VARIOUS BAND

Détail des pistes :

RAVEL Maurice
An Introduction to ... RAVEL: Boléro and Ma Mère L'oye
1 - 1     Bolero-Introduction; cue to unadorned Bolero rhythm, Part 1 (2mn 29s )    
1 - 2     Bolero rhythm, Part 2: an extended variation of Part 1 (07s )    
1 - 3     Motto rhythm complete (21s )    
1 - 4     But here we have snare drums and plucked violas and cellos (22s )    
1 - 5     Section 1: Introduction of the theme by solo flute (37s )    
1 - 6     Flute continues with Part 2 of theme (48s )    
1 - 7     Section 2: Complete statement of theme by clarinet as flute joins motto group (1mn 30s )    
1 - 8     Introduction of discordant harp into the unfolding picture (18s )    
1 - 9     Section 3: Bassoon introduces closely related variant of theme (34s )    
1 - 10     ...but then veers upwards, slowing rhythm and introducing new syncopation (59s )    
1 - 11     Section 4: Petite E flat clainet takes over theme, including variants (1mn 21s )    
1 - 12     Section 5: Oboe d amore takes over theme but returns to its original form (1mn 34s )    
1 - 13     Section 6: Theme now shared by two instruments: uted trumpet and flute (1mn 16s )    
1 - 14     Section 7: Tenor saxophone takes Theme as trumpet replaces horn in motto (1mn 39s )    
1 - 15     Section 8: Theme taken by soprano saxphone, espressivo (1mn 09s )    
1 - 16     Section 9: Theme: celeste, piccolos and horn; Motto: flute and French horn (1mn 24s )    
1 - 17     Section 10: Theme: Oboes, horns, clarinets; Motto: plucked violas and violins (2mn 06s )    
1 - 18     Section 11: Theme taken by First Trombone, complete with jazzy slides (1mn 40s )    
1 - 19     Section 12: Theme: flutes, oboes, clarinets, sax; Motto: bassoons, horns, trumpets (1mn 13s )    
1 - 20     Section 13: Violins at last take the main tune, joining massed winds (1mn 14s )    
1 - 21     Section 14: Violins divide into four groups, each double-stopping (1mn 04s )    
1 - 22     Section 15: Trumpet, trombone 2 and tuba join the foreground (1mn 18s )    
1 - 23     Section 16: First trombone and soprano saxophone rejoin theme (56s )    
1 - 24     Section 17: Fortissimo; all strings double-stopping ; trumpets added (1mn 26s )    
1 - 25     Section 18: Entire orchestra now employed, as loudly as possible (1mn 18s )    
1 - 26     Section 19: Sudden, amazing change of key, lurching from C to E major (1mn 20s )    
1 - 27     Section 20: Key now lurches back to C, as jazzy trombones whiningly protest (36s )    
1 - 28     Cue to complete performance (20s )    
1 - 29     Bolero (complete) (16mn 16s )    
2 - 1     Pavane de la Belle au bois dormant-Opening figure on flute; rising, falling, and then reeated (1mn 04s )    
2 - 2     Same again, with emphasis on delicacy of scoring (30s )    
2 - 3     answering variant, accompanied by plucked double basses (19s )    
2 - 4     Reminder of opening figure (18s )    
2 - 5     ... and now its rhythmical mirror image, or almost... (12s )    
2 - 6     Answering Phrase 2: a near-inversion, over James Bond accompaniment (41s )    
2 - 7     Pivotal Phrase 3, reversing direction but keeping rhythm of Phrase 2 (46s )    
2 - 8     Reprise of Phrases 1 and 2, but with new accompaniment (39s )    
2 - 9     Further Reprise of Phrase 2, now on violin, accompanied by harp (40s )    
2 - 10     Pavane (complete) (1mn 41s )    
2 - 11     Petit Poucet (Tom Thumb)-Introduction; Opening, with multi-metre rising scales from muted violins (49s )    
2 - 12     Change of metre continue as solo oboe introduces Theme One (24s )    
2 - 13     Oboe yields to Cor Anglais for Theme Two, against lower (still muted) strings (44s )    
2 - 14     Theme One returns, shared by clarinet and flute, muted horn added to accompaniment (25s )    
2 - 15     Motto rhythm dominates as intensity increases from lower strings to full orchestra (46s )    
2 - 16     Fear subsides as Theme Two returns, again in Cor Anglais but now in a different key (32s )    
2 - 17     Sensational sound effects evoke a wood at night, with screeches, cuckooing etc. (44s )    
2 - 18     Texture thins; Theme one returns, delicately scored for strings and piccolo (19s )    
2 - 19     The main part of movement ends, with waltz-like march(!), featuring flute (28s )    
2 - 20     Petit Poucet (complete) (3mn 28s )    
2 - 21     Laideronnette, Imperatrice des Pagodes-Introduction; opening bars, followed by Theme One (2mn )    
2 - 22     Oriental-orchestral equivalent of an imprial telephone bell (15s )    
2 - 23     ... oboe answers with a very slightly varied version of Theme One (15s )    
2 - 24     Expanded derivative of the telephone bell interrupts the theme again (1mn )    
2 - 25     Fragments of theme in flutes and cor anglais, with James Bond tag in violins (24s )    
2 - 26     Gamelan music from flute and piccolo, accompanied by harp, xylophone and strings (32s )    
2 - 27     arrival of Empress; upper strings yield to winds, celeste, harp and (very discreet) gong (47s )    
2 - 28     Laideronnette, Imperatrice des Pagodes (complete) (3mn 57s )    
2 - 29     Les entretiens de la Belle et de la Bete- opening (51s )    
2 - 30     Characteristic pattern of two short phrases answered by a long one (36s )    
2 - 31     Clarinet, flutes and violas, with sighing figure derived from downward string motif (21s )    
2 - 32     Varied reprise of opening, entry of the Beast ; Watch it ! Watch it ! (32s )    
2 - 33     Again the Beast growls; again the cautious warning Watch it ! from the winds (40s )    
2 - 34     Derivative of Beauty s Theme from flute, combined with caution motif in strings (38s )    
2 - 35     Beast s theme rises in pitch with each successive gowl (representing hope?) (52s )    
2 - 36     Beauty , Beast and Caution motifs all combine simultaneously (1mn 12s )    
2 - 37     Beast (contra-bassoon) climbs ever higher, handing over to bassoon proper (49s )    
2 - 38     Harp s upward glide heralds the moment of transformation; love song, fear, release (2mn 09s )    
2 - 39     Les entretiens de la Belle et de la Bete (complete) (4mn 14s )    
2 - 40     Le jardin feerique-Introduction; Opening bars are unfuuuuuuuuurled by the strings alone (40s )    
2 - 41     The rhythmic basis, and its guises. First, a question: Where went my childhood? (1mn 23s )    
2 - 42     The question intensified: Oh where went ... my childhood? (15s )    
2 - 43     The answer, with a falling inflection: Gone is your childhood. (20s )    
2 - 44     The plea: Bring back my childhood! (14s )    
2 - 45     The response: Seek in ... your mem ry. There it ... will be. (25s )    
2 - 46     Ravel s use of tone colour to change the feeling of the music (49s )    
2 - 47     Further illustration of the same point (27s )    
2 - 48     Continued (1mn 44s )    
2 - 49     The nobility of the strings (45s )    
2 - 50     Bells evoked by French horns; the final, opulent, moving climax of the whole suite (1mn 11s )    
2 - 51     Le jardin feerique (complete) (4mn )    

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