Maurice Ravel - Fragments Symphoniques from Daphnis et Chloé (1912) [with score]

Описание: Fragments Symphoniques - excerpts from the ballet 'Daphnis et Chloé' for piano solo
Written by Maurice Ravel in 1912


Thanks to Thomas Van Dun for the preparation of this score video.    / thomasvandun  



Performed by Florian Uhlig


'Daphnis and Chloé was the largest work Ravel was ever to compose, occupying him from early 1909 until April 5, 1912. It is also widely regarded as his most impressive achievement, and among the greatest ballet scores of the twentieth century. The work calls for an enormous orchestra, with approximately fifteen distinct percussion instruments and a wordless chorus, heard both offstage and onstage. Given its sheer size, the ballet score is much better known by excerpts, and when heard in concert, is usually represented by one of two suites that Ravel extracted from it. The first suite, of 1911, draws material from the "Nocturne," "Interlude" and "Danse guerriere," while Ravel designated the final three numbers: "Lever du jour," Pantomime," and "Danse générale" as Suite No. 2, following the score's completion in 1912. Based on the pastoral drama by the Greek poet Longus, the ballet's scenario was devised by Mikhail Fokine, a classically trained dancer and choreographer for Sergie Diaghilev's Ballets Russes. In his autobiographical sketch, the composer described its conception: "In writing it I sought to compose a broad musical fresco, less concerned with archaic fidelity than with loyalty to the Greece of my dreams, which in many ways resembled that imagined and depicted by French artists at the latter part of the eighteenth century. The work is constructed symphonically on a very strict tonal plan, by means of a few themes, the development of which assures the work's homogeneity." The first two scenes, which comprise Suite No. 1, portray the courtship of Daphnis and Chloé, and the latter's abduction by, and miraculous escape from, a band of pirates. The third scene, comprising the three numbers of Suite No. 2, takes place in a grove sacred to the god Pan and begins with daybreak following the pirate's night of terror. The opening scene, set in the key of A major, portrays the entrance to a sacred grotto. Several important motifs appear in rapid succession (a series of parallel fourths in the horns, a triplet pattern in the solo flute). The light fades and one by one statues of three nymphs, cut out of the live rock in the style of archaic sculpture, come to life. They descend from their pedestals to where Daphnis is sitting, awaken him, and lead him toward a large rock where they invoke the god Pan. Little by little the god becomes visible and Daphnis appeals to him for his aid. From behind the scenes, the wordless chorus is heard, unaccompanied, followed by fanfares of a horn, then of a trumpet. The full orchestra enters in a brilliant crescendo and we are in the camp of the pirates. The scene which follows takes place on a jagged coastline with the sea in the background. A band of pirates come running in and proceed to do a warlike dance before their chief and finally fall exhausted to the ground. Chloé is brought in, her hands tied. She implores the pity of her abductors in a dance, and twice attempts to flee, but is instantly recaptured. Suddenly the atmosphere changes and in strange gleam of light, Pan appears in a cloud and takes Chloé from her captors. The scene seems to melt and as the first dawn appears, we are back on the edge of that sacred wood.' - Brian Wise