Pierre Boulez - Ravel: Bolero - Japan SACD

Credits:

Pierre Boulez

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Limited availability only at ESOTERIC dealers Limited number of units in stock. *In the case of pre-orders received just before the product goes on sale, there may be a significant delay in securing the product. Also, limited production items may not be secured. When the number of pre-orders reaches the expected number of items in stock, we will stop accepting pre-orders even before the release of the product. *Please note that if delivery is made in installments due to reasons of the distributor, the products will be shipped in the order in which they are received, and depending on the timing of your pre-order, delivery may be delayed significantly beyond the release date. *The release date, jacket design, and included songs may be subject to change due to production reasons. *Shipments from the web will be made after the date of arrival. *We apologize in advance in case the production company is sold out. The monumental Ravel, the first recording by Boulez & the Berlin Philharmonic. SuperAudioCD hybrid software with ESOTERIC's unique attention to detail. ESOTERIC's reissue series of masterpieces has continuously received high acclaim for its insatiable dedication to the original master sound and the overwhelming improvement in sound quality achieved by the SuperAudioCD hybridization. The series has been highly regarded as a definitive masterpiece since its release and has never disappeared from the catalog until the present day. This time, Deutsche Grammophon is releasing three of its masterpieces in SuperAudioCD hybrid format, two of which represent the analog era and one of which is a classic recording of the digital era. A conductor who plays with clarity, freeing his works from excessive emotional involvement Pierre Boulez (1925-2016) was a French composer and conductor who left an important and distinctive mark on the history of music and performance in the late 20th and early 21st centuries. He studied at the Paris Conservatory with Messiaen and others, composed works in serie form, and gained attention at the Darmstadt Contemporary Music Courses, while as a conductor he organized the contemporary music ensemble "Domaine Musicale" in the 1950's. From 1967 he worked with George Szell in the Cli -In 1967, he became Principal Guest Conductor of the Orchestre de Clivland under George Szell, and later served as Music Advisor to the Orchestre de Clivland, Music Director of the New York Philharmonic, Principal Conductor of the BBC Symphony Orchestra, and in 1977 he helped found IRCAM (Institut de Recherche et de Musique Acoustique de France), where he was its first Director. Boulez was the first conductor of the BBC Symphony Orchestra. Boulez has established a reputation as a conductor for his ability to free works from excessive emotional involvement in modern and 20th century music since Debussy, and to present an orderly image of a work that emerges through thorough attention to each note and precise, lucid interpretation of every detail. The result is a work that is free from excessive emotional involvement in the music of the 20th century.The interpretation of these sometimes cool-headed performances was shared with music fans around the world through the vast amount of recordings made for CBS in the United States beginning in 1966 and continuing until the early 1980s. The image of Boulez as a defender of 20th century music that he has brought to himself since the 1990s After resigning from IRCAM in 1991, Boulez resumed guest appearances with orchestras around the world, something he had not done since his days at IRCAM, and at the same time, he signed an exclusive contract with Deutsche Grammophon and began recording again, focusing on repertoire that had been well received on CBS. He began energetically making systematic recordings of his favorite composers such as Debussy, Ravel, the New Viennese School, Bartók, and Stravinsky, and also turned his attention to symphonic and orchestral works by Mahler, Bruckner, and R. Strauss, whom he had not recorded much in the past. He has also been working on a recording of the music of Boulez. Boulez's interpretations of these works, while maintaining the realism of his precise and clear sound, have acquired a delicacy and fullness that replaced the cold and harsh tone of the CBS recordings made until the 1970s, and have evolved into a mature and dignified style that is appropriate for his age. The orchestra, too, has been transformed not only by pro-Boulez groups such as the Ensemble Intercontemporain, which belongs to IRCAM, and the Cleveland Orchestra, with which it has had a close relationship since the 1960s, but also by the orchestra's principal guest. The Chicago Symphony Orchestra, for which he would hold the title of principal guest conductor, and the Vienna Philharmonic and Berliner Philharmoniker, two of Europe's greatest orchestras, were also employed to record and release a succession of new recordings centered on the masterpieces of 20th century music mentioned above. The project concept of "masterpieces of 20th century music by the mature conductor Boulez and prestigious