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Home (/) » Reviews (/reviews) » RAVEL Ma mère l'Oye. Le Tombeau de Couperin (Roth)

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Est 1923

Author: Tim Ashley

RAVEL Ma mère l'Oye. Le Tombeaude Couperin

RAVEL Ma mère l'Oye. LeTombeau de Couperin(Roth)

Ma Mère l'oye, 'Mother Goose'

(Le) Tombeau de Couperin

Shéhérazade

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RAVEL Ma mère l'Oye. Le Tombeau de Couperin (Roth)

François-Xavier Roth and Les Siècles’ second Ravel discfor Harmonia Mundi is every bit as fine as their much-admired debut recording of Daphnis et Chloé for thelabel released last year (6/17). It has all the exemplaryqualities we’ve come to expect from Roth and hisorchestra: a painstaking reconstruction of period sound;interpretations of considerable cogency and subtlety thatremain free from any trace of academicism; and playingof scrupulous precision and virtuosity that is never self-consciously showy.

Roth opts for the 1912 ballet version of Ma Mère l’Oye,an altogether trickier prospect for a conductor than theoriginal suite, since the interludes Ravel composed tolink the individual tales can seem discursive if notcarefully handled. Here, however, one is struck by aremarkable sense of homogeneity, as if the performancewere recorded in a single take, when in fact it was madeover four days in three different venues. The transparenttextures, with every shift in colour beautifully realisedand balanced, are consistently beguiling, though Rothdownplays the menacing undertow some have found inthe score: Beauty’s Beast swaggers unthreateningly andPetit Poucet, lost in his forest, sounds less disconsolatethan he sometimes does. But the magic is genuine

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throughout, above all in ‘Laideronette’, which isbreathtaking in its delicacy, and the Sleeping Beauty’spavane, where time really does seem to stand still.

In Le tombeau de Couperin, however, Roth is wonderfully alert to theemotional ambiguities of a work that both gazes back longingly tothe 18th century and commemorates Ravel’s friends killed in actionin the First World War. Careful balance between strings andwoodwind at the start of the Forlane reminds us just howdisorientating Ravel’s counterpoint is at this point, while the Menuetgenerates a sense of deep melancholy that the Rigaudon’s extrovertbrilliance doesn’t quite dispel. Les Siècles’ oboist, Hélène Mourot, isrightly given an individual credit for the fluid beauty of her playinghere, and is also heard to advantage in the early (1898) Shéhérazade

overture, not to be confused with the later, more familiar song-cycleof the same name.

Ravel withdrew the score after the premiere, deeming it ‘poorlyconstructed’, which is untrue, though its dependence on thematicrepetition and a certain sameness of mood make it fractionally toolong for its own good. In a booklet note, however, Roth argues thatthe complexity of the scoring to some extent prefigures Daphnis andLa valse, and makes his case for it in a richly detailed performance,conducted and played with tremendous élan and vigour.

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