Composer: Maurice Ravel (1875-1937)
Works: Complete Works for Solo Piano: Menuet antique, Pavane pour une infante défunte, Jeux d’eau, Sonatine, Miroirs, Gaspard de la nuit, Menuet sur le nom d’Haydn, Valses nobles et sentimentales, Prélude à la manière de Borodine, à la manière de Chabrier, Le Tombeau de Couperin
Performers: Walter Gieseking, piano
Recording: Abbey Road, London, 1954
Label: EMI 7243 5 74793 2 5 [2 CDs 117.42]
Walter Gieseking’s interpretations of Ravel are a blend of profound insight and poetic lyricism, capturing the essence of a composer who oscillated between the worlds of impressionism and neoclassicism. This complete recording of Ravel’s works for solo piano, originally laid down in 1954, showcases Gieseking’s unique ability to navigate Ravel’s intricate textures and kaleidoscopic colors. As a pianist deeply associated with the French repertoire, Gieseking offers an interpretation that resonates with the historic and stylistic nuances of Ravel’s music, a relationship that deserves renewed attention given the passage of decades since its initial release.
The historical context of Ravel’s compositions, ranging from the early Menuet antique to the later Gaspard de la nuit, reflects his evolution as a composer and the broader trends in early 20th-century music. Gieseking’s performances illuminate this trajectory; the Menuet antique’s antiquarian charm is rendered with an exquisite touch, establishing Ravel’s penchant for playful nostalgia. Gieseking’s pedaling in the Pavane pour une infante défunte reveals a sensitivity to color and depth that is both haunting and ethereal. At 3:25, the lush wash of sound he creates serves to enhance the poignancy of the right-hand melody, exemplifying his remarkable ability to balance clarity with rich tonal textures.
In Jeux d’eau, Gieseking’s fleetness in execution captures the playful spirit of the water god, though it occasionally sacrifices precision for speed. This tension between technical agility and interpretative intent is a recurring theme in Gieseking’s playing. His work in the Sonatine is particularly striking; the second movement unfolds with a stately grace that is both witty and poignant. The staccato bass notes add an ineffable wryness, while his mastery of pedaling shapes the dynamics in a way that feels both spontaneous and intentional. The nonchalant flourish that concludes the Anime movement is a testament to his interpretative finesse.
Miroirs presents a fascinating juxtaposition of technical prowess and interpretative imagination. While there are moments where the tempo in Une barque sur l’océan feels rushed, leading to a slight muddiness in thematic relationships, Gieseking compensates with a vivid emotional palette that transcends minor technical imperfections. His reading of Noctuelles stands out, with passages that are often obscured in other performances rendered with remarkable clarity. The tonal gradation in Oiseaux tristes reveals his acute sensitivity to the music’s emotional undercurrents, showcasing a rhythmic vitality that propels the music forward while maintaining a delicate balance of sonority.
Gieseking’s interpretation of Gaspard de la nuit is a study in contrasts; the dramatic shifts in volume and tempo are executed with a theatrical flair that highlights the work’s macabre essence. His approach to the rapid passagework, while occasionally bordering on excessive speed, nonetheless conjures a captivating kaleidoscope of sound. The tonal weight he achieves in La vallée des cloches at 4:02 represents a transcendent moment that encapsulates Gieseking’s artistic vision—a transfiguration of sound that defies mere technical description.
The Valses nobles et sentimentales, with their inherent charm and humor, benefit from Gieseking’s whimsical interpretations. His rhythmic vitality in the Assez animé movement (No. 4) and articulate clarity in the Vif (No. 6) bring out Ravel’s inherent playfulness, establishing a contrast to the more aloof interpretations of his contemporaries. The “In the style of…” pieces serve as delightful pastiches, revealing Gieseking’s wit and versatility.
Sound quality in this recording, remastered from the original tapes, retains a warmth that complements Gieseking’s tonal palette. The engineering captures the nuances of his playing, allowing listeners to appreciate the subtleties of his pedaling and dynamic contrasts, although some moments may feel a touch distant in comparison to modern recordings.
Gieseking’s interpretations of Ravel stand as a significant artistic achievement, embodying a deep understanding of the composer’s intent while offering an idiosyncratic, yet profoundly insightful, perspective. His recordings are not just performances; they are invitations to experience the music anew, where each note is imbued with a sense of purpose and artistry that has yet to be surpassed. This set is a vital addition to any serious collection of piano music, illuminating the intricacies of Ravel’s genius through the lens of one of the 20th century’s most compelling pianists.
