Miroirs, for piano (or orchestra): Alborada del gracioso
La valse, poème choréographique for orchestra
Daphnis et Chloé, suite No. 2 for orchestra: Lever du jour
Daphnis et Chloé, suite No. 2 for orchestra: Pantomime
Daphnis et Chloé, suite No. 2 for orchestra: Danse générale
Rhapsodie espagnole, for orchestra (or 2 pianos): 1. Prélude à la nuit
Rhapsodie espagnole, for orchestra (or 2 pianos): 2. Malagueña
Rhapsodie espagnole, for orchestra (or 2 pianos): 3. Habanera
Rhapsodie espagnole, for orchestra (or 2 pianos): 4. Feria
What a potent combo: Maurice Ravel and Leonard Bernstein. Boléro slowly comes to a steady boil without any ingredients overflowing. By contrast, in Alborada del Gracioso and La Valse, Bernstein thoroughly revels in hi... more »s French orchestra's watery brass and silvery string tuttis. Back in Manhattan, the Daphnis and Chloé suite and Rapsodie Espagnol are lusty without ever sounding vulgar. Some might find the miking a hair spotlit for their tastes, but Ravel's breathtaking orchestration can withstand such scrutiny. So can Bernstein and company. An ingratiating release. --Jed Distler« less
What a potent combo: Maurice Ravel and Leonard Bernstein. Boléro slowly comes to a steady boil without any ingredients overflowing. By contrast, in Alborada del Gracioso and La Valse, Bernstein thoroughly revels in his French orchestra's watery brass and silvery string tuttis. Back in Manhattan, the Daphnis and Chloé suite and Rapsodie Espagnol are lusty without ever sounding vulgar. Some might find the miking a hair spotlit for their tastes, but Ravel's breathtaking orchestration can withstand such scrutiny. So can Bernstein and company. An ingratiating release. --Jed Distler
dickisg | Bowling Green, KY United States | 12/12/2002
(1 out of 5 stars)
"If you don't have any interest in this recording academically, don't buy it. The resolution is very thin, and at times becomes over-saturated. At times in Dafnis, I have to strain my ear to hear what I'm KNOW is suppose to be there. This ablum, like many in this series (save Mahler 4, 7), is very disappointing, and I would have returned this album if I wasn't interested in Berstein's muscial approach.I will keep this cd in my library, but will definitely find another Ravel recording for easy listening."
It's Not Nearly So Bad
Michael B. Richman | Portland, Maine USA | 02/03/2003
(5 out of 5 stars)
"This Bernstein Century CD of Ravel's most famous works for orchestra is really not as bad as the previous reviwer indicated in his two reviews. When it comes to Ravel, I would select Munch, Paray or Cluytens before Bernstein, but with that being said this is an excellent disc. I find Bernstein's accounts better than many of his then contemporaries, and that includes readily available performances by Reiner, Szell and Ormandy. The sound, like all of Bernstein's vintage stereo recordings with the New York Philharmonic for CBS/Columbia/Sony, is full and rich. Fans looking for the complete Daphnis Et Chloe will want to pass on this (get the Munch on RCA Living Stereo), but otherwise you should have no reservations in purchasing this title."
Good stuff, except for Bolero.
Peter Hilliard | Roslyn, PA United States | 10/21/2008
(3 out of 5 stars)
"This is very good playing, except for the Bolero, which is sub-standard. There are places in Bolero where the ensemble is out of sync, and where the woodwinds are woefully out-of-tune. You'd think it'd be better, wouldn't you? It seems under-rehearsed and poorly recorded. So don't buy this disk for that. On the other hand, La Valse is as frightening as it should be, Daphnis et Chloe is thrilling, and Alboradora is workmanlike."
Strangely, Bernstein's Ravel is middle-of-the-road
Santa Fe Listener | Santa Fe, NM USA | 06/08/2006
(3 out of 5 stars)
"You'd think that Bernstein, a master of rhythm and the only major conductor who laid claim to being hip, would be a natural at Ravel. His two mentors, Koussevitzky and Reiner, wre. But this basic colleciton of Ravel's greatest orchestral hits (which can also be had in a newwer reissue showing the original flamenco cover of the old LP) is out of sorts. Bernstein offers enough energy, and the recording makes the NY Phil. sound larger than life -- not an asset, really, in Ravel's exquisite music -- but there's something flat-footed here, a lack of sinuousness and slink. How strange that LB would turn prudish when it came to the blatant eroticism of La Valse, or that he would miss Ravel's diamond-bright nuances.
I wish I could be more enthusiastic, but as Michael Richman says, there's more enjoyment to be had from Munch, Paray, Martinon, and others, including Karajan and Reiner."