successful than Jeux d'eau. Was Ravel aware of this? He attempted an orchestration of it, which he immediately disowned. Alborada del gracioso is the blossoming of the Sérénade grotesque, and the cycle concludes with a piece of bewitching beauty, but whose long cantilena in the middle seems quite foreign to the composer's universe.
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