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java pro 7 activator pro v macDownload: Listen to Ravel: The Piano Concertos for solo piano, orchestra and solo chamber orchestra
Back in April, pianist James Ehnes featured on Classical Source’s programme of music for Easter: Johann Sebastian Bach’s St Matthew Passion. And now he’s back.
This time, he joins the Royal Liverpool Philharmonic Orchestra in a recording of Ravel’s Piano Concertos, performed by St Albans Gramophone Winner Elliot Archer. Archer will also play solo chamber versions of each work.
Archer (pictured above) is a much-lauded – and very young – pianist, who has already made several world-class recordings. He’s been named Young Concert Pianist of the Year four times, and is an artist with the London-based British Piano Competition.
The concertos were written for Ravel’s brother, Ernest (who died in 1918, aged just 31). They were premiered in Paris in 1909 and were Ravel’s first major compositions, so are reasonably representative of his output in that period. They’re also among his most significant works.
Like the Bach Passion, the Ravel piece shows off Ravel’s skill at writing for piano, which he “discovered” at an early age.
He also shows his dexterity at stringing disparate chords together, expressing dissonance with great ease and subtlety. And it’s this that has often been the source of complaint about Ravel’s music. He had no faith in the delicate subtleties of the piano, and this is evidenced by his refusal to set the heroic C sharp minor chords for trumpet, which Bach had used, in favour of simpler chords (D, G, B flat, C and C flat).
However, this is not to imply that the piano is inadequate a vehicle for Ravel’s music. It is, as the rhythmic “sensuality” of its dance tunes make very clear. And the ambition of the First Concerto, where Ravel returns to the Bach chorales, hints at the operatic scale structures his later work was to explore.
This is not to deny the significance of the work. Indeed, the concertos show Ravel as an internationalist: German is the language of the first concerto, but in the two following concerts Ravel turns
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