One of the most grown-up review sites around

54,514 reviews
and more.. and still writing ...

Search MusicWeb Here



International mailing

Founder: Len Mullenger                                    Editor in Chief:John Quinn             

Some items
to consider


paid for


100th birthday of Mieczyslaw Weinberg on December 8, 2019.
Renate Eggbrecht has recorded all 3 violin Sonatas

FOGHORN Classics

Mozart Brahms
Clarinet Quintets

New Releases

Naxos Classical

Click to see New Releases
Get 10% off using code musicweb10

Nimbus Podcast

Obtain 10% discount

Special offer 50% off
15CDs £83 incl. postage

Musicweb sells the following labels

Altus 10% off
Atoll 10% off
CRD 10% off
Hallé 10% off
Lyrita 10% off
Nimbus 10% off
Nimbus Alliance
Prima voce 10% off
Red Priest 10% off
Retrospective 10% off
Saydisc 10% off
Sterling 10% off

Follow us on Twitter

Subscribe to our free weekly review listing

Sample: See what you will get

Editorial Board
MusicWeb International
Founding Editor
Rob Barnett
Editor in Chief
John Quinn
Seen & Heard
Editor Emeritus
   Bill Kenny
MusicWeb Webmaster
   David Barker
Jonathan Woolf
MusicWeb Founder
   Len Mullenger


Plain text for smartphones & printers

Advertising on

Donate and keep us afloat



Recordings of the Month



From Ocean’s Floor


Conner Riddle Songs

Rodzinski Sibelius

Of Innocence and Experience


Support us financially by purchasing this disc from
Maurice RAVEL (1875-1937)
Gaspard de la Nuit [22:54]
Daphnis et Chloé (excerpts rev. Larderet) [21:08]
Jeux d’eau [5:57]
La valse [13:50]
Pavane pour une infant défunte [6:17]
Vincent Larderet (piano)
rec. 5-7 November, 2013, Immanuelskirche, Wuppertal, Germany
Review FLACs downloaded from eClassical

The big news here is that pianist Maurice Ravel arranged about twenty minutes of Daphnis et Chloé for piano, in grand virtuoso style, and they’ve never before been recorded. This is a new sibling to Stravinsky’s Three Movements from Petrushka: an iconic ballet with stellar orchestration somehow turned into a piano showpiece, with three movements each selected to form a successful narrative in concert. The highlight is the spooky shimmering chromaticism of the central nocturne, leading in through what was originally an a capella episode to the War Dance. You’ll be impressed at how well that dance turns out on piano, by the way, as one of the ultimate displays of virtuoso fireworks.
The final movement is famous from the suite: it’s all the stuff between the sunrise and the orgiastic finale, including that big flute solo. Here Ravel effectively renders the piece as a string of glittering piano pearls.
Also good news: Vincent Larderet is a pretty impressive pianist. Some of you knew this from his recital of Florent Schmitt, although I didn’t. He is certainly a fantastic interpreter of the Daphnis suite, and with a little luck and a little international fame he could be associated with Daphnis the way Maurizio Pollini is linked to Petrushka. Some parts of the War Dance sound borderline unplayable, but that just makes them all the more thrilling.
His Gaspard de la Nuit is pretty good, too. It’s especially impressive in the flawlessly executed Ondine and a Le Gibet that really lays the sense of doom on thick. These dramatic readings are undermined only a little by a Scarbo that doesn’t reach their level. It’s still good, especially creepy in the central section, but a little too restrained in the ultimate example of unrestrained music.
Larderet spent a lot of prep time studying the scores which had been owned and notated by pianist Vlado Perlemuter. Perlemuter spent a lot of time personally studying with Ravel and asking Ravel questions of interpretation, dutifully jotting down the answers in the margins. Larderet only consciously ignores two: he uses lots of pedal on the final chord of Jeux d’eau - though not before that; Ravel was opposed to most pedal use in this piece. He plays the Pavane, which by the time of Perlemuter’s studies Ravel was heartily sick of and didn’t want to encourage.
This is a fantastic Ravel recital. It’s the best since Alessandra Ammara’s last year, although that one was deliberately eccentric and this one is not. This disc is distinguished not just by its exceptional sound quality but by the presence of that remarkable Daphnis suite, which if I were dictator of the music world would henceforth be a required part of all new “complete Ravel piano works” cycles. It’s that good, and it makes this an essential release.
Brian Reinhart