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Maurice Ravel - Piano Works - Vlado Perlemuter (1973) [FLAC] (NI 7713-4)

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Music : Classical : Lossless
MAURICE RAVEL (1875-1937)
Piano Works
Å’uvres Pour Piano

 

Music and Musicians [April 1979]:
Quote:Ravel's piano works tax their performer very considerably.
Not only does the composer require the greatest degree of technical brilliance and precision, he also demands that the
pianist should have the widest possible tonal palette. This is music in which subtlety of nuance is all important. The
performer is throughout asked to play with super-refinement; this is something in which French pianists are particularly
well trained. Vlado Perlemuter brings a lifetime of experience to the performance of these works and he demonstrates
that his understanding of them is masterly. From the unsophisticated early pieces, such as the Menuet antique, through
to Le Tombeau de Couperin, he is able to view the pieces, not as miniatures but as a whole. He does not concentrate, as
do so many pianists, on the purely pianistic aspect of the music- no, he shows that there is considerable emotional
content, and that the pieces are generally conceived on a fairly large scale.
Perlemuter can vary his piano
textures as can very few pianists; in Jeux d'Eau one can almost hear the water gurgling away with its
self-perpetuating motion. He is able to transport one into another world with his exotic sounds; in the Pavane there is
a tranquility that is entirely apt. One is able to sense the timelessness and wonder of this piece and these are
captured with immediacy. Perlemuter's Gaspard has marvellous poise; its transient nature is both appealing and
fascinating- Ondine is played with great affection; the murmurings are so enticing that one is easily entranced, as if
the prisoner of some magic spell. Perlemuter's hands have a degree of independence that is truly remarkable. They
weave their way in and out of the notes and one is reminded that he is able to create an effect as well as can any
living pianist.
The bell-toll of the opening of Le Gibet hardly sounds like the piano at all – it is
hauntingly beautiful with its remorseless regularity. Scarbo demonstrates Perlemuter's extraordinary technique;
this is played with fascinating control. Moving on to Miroirs, one is immediately struck by the similiarities between
Noctuelles and Jeux d'Eau. This is peaceful music and Perlemuter accordingly relaxes. It is in spots such as these
that one is aware of his delicacy and sensitiveness - particularly as regards nuance. He is always successful in
creating a thing of beauty, and of how many pianists can one say that?
With Oiseaux tristes one is lifted from the
humdrum nature of every day experience; this is playing that has to be heard to be believed. Perlemuter's ability
to conjure up the necessary atmosphere in this music is virtually unique; it is something that he has been able to
develop over the years- it is borne of experience and renewed consideration. The movement of the sea is present in Une
barque and the pianist maintains a perfect clarity of texture, which emphasises the exhilaration of the harmonies.
It is always to the thoughts of the composer that Perlemuter directs us; he never hogs the limelight himself. Even in
the very demanding Alborada he manages the repeated notes and the glissandi very well and one is shown the musical
content of the piece. It is precisely at these times when Ravel is stretching the piano's resources to their limit,
as in Vallée des Cloches, that Perlemuter shows the full range of his power. It is as if Ravel wrote the music with
his potentiality in mind.
The Sonatine has more emotional appeal than most of the other works; one appreciates the
pianists basically calm approach to the piano- he never sounds flurried, and this is a positive asset when playing
Ravel. The variety of texture in the Hadyn Menuet is presented with simplicity and the Valses show that his playing is
capable of great drive. Perhaps this is the one performance with which I was not totally happy – I felt that
Perlemuter was a little loud at times and I've always appreciated the suavity of a pianist such as Arthur
Rubinstein (RCA SB 6855) here. The little, isolated, Prelude is played with particular feeling; this is Ravel at his
most introspective. Le Tombeaude Couperin is wholly successful; this is very difficult music to play convincingly; the
'Fugue' receives delicate treatment and there is great warmth of tone in the 'Menuet'. Altogether,
one must be grateful to Nimbus for having presented these discs – they are most distinguished and the summing up
of a lifetime's attention to these works. Anyone who has heard and admired Perlemuter's playing of Ravel in
the concert hall will find these records a good representation of his playing. The recording sound is generally
first-rate; I occasionally found it a little too close, but this did not mar my pleasure. --James Methuen-Campbell

