Maurice Ravel - The Complete Works for Solo Piano

Maurice RAVEL (1875-1937)

The Complete Works for Solo Piano

Jean-Yves Thibaudet

Recording location: Wang Zaal, Beurs van Berlage, Amsterdam, 10-14 March 1991

There used to be an entry in the Guinness Book of World Records to the effect that Ravel wrote the least amount of music of any great composer. And if you look at the orchestrations that he made of piano originals, then the amount of music becomes smaller still. Many of his most popular works, including the ubiquitous Pavane for a Dead Princess, the Valses Nobles et Sentimentales, Alborada del Gracioso, Le Tombeau de Couperin, Mother Goose, and Une Barque sur l'Ocean exist in both orchestral an piano versions, but there's still a good bit of original piano music, including the lovely Sonatine and most importantly, Gaspard de la Nuit. Thibaudet has played all of this music since he started teething: he knows it and loves it, and it shows.

David Hurwitz

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Jean-Yves Thibaudet is the reigning master of the French repertoire for the piano. Not that his talent stops there: a survey of his recordings and performances demonstrate that this is one contemporary master who is equally at home in Chopin, Schubert, Schumann, contemporary works, etc, and he is a fine collaborator with other superb artists. His approach to the keyboard is at once romantic and informed and his technique is dazzling.

The two CD recording does the impossible in demonstrating the Thibaudet can toss of the most lightly fragrant works as well as the formidable challenges of 'Gaspard de la nuit' and the brutally difficult fugue from the elegant 'Le tombeau de Couperin'. Scattered throughout this recital are some rarities such as the 'Sérénade grotesque', the 'Minuet antique', 'Menuet sur le nom d'Haydn', and 'À la manière de. . .' as well as the much loved 'Pavane pour une infante défunte', 'Miroirs' and the 'Valses nobles et sentimentales', each of which Thibaudet transcends the art of impressionist music and takes it to another realm of communication.

But for this listener it is the complete 'Le tombeau de Couperin' that calls for constant replay, so varied are the spirits of the various movements and so surely correct is Thibaudet's touch. And for sheer brilliance this recorded version of 'Gaspard de la nuit' is a pinnacle achievement.

The recording technique used to capture this recital is superb and the presence of the piano is live but never strident. In short, this is a magnificent recording by a consummate artist. Highly Recommended. 

Grady Harp, February 2006