this has some weird tempi changes/relationships but overall i think achieves the clarity that ravel had in mind. this is a version performed without the optional wordless choir. i have to say, i like the (relative) spareness of the version without the choir, but they do have some great chords and lines that are only really implied by the rest of the orchestration (though there are "instrumental alternatives" written in the orchestral parts).
the full ballet was premiered in June 1912 by Diaghilev's Ballets Russes conducted by Pierre Monteux. the context is interesting because not even a year before that debussy premiered his prelude to the afternoon of a faun, and stravinsky's firebird and petrouchka were both premiered during the three years it took Ravel to produce and orchestrate Daphnis et Chloé. though it was, strictly speaking, "ballet music," ravel called daphnis a “choreographic symphony in three parts.” suite no. 2 represents the final third, comprising three movements which chronicle the reunion of the two young lovers after Chloe's kidnapping at the hands of pirates; their dramatic tribute to the god Pan, who was responsible for Chloe's rescue; and the Bacchanalian celebration that follows.
orchestrationally, Ravel is at his very best in this suite, which has become the most-performed version of this music since the relatively lukewarm reception to the full ballet (and maybe the most-performed orchestral work of his, period). he uses a huge orchestra:
flutes, alto flute, piccolo, oboes, english horn, clarinets, e-flat, bass clarinet, (three!) bassoons, contrabassoon
four horns, three trumpets, three trombones, tuba
two harps, celesta
and a huge bevy of percussion instruments: timpani, cymbals, bass drum, field drum, snare drum, castanets, tambourine, glock.
and of course the wordless SATB choir.
Program notes follow:
The suite begins with daybreak (Lever du jour), and Ravel paints a luminous picture of a sacred grove with a brook represented by murmuring winds, harps, celeste, and strings, along with birdcalls from piccolo and solo violins. Soon daylight breaks and luscious melodies are passed throughout the orchestra, as the two title characters are reunited amid lush harmonies. The second movement, Pantomime, is remarkable for its extended, meandering wind solos. The transformation is ushered in by a solo oboe which calls a halt to the undulating figures in the winds and strings. A shepherd explains to Daphnis and Chloé that if Pan has saved Chloé, it is in honor of his doomed love for the beloved Syrinx. Daphnis and Chloé begin the reenactment of Pan and Syrinx's love story. Their dance is marked by fluid rhythms, elastic and languid tempi, and a famously difficult flute solo depicting Syrinx (who was transformed into a reed pipe, placing her forever out of reach). The music swings abruptly from mood to mood, now tenderly hesitant, then playfully flirtatious, then sweepingly grandiose – but throughout it retains a note of wistfulness, ultimately unfulfilled. The movement concludes with a broad and brilliant statement by the trumpets.
The unmistakable commencement of the post-drama celebration (Danse générale) is marked by a switch to a whirling meter in five. A motor of running triplets alternates throughout the orchestra, punctuated by bright interjections from trumpets and soprano clarinet. The music begins at a portentous distance but soon swells to a wild, volatile celebration, with subito soft moments followed by explosive outbursts. These increase steadily in intensity and frequency to build to a thrilling conclusion.
i find this entire suite totally compelling. i love ravel. there is something that i find so intuitive about his (initially) most non-intuitive stuff - his sense of rhythm when he mixes meters and gives offbeats to everyone else, his weird hesitations in the middle of phrases, the pressez fowards. ravel is awesome.
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