Ravel Piano Duo

Unusually the liner note deserves a mention ahead of the music: the fine pianist Jeremy Denk, half of this regular duo, manages to encapsulate the elusiveness of French romantic music with such insight in a few sharp sentences, his words almost shape the way we listen to this superbly played disc. Saint-Saëns' wistful and emotional Sonata No 1 and Ravel's bluesy, ironic sonata have a whipped, airy quality. Joshua Bell plays with fire and finesse, with Denk a powerful ally. Franck's dark-light violin sonata, mysterious, ardent and far more than the sum of its parts when played as majestically as here, forms the centrepiece of this seriously beguiling disc.

Like her other duo-recording venture with pianist Alexandre Rabinovitch, this album again demonstrates why pianist Martha Argerich is the grand dame of two-piano works. This album, with pianist Nelson Freire, offers another interpretation of the Rachmaninoff Second Suite for Two Pianos as well as a transcription of Ravel's La Valse and Lutoslawski's Variations on a Theme of Paganini. Unlike many other piano duos, Argerich and Freire are capable of drawing an amazingly convincing, almost symphonic sound out of their two instruments.

28th December 2012 marks the 75th Anniversary of the death of Maurice Ravel, the great French composer, best-known for his beautiful melodies, orchestral & instrumental textures and mesmeric compositional effects.
Many consumers will know Ravel through his masterpieces, such as: Boléro, Pavane pour une infant défunte, Rapsodie espagnole, Gaspard de la nuit, Ma Mère l’oye, Daphnis et Chloë, Le Tombeau de Couperin and La Valse.

In 1928 Maurice Ravel described the violin and the piano as “essentially incompatible.” Yet, by then, he had already composed for those instruments two sonatas (one of which was published posthumously), Tzigane, and the Berceuse sur le nom de [Gabriel] Fauré - a miraculous output for a supposedly mismatched duo.

Accompagné par l'orchestre du Capitole de Toulouse, le pianiste français renouvelle l'approche de ces deux concertos. Bon nombre d'interprètes en avaient en effet donné une interprétation de plus en plus épaisse et romantique, ce qui est en contradiction avec l'écriture de ces oeuvres, davantage inspirées par la légèreté et le modernisme de "l'esprit français" des années 20-30. Le jazz, si présent dans le Concerto pour la main gauche, par exemple, est révélateur de la pensée de Ravel. Le piano de Duchâble est plus que brillant : il est incendiaire, volatile, merveilleusement aérien. La qualité de la tenue rythmique, le sens des contrastes, l'humour, si souvent présent chez Ravel, sont magnifiquement restitués.