bookloid · 03-Май-25 10:11(7 месяцев назад, ред. 03-Май-25 10:12)
Jean-Efflam Bavouzet / Ravel: Complete Works for Solo Piano Формат записи/Источник записи: [TR24][OF] Наличие водяных знаков: Нет Год издания/переиздания диска: 2025 Жанр: Classical • Piano Издатель (лейбл): Chandos Продолжительность: 02:22:48 Наличие сканов в содержимом раздачи: Только обложка альбома
Треклист:
1. Sérénade grotesque, M 5 (03:43)
2. Jeux d’eau, M 30 (05:36)
3. Pavane pour une infante défunte, M 19 (05:54)
4. Menuet antique, M 7 (06:01)
5. Sonatine, M 40: I. Modéré (04:11)
6. Sonatine, M 40: II. Mouvement de Menuet (03:07)
7. Sonatine, M 40: III. Animé (04:05)
8. Menuet, M 42 (01:17)
9. Menuet sur le nom d’Haydn, M 58 (02:03)
10. Miroirs, M 43: I. Noctuelles (04:34)
11. Miroirs, M 43: II. Oiseaux tristes (04:08)
12. Miroirs, M 43: III. Une barque sur l’océan (07:16)
13. Miroirs, M 43: IV. Alborada del gracioso (06:39)
14. Miroirs, M 43: V. La Vallée des cloches (05:29)
15. Gaspard de la nuit, M 55: I. Ondine (06:48)
16. Gaspard de la nuit, M 55: II. Le Gibet (05:59)
17. Gaspard de la nuit, M 55: III. Scarbo (09:24)
18. À la manière de… Borodine, M 63a (01:41)
19. À la manière de… Emmanuel Chabrier, M 63b (02:15)
20. Le Tombeau de Couperin, M 68: I. Prélude (02:56)
21. Le Tombeau de Couperin, M 68: II. Fugue (03:17)
22. Le Tombeau de Couperin, M 68: III. Forlane (05:05)
23. Le Tombeau de Couperin, M 68: IV. Rigaudon (03:18)
24. Le Tombeau de Couperin, M 68: V. Menuet (05:20)
25. Le Tombeau de Couperin, M 68: VI. Toccata (04:08)
26. Prélude, M 65 (01:32)
27. Valses nobles et sentimentales, M 61: I. Modéré, très franc (01:19)
28. Valses nobles et sentimentales, M 61: II. Assez lent (02:12)
29. Valses nobles et sentimentales, M 61: III. Modéré (01:31)
30. Valses nobles et sentimentales, M 61: IV. Assez animé (01:02)
31. Valses nobles et sentimentales, M 61: V. Presque lent (01:33)
32. Valses nobles et sentimentales, M 61: VI. Vif (00:40)
33. Valses nobles et sentimentales, M 61: VII. Moins vif (02:48)
34. Valses nobles et sentimentales, M 61: VIII. Épilogue (03:58)
35. La Valse, M 72b (12:26)
Контейнер: FLAC (*.flac) Тип рипа: tracks Разрядность: 24/96 Формат: PCM Количество каналов: 2.0
Лог проверки качества
foobar2000 v2.1.6 / DR Meter v0.7 log date: 2025-05-03 08:47:31 -------------------------------------------------------------------------------- Analyzed: Jean-Efflam Bavouzet / Ravel - Complete Works for Solo Piano -------------------------------------------------------------------------------- DR Peak RMS Duration Track -------------------------------------------------------------------------------- DR13 -6.87 dBFS -28.08 dBFS 3:43 01-Sérénade grotesque, M 5 DR15 -10.97 dBFS -31.50 dBFS 5:36 02-Jeux d’eau, M 30 DR16 -10.42 dBFS -33.74 dBFS 5:54 03-Pavane pour une infante défunte, M 19 DR16 -7.35 dBFS -29.70 dBFS 6:01 04-Ravel: Menuet antique, M 7 DR15 -9.32 dBFS -32.65 dBFS 4:11 05-Sonatine, M 40: I. Modéré DR17 -9.35 dBFS -34.40 dBFS 3:08 06-Sonatine, M 40: II. Mouvement de Menuet DR13 -7.98 dBFS -29.79 dBFS 4:05 07-Sonatine, M 40: III. Animé DR14 -16.83 dBFS -37.01 dBFS 1:17 08-Menuet, M 42 DR15 -12.97 dBFS -35.22 dBFS 2:04 09-Menuet sur le nom d’Haydn, M 58 DR14 -11.80 dBFS -32.61 dBFS 4:34 10-Miroirs, M 43: I. Noctuelles DR14 -7.52 dBFS -27.68 dBFS 4:08 11-Miroirs, M 43: II. Oiseaux tristes DR14 -10.73 dBFS -30.91 dBFS 7:16 12-Miroirs, M 43: III. Une barque sur l’océan DR16 -7.14 dBFS -29.24 dBFS 6:40 13-Miroirs, M 43: IV. Alborada del gracioso DR16 -16.71 dBFS -39.24 dBFS 5:29 14-Miroirs, M 43: V. La Vallée des cloches DR15 -7.09 dBFS -31.46 dBFS 6:49 15-Gaspard de la nuit, M 55: I. Ondine DR18 -15.70 dBFS -40.16 dBFS 6:00 16-Gaspard de la nuit, M 55: II. Le Gibet DR17 -5.16 dBFS -28.11 dBFS 9:24 17-Gaspard de la nuit, M 55: III. Scarbo DR13 -9.18 dBFS -31.65 dBFS 1:41 18-À la manière de... Borodine, M 63a DR14 -18.69 dBFS -38.03 dBFS 2:15 19-À la manière de... Emmanuel Chabrier, M 63b DR13 -11.32 dBFS -30.43 dBFS 2:56 20-Le Tombeau de Couperin, M 68: I. Prélude DR14 -15.65 dBFS -36.65 dBFS 3:17 21-Le Tombeau de Couperin, M 68: II. Fugue DR14 -12.51 dBFS -32.22 dBFS 5:06 22-Le Tombeau de Couperin, M 68: III. Forlane DR15 -9.97 dBFS -29.69 dBFS 3:18 23-Le Tombeau de Couperin, M 68: IV. Rigaudon DR18 -9.48 dBFS -35.39 dBFS 5:20 