Shéhérazade, ouverture de féerie", written in 1898 but unpublished, is a work for orchestra by the french composer Maurice Ravel, intended as the overture.

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Animated Capricious Elegant Energetic Flowing Gentle Graceful Magical Melodic Playful Shimmering Sparkling. François-Xavier Roth, Les Siècles. Ravel: Ma mère l'Oye; Le Tombeau de Couperin; Shéhérazade, ouverture de féerie. For this 2018 release on Harmonia Mundi, Roth and his handpicked orchestra present music by Maurice Ravel, following their successful 2017 release of Daphnis et Chloé with fresh performances of the complete ballet Ma mère l'Oye, Le Tombeau de Couperin, and the overture Shéhérazade.

Album including Album cover Booklet (PDF). Formats & Prices. 4Ma Mère l'Oye, M. 62, Deuxième tableau: II. Pavane de la Belle au bois dormant. 6Ma Mère l'Oye, M. 62, Troisième tableau: III. Les Entretiens de la Belle et de la Bête. When Ravel orchestrated his works, the scoring emerged with total spontaneity, as if by magic, for he had already worked out his orchestral colours with immense care at the piano. The fascination of the Orient or the fantastic, poetic homages, the enthralling world of childhood – everything here is suffused with subtle refinement, in the use of forms inherited from the 18th century as in the choice of sonorities suited for storytelling.

Who better than Les Siècles could recreate this world, as magical as that of the rarely performed Shéhérazade overture? Un maître de l'orchestration Lorsque Ravel orchestre ses œuvres, une totale spontanéité de l'écriture opère comme par magie, tant le compositeur préméditait ses couleurs orchestrales au piano. Tout respire un raffinement subtil aussi bien dans l'usage des formes léguées par le XVIIIe siècle que dans une recherche du matériau sonore propre à raconter des histoires  . François-Xavier Roth.

Ma Mère l'Oye, M. 62, Premier tableau: I. Danse du rouet et scène. Ma Mère l'Oye, M. 5. 62: Interlude. Shéhérazade, ouverture de féerie, M. 17. Play. 14. Le Tombeau de Couperin, M. 68a: I. Prélude. Lent Maurice Ravel; Les Siècles; François-Xavier Roth. Plus lent Maurice Ravel; Les Siècles; François-Xavier Roth. 6. Mouvement de valse modéré Maurice Ravel; Les Siècles; François-Xavier Roth. 8. 62, Quatrième tableau: IV. Petit Poucet. Mouvement de valse modéré. 7. 9. 10. 62, Cinquième tableau: V. Laideronnette, impératrice des pagodes. 11. 62: Apothéose. 13. 13:130:30. 15. 68a: II. Forlane. 16. 68a: III. Menuet. 68a: IV. Rigaudon.

Plus lent 00:50 6. Ma Mère l’Oye, M. 62: Troisième tableau: III. Mouvement de valse modéré 04:00 7. Lent 00:40 8. 62: Quatrième tableau: IV. Très modéré 03:32 9. Lent 01:20 10. 62: Cinquième tableau: V. Mouvement de marche 03:24 11. Allegro 01:07 12.

Maurice Ravel originally wrote all of the works on this new album for piano - he later orchestrated them himself. Ravel is well-known as a genius of orchestration - but few recordings illuminate the broad color palette of his work in such vibrant pastel tones as this one. Roth's conducting is warm and transparent, with real forward momentum, allowing the fragility of these subtle compositions to shine through. Ravel: Le Tombeau de Couperin.

Ma Mére l’Oye, with its unique colours, benefits most from this approach, less sweet than normal and always strikingly original. Le tombea. a work tinged with sadness, really does seem to reach back into the depths of French music, evoking a past age to remember the composer’s friends lost to the First World War. In this recording, its interesting to compare the two works for so-called small orchestra, Le Tombeau de Couperin and Ma mre lOye. Shhrazade, ouverture de ferie is a more rarely performed work, because it dates from much earlier in Ravels career. Yet its very touching to hear the young composer writing for large orchestra in this overture and undertaking experiments with orchestral textures that he was later to use in Daphnis et Chlo or La Valse.