Classics Explained: An Introduction to Ravel (Written and Narrated by Jeremy Siepmann)

Introduction; Cue to Unadorned Bolero Rhythm, Part I

Bolero Rhythm, Part 2: An Extended Variation of, Part I

'Motto' Rhythm Complete (Instrumentation Will Change on Each New Hearing)

But Here We Have Snare Drums and Plucked Violas and Cellos

Section 1: Introduction of 'the Theme' (The Only One in the Piece) By Solo Flute

Flute continues with Part 2 of theme

Section 2: Complete Statement of Theme by Clarinet as Flute Joins 'Motto' Group

Introduction of 'Discordant' Harp Into the Unfolding Picture

Section 3: Bassoon Introduces Closely Related Variant of Theme

... but Then Veers Upwards, Slowing Rhythm and Introducting New Syncopation

Section 4: 'Petite' E Flat Clarinet Takes Over Theme, Including Variants

Section 5: Oboe D'Amore Takes Over Theme but Returns to Its Original Form

Section 6: Theme Now Shared by Two Instruments: Muted Trumpet and Flute

Section 7: Tenor saxophone takes Theme as trumpet replaces horn in 'motto'

Section 8: Theme Taken by Soprano Saxophone, 'Espressivo'

Section 9: Theme: Celeste, Piccolos and Horn; Motto: Flute and French Horn

Section 10: Theme: Oboes, Horns, Clarinets; Motto: Plucked Violas and Violins

Section 11: Theme Taken by First Trombone, Complete With Jazzy Slides

Section 12: Theme: Flutes, Oboes, Clarinets, Sax; Motto: Bassoons, Horns, Trumpets

Section 13: Violins at Last Take the Main Tune, Joining Massed Winds

Section 14: Violins Divide Into Four Groups, Each 'Double-Stopping'

Section 15: Trumpet, Trombone 2 and Tuba Join the Foreground

Section 16: First Trombone and Soprano Saxophone 'Rejoin' Theme

Section 17: Fortissimo; All Strings 'Double-Stopping'; Trumpets Added

Section 18: Entire Orchestra Now Employed, 'as Loudly as Possible'

Section 19: Sudden, Amazing Change of Key, Lurching From C to E Major

Section 20: Key Now Lurches Back to C, as Jazzy Trombones Whiningly Protest

Cue to Complete Performance

Boléro (Czecho-Slovak Radio Symphony Orchestra feat. conductor: Kenneth Jean)

Opening Figure on Flute; Rising, Falling, and Then Repeated

Same Again, With Emphasis on Delicacy of Scoring

Answering Variant, Accompanied by Plucked Double Basses

Reminder of Opening Figure

... and Now Its Rhythmical Mirror Image, or Almost...

Answering Phrase 2: A Near-Inversion, Over "James Bond" Accompaniment

Pivotal Phrase 3, Reversing Direction but Keeping Rhythm of Phrase 2

Reprise of Phrases 1 and 2, but With New Accompaniment

Further Reprise of Phrase 2, Now on Violin, Accompanied by Harp

Ma mère l'oye: I. Pavane de la belle au bois dormante (Czecho-Slovak Radio Symphony Orchestra feat. conductor: Kenneth Jean)

Introduction; Opening, With Multi-Metre Rising Scales From Muted Violins

Changes of Metre Continue as Solo Oboe Introduces Theme One

Oboe Yields to Cor Anglais for Theme Two, Against Lower (Still Muted) Strings

Theme One Returns, Shared by Clarinet and Flute; Muted Horn Added to Accompaniment

"Motto" Rhythm Dominates as Intensity Increases From Lower Strings to Full Orchestra

Fear Subsides as Theme Two Returns, Again in Cor Anglais but Now in a Different Key

Sensational Sound Effects Evoke a Wood at Night, With Screeches, Cuckooing etc.

Texture Thins; Theme One Returns, Delicately Scored for Strings and Piccolo

The Main Part of Movement Ends, With Waltz-Like March(!) (feat. Flute)

Ma mère l'oye: II. Petit poucet (Tom Thumb) E (Czecho-Slovak Radio Symphony Orchestra feat. conductor: Kenneth Jean)

Introduction; Opening (Introductory) Bars, Followed by Theme One

Oriental-Orchestral Equivalent of an Imperial Telephone Bell

... Oboe "Answers" With a Very Slightly Varied Version of Theme One

Expanded Derivative of the "Telephone Bell" Interrupts the Theme Again

Fragments of Theme in Flutes and Cor Anglais, With "James Bond" Tag in Violins

"Gamelan" Music From Flute and Piccolo, Accompanied by Harp, Xylophone and Strings

Arrival of Empress; Upper Strings Yield to Winds, Celeste, Harp And (Very Discreet) Gong

Ma mère l'oye: III. Laideronette, Impératrice des pagodese (Czecho-Slovak Radio Symphony Orchestra feat. conductor: Kenneth Jean)

Opening, Waltz Theme From Clarinet, With Important Downward Scale Figure in Strings

Characteristic Pattern of Two Short Phrases Answered by a Long One

Clarinet, Flutes and Violas, With "Sighing" Figure Derived From Downward String Motif

Varied Reprise of Opening, Entry of the "Beast" (Contra-Bassoon); "Watch It! Watch It!"

Again the "Beast" Growls; Again the Cautious Warning "Watch It!" From the Winds

Derivative of Beauty's Theme From Flute, Combined With "Caution Motif" in Strings

"Beast's Theme" Rises in Pitch With Each Successive "Growl" (Representing Hope?)

"Beauty", "Beast" and "Caution" Motifs All Combine Simultaneously

"Beast" (Contra-Bassoon) Climbs Ever Higher, Handing Over to Bassoon Proper

Harp's Upward Glide Heralds the Moment of Transformation; Love Song, Fear, Release

Ma mère l'oye: IV. Les entretiens de la belle et de la bête (Czecho-Slovak Radio Symphony Orchestra feat. conductor: Kenneth Jean)

Introduction; Opening Bars Are Unfurled by the Strings Alone

The Rhythmic Basis, and Its Guises. First, a Question: "Where Went My Childhood?"

The Question Intensified: "Oh Where Went... My Childhood?"

The Answer, With a Falling Inflection: "Gone Is Your Childhood."

The Plea: "Bring Back My Childhood!"

The Response: "Seek In... Your Mem'ry. There It... Will Be."

Ravel's Use of Tone Colour to Change the Feeling of the Music

Further Illustration of the Same Point

Continued

The Nobility of the Strings

Bells Evoked by French Horns; The Final, Opulent, Moving Climax of the Whole Suite

Ma mère l'oye: V. Le jardin féerique (Czecho-Slovak Radio Symphony Orchestra feat. conductor: Kenneth Jean)