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Ravel: Works For Violin And Piano / Régis Pasquier, Brigitte Engerer


Release Date: 08/12/2008 
Label:  Harmonia Mundi Musique D'abord Catalog #: 1951364   Spars Code: n/a 
Composer:  Maurice Ravel
Performer:  Régis PasquierBrigitte Engerer
Number of Discs: 1 
Recorded in: Stereo 
Length: 0 Hours 57 Mins. 

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Notes and Editorial Reviews

Who would have thought that a disc devoted to Ravel's music for violin and piano was possible? Well, it is, if you propose to include these transcriptions of Kaddisch (by the composer) and the better-known Pièce en forme de habanera (as arranged by Fritz Kreisler, says the booklet), which were both originally vocal pieces, and the one-movement sonata of 1897 which only saw the light of publication in the Ravel centenary year of 1975. 1 first heard this early sonata a dozen years ago in an Oxford recital by Gidon Kremer and felt it to be an inadequate piece that did the composer little credit, but I've come to think slightly better of it, and despite its diffuse character it perhaps just deserves to take its place in the Ravel canon. Read more This warmly lyrical performance does all that can be done for music which has more well-intentioned gesture than substance, as the composer knew when he consigned it to the oblivion from which pious musicology has rescued it.

The real Ravel Sonata (I refuse to call it No. 2) is a very different matter, a late work that took a while to write and has an edgy, uneasy beauty wholly characteristic of the composer in his last period. This is a sincere account, not as painfully prickly as it should be, but pleasantly lyrical. Kaddisch is one of the composer's Deux melodies hCbraiques, the Jewish prayer for the dead that is here redolent of deep feeling, though it is better still when sung with its Hebrew text.

I think that Tzigane with all its gypsy élan and virtuosity would have been better at the end of the programme than coming next, as it does here. But Regis Pasquier and Brigitte Engerer bring to it passion and fire, and Pasquier is equal to its technical demands while not giving us the extra frisson that the finest players can--it is a touch deliberate. The Habanera has some sensuous lilt, but again the thoughtful playing doesn't go all the way in creating the necessary atmosphere. As for the Berceuse sur le nom de Gabriel Fauré, no explanation that I've ever read, including the one in this booklet, has shown me how you can translate these five letters into musical notes, but Ravel wrote a pleasing little piece on the ones that he thought they could become. The recording of all this music is a little larger than life, but agreeably rich.

-- Gramophone [8/1992]
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Works on This Recording

1.
Sonata Posthume for Violin and Piano by Maurice Ravel
Performer:  Régis Pasquier (Violin), Brigitte Engerer (Piano)
Period: 20th Century 
Written: 1897; France 
Length: 17 Minutes 20 Secs. 
2.
Tzigane for Violin and Orchestra by Maurice Ravel
Performer:  Régis Pasquier (Violin), Brigitte Engerer (Piano)
Period: 20th Century 
Written: 1924; France 
Length: 10 Minutes 26 Secs. 
3.
Pièce en forme de Habañera by Maurice Ravel
Performer:  Régis Pasquier (Violin), Brigitte Engerer (Piano)
Period: 20th Century 
Written: 1907; France 
Length: 3 Minutes 24 Secs. 
4.
Berceuse sur le nom de Fauré by Maurice Ravel
Performer:  Régis Pasquier (Violin), Brigitte Engerer (Piano)
Period: 20th Century 
Written: 1922; France 
Length: 2 Minutes 55 Secs. 
5.
Sonata for Violin and Piano in G major by Maurice Ravel
Performer:  Régis Pasquier (Violin), Brigitte Engerer (Piano)
Period: 20th Century 
Written: 1923-1927; France 
Length: 17 Minutes 0 Secs. 

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