24-Le Tombeau de Couperin, M 68: V. Menuet DR14 -7.52 dBFS -27.68 dBFS 4:08 25-Le Tombeau de Couperin, M 68: VI. Toccata DR14 -20.76 dBFS -40.30 dBFS 1:32 26-Prélude, M 65 DR14 -7.27 dBFS -25.09 dBFS 1:20 27-Valses nobles et sentimentales, M 61: I. Modéré, très franc DR17 -10.61 dBFS -35.59 dBFS 2:13 28-Valses nobles et sentimentales, M 61: II. Assez lent DR15 -13.03 dBFS -33.55 dBFS 1:32 29-Valses nobles et sentimentales, M 61: III. Modéré DR13 -13.51 dBFS -31.89 dBFS 1:02 30-Valses nobles et sentimentales, M 61: IV. Assez animé DR12 -20.34 dBFS -38.23 dBFS 1:33 31-Valses nobles et sentimentales, M 61: V. Presque lent DR11 -13.17 dBFS -31.67 dBFS 0:40 32-Valses nobles et sentimentales, M 61: VI. Vif DR14 -7.67 dBFS -27.27 dBFS 2:49 33-Valses nobles et sentimentales, M 61: VII. Moins vif DR16 -14.86 dBFS -37.86 dBFS 3:59 34-Valses nobles et sentimentales, M 61: VIII. Épilogue DR16 -4.83 dBFS -27.49 dBFS 12:26 35-La Valse, M 72b -------------------------------------------------------------------------------- Number of tracks: 35 Official DR value: DR15 Samplerate: 96000 Hz Channels: 2 Bits per sample: 24 Bitrate: 1739 kbps Codec: FLAC ================================================================================
Источник (релизер): Highresaudio Композитор: Maurice Ravel (1875-1937) Исполнитель: Jean-Efflam Bavouzet, piano
Об исполнителе (группе)
Jean-Efflam Bavouzet
French pianist Jean-Efflam Bavouzet combines a rare elegance and clarity in his playing with deep and thoughtful musicality, for which he continues to win the highest acclaim from both critics and audiences. Recent engagements for Bavouzet have included appearances with the London Symphony Orchestra, The Cleveland and Philharmonia orchestras, and the New Japan Philharmonic. He also premiered Bruno Mantovani’s Piano Concerto with Orchestre National de Lille. Highlights of his 2010/11 season include performances with Philharmonia and BBC Symphony orchestras and make debut appearances with the London Philharmonic and City of Birmingham Symphony orchestras, and the Sydney Symphony with Vladimir Ashkenazy. In spring 2011 he will tour the US with the Orchestre National de France and Daniele Gatti. An exclusive Chandos recording artist, Jean-Efflam Bavouzet’s discography includes a cycle of Debussy’s complete works for piano, which has been recognised by many international awards, not least of which a Gramophone and a BBC Music Magazine awards in 2009. His most recently released recording of Bartók’s Piano Concertos with the BBC Philharmonic has already received great acclaim.
Об альбоме (сборнике)
Born in 1875, Ravel was fêted during the 1920s and ’30s as France’s greatest living composer – a remarkable achievement considering the obstacles placed in his path by the ultra-conservative Parisian musical elite of his time. (Ravel was expelled from the Paris Conservatoire twice!). His unique musical style, combining classical form and impressionistic harmony, makes his work immediately recognisable. Compared to others, Ravel, immensely self-critical, was a slow and conscientious composer, but almost all his relatively small output remains in the repertoire and is performed and recorded regularly. The piano was Ravel’s first instrument, and although he was no virtuoso himself, he successfully composed some of the most virtuosic pieces in the repertoire, reflecting his extraordinary understanding of the instrument and exactly what sounds and effects he wanted to achieve. He orchestrated a significant number of his piano works, which presents another challenge to the performer: once she or he has heard Ravel’s orchestration of a work, this must of course influence one’s perception of the original. (This is equally true for the listener, of course.) Jean-Efflam Bavouzet notes: ‘I subscribe completely to Ravel’s idea that a composer does not have to be profound in order to write good music. And furthermore, owing no doubt to his modest character, Ravel rarely addresses us in the first person. He does not confide in us intimately except on the rarest occasions. At these exceptional moments, our admiration for this musical giant, for his intelligence and elegant style of writing, for his perfect proportions, give way to a wave of emotion that is difficult to contain.’