Associated Press [9/6/2002]:
Renowned Pianist Vlado Perlemuter Dies
Quote:Vlado
Perlemuter, a world-renowned pianist who worked with Maurice Ravel and tried to capture the diverse colors and tones of
a symphony orchestra in his solo playing, has died at age 98, his recording company said today (Sept. 6). Best known for
his interpretations of Ravel and Frederic Chopin, Perlemuter died Wednesday at a Paris hospital, said Adrian Farmer,
music director at the British record label Nimbus.
Over a seven-decade career, Perlemuter performed throughout
Europe and in Asia, the U.S., and Canada. He was especially well loved in Britain, where he often played and taught.
However, he neither sought out nor attained the stardom of some contemporary pianists.
Perlemuter worked to give
his interpretations an "orchestral" sound, and he would endlessly try out new fingerings in search of new
musical colors, Farmer said. As an exercise, Perlemuter practiced the last movement of Chopin's sonata in B-flat
major -- a rapid-fire succession of scales -- with his hands crossed.
Perlemuter was born in 1904 in Kaunas, now in
Lithuania, to Polish parents. After coming to Paris as a child, and taking French nationality, he studied with the
world-acclaimed teacher and performer Alfred Cortot and won first prize at the Paris Conservatory at only 14.
In
the mid-1920s, Perlemuter, already a success, spent months working with Ravel. Perlemuter's scores were covered
with notes from the master, and the pianist was generally considered the keeper of Ravel's musical traditions for
the piano.
Once, for a Nimbus recording, Perlemuter sat down at the keyboard and played more than two hours'
worth of Ravel's music, nonstop. The resulting recording was not edited or touched up, Farmer said.
Perlemuter, a Jew, was forced to flee to Switzerland during World War II. It was an experience he preferred not to
talk about. "It was the great embitterment of his life," Farmer said, especially because Cortot, with whom he
was very close, did not leave France with him.
Perlemuter gave his last performance when he was approaching 90.
Farmer, who knew Perlemuter in the last two decades of his life, said the pianist would occasionally burst into tears
after playing. "If you said, 'That was beautiful, what's wrong?' he would say, 'Yes, but I will
never play it so well again.'"
Perlemuter had no survivors, according to Farmer. Funeral arrangements
were not complete.

DISC ONE
Miroirs
01. Noctuelles [4.45]
02. Oiseaux tristes [3.47]
03. Une Barque sur l'Océan [6.34]
04. Alborada del gracioso [6.24]
05. Vallée des cloches
[5.03]
06. Jeux d'eau [5.32]
07. Pavane pour une Infante défunte [5.29]
Gaspard
de la Nuit
08. Ondine [6.30]
09. Le gibet [6.15]
10. Scarbo [9.01]
Total playing time 59.20

DISC TWO
Sonatine
01. Modéré [4.19]
02. Mouvt. de Menuet [2.57]
03. Animé
[4.06]
04. Valses Nobles et Sentimentales [14:07]
• Index 1 Modéré - très franc
• Index 2 Assez lent
• Index 3 Modéré
• Index 4 Assez animé
• Index 5
Presque lent
• Index 6 Vif
• Index 7 Moins vif
• Index 8 Epilogue - Lent
Le
Tombeau de Couperin
05. Prélude [3.00]
06. Fugue [3.20]
07. Forlane [5.54]
08. Rigaudon
[3.20]
09. Menuet [5.00]
10. Toccata [4.02]
11. Prélude [1.35]
12. À la Manière
de Borodine [1.51
]
13. À la Manière de Chabrier [1.56]
14. Menuet Antique
[6.24]
15. Menuet sur le nom d'Haydn [2.07]
Total playing time 64.12

Vlado
Perlemuter, piano

Recorded at the Nimbus Studios, Birmingham 26th July-2nd August 1973
® 1979
Wyastone Estate Limited
© 1979 Nimbus Records Limited
This compilation © 1996 Wyastone Estate Limited
© 1996 Nimbus Records Limited
NI 7713/4
http://www.vladoperlemuter.com/en/

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