European and American orchestras" was enthusiastically received by classical music fans and the media, and in parallel with the release of recordings, live performances were held in many parts of the world. In 1995, the year of his 75th birthday, Boulez held large-scale festivals around the world, including Tokyo, and his image as a "defender of 20th century music" was reaffirmed on a global level. ■First Recording with the Berlin Philharmonic In this new project, Boulez chose the Berlin Philharmonic for his Ravel recordings. Boulez, who began his conducting career in the late 1950s focusing on his own compositions, had been involved with the Donaueschingen Festival, a mecca for contemporary music, and the Baden-Baden-based He became involved with the Southwest German Radio Symphony Orchestra, which appeared at the Donaueschingen Festival, a mecca for contemporary music, and the Baden-Baden-based orchestra that performed there. Boulez conducted in Berlin in September 1957 with the Domaine Musical ensemble, performing such works as his own Le Métreau sans maitre (The Hammer without a Lord).He conducted the Berlin Philharmonic for the first time a little later, in January 1961, in the early Karajan era, with Debussy's "Iberia" as the main work, and Webern and his own compositions. After that, he held posts with British and American orchestras in the late 1960s and 1970s, and in the 1980s he concentrated on his work with IRCAM, which caused a break in his guest appearances with the Berlin Philharmonic, but finally in March 1993, after a long absence, he performed with the orchestra to great success, and Deutsche Grammophon took the opportunity to make a recording of the Deutsche Grammophon seized the opportunity and recorded this Ravel album as a session recording. Beginning with "Ma mère roi," which is not a suite but a complete ballet version, and concluding with "Bolero," the five pieces are all in Boulez's repertoire, which he had previously recorded when he was with CBS. The performance can be described as truly authentic, as if all the nuances intended by the composer were gushing out from the orchestra. SuperAudioCD hybridization in its best condition! The recording took place not at the Philharmonie, the home of the Berlin Philharmonic, but at the Church of Jesus Christ in Dahlem. The recording was made at the Church of Jesus Christ in Dahlem, rather than at the Philharmonie, the home of the Berlin Philharmonic, where the sound is more dry and clear. The sound of the church was a perfect lubricant for the openworked, transparent, and three-dimensional sound that Boulez and the Berlin Philharmonic actually produced. The distance of the distant horns in "Ma Mere L'Oeil" was also superb, and even when the entire orchestra was playing, the clarity of the detailed movements of the sound was visible, and the sound did not become thin and beautiful even in the quiet passages. The subtle overlapping of orchestral textures, for which Ravel was so devoted, is fully expressed, and the effect of the long, 15-minute crescendo in the "Bolero" is brought to life. The orchestra's soloists respond to Boulez's conducting with a stunning brilliance that is reproduced in high-resolution sound. This is the first re-mastering of this classic recording, which has been re-released many times since its initial release. As in the past, no compromises were made in the process from the selection of the masters to the final DSD mastering. In particular, Esoteric Mastering was used for DSD mastering. The MasterSoundDiscreteDAC and MasterSoundDiscreteClock, ESOTERIC's top-of-the-line equipment, were carefully tuned.The generous use of MEXCEL cables enabled us to transfer the information contained in the original master to disc with a sound that is full of extension. (ESOTERIC Corporation) Included in the disc Maurice Ravel Ballet "Ma mère roi [1] Prelude [2] Scene 1: Spinning wheel, dance and scene [3] Scene 2: Pavane from "Sleeping Beauty [4] Scene 3: Dialogue between Beauty and the Beast [5] Scene 4: Thumbelina [6] Interlude [7] Scene 5: Redronette, Queen of Pagod [8] Finale: The Fairy Garden [9]Little Boat on the Sea [10]Morning Song of the Clown Spanish Rhapsody [11]Prelude to the Night [12]No.2: Malagueña [13]No.3: Habanera [14] Pt. 4: Festival [15]Bolero Performers Berlin Philharmonic Orchestra Conductor:Pierre Boulez Recording March 18-25, 1993, The Church of Jesus Christ in Berlin [First published on DeutscheGrammophon 4398592 (May 1994) [First appearance in Japan] DeutscheGrammophonPOCG1760 (May 16, 1994) [Original Recording] [Exective Producer] Roger Wright [Recording Producer] Karl-August Negler [Tone Meister (Balance Engineer)] Helmut Burg [Recording Engineer] Joost Eberhard, Wolf-Dieter Karwatky [Editing] Ingmar Haas, Ludger Beckenhoff [SuperAudioCD Producer] Motoaki Omachi (Esoteric Mastering Center) [SuperAudioCD Associate Producer] Minoru Yoshida (ESOTERIC Mastering Center) [SuperAudioCD remastering engineer] Shinya Higashino (ESOTERIC Mastering Center) [SuperAudioCD remastering] May 2024, Esoteric Mastering Center, "Esoteric Mastering" system [Commentary]Kozo Asazato, Miyuki Shiraishi [Planning and sales]TEAC Corporation [Planning/Cooperation] Tokyo Denka Co.