Artist: Alexander Krichel
Album: Miroirs – Ravel Piano Works
Genre: Classical
Release Date: 2017
Audio Format: FLAC (tracks) 24bit, 96 kHz
Duration: 01:18:53
Total Tracks: 14
Total Size: 1,15 GB
Tracklist:
1-02. Alexander Krichel – Le tombeau de Couperin, M. 68: Le tombeau de Couperin, M. 68: Le tombeau de Couperin, M. 68: II. Fugue (03:28)
1-03. Alexander Krichel – Le tombeau de Couperin, M. 68: Le tombeau de Couperin, M. 68: Le tombeau de Couperin, M. 68: III. Forlane (06:13)
1-04. Alexander Krichel – Le tombeau de Couperin, M. 68: Le tombeau de Couperin, M. 68: Le tombeau de Couperin, M. 68: IV. Rigaudon (03:35)
1-05. Alexander Krichel – Le tombeau de Couperin, M. 68: V. Menuet (04:49)
1-06. Alexander Krichel – Le tombeau de Couperin, M. 68: Le tombeau de Couperin, M. 68: Le tombeau de Couperin, M. 68: VI. Toccata (04:17)
1-07. Alexander Krichel – Miroirs, M. 43: I. Noctuelles (05:07)
1-08. Alexander Krichel – Miroirs, M. 43: Miroirs, M. 43: Miroirs, M. 43: II. Oiseaux tristes (04:28)
1-09. Alexander Krichel – Miroirs, M. 43: Miroirs, M. 43: Miroirs, M. 43: III. Une barque sur l’océan (07:06)
1-10. Alexander Krichel – Miroirs, M. 43: IV. Alborada del gracioso (06:51)
1-11. Alexander Krichel – Miroirs, M. 43: Miroirs, M. 43: Miroirs, M. 43: V. La Vallée des cloches (06:03)
1-12. Alexander Krichel – Gaspard de la nuit, M. 55: Gaspard de la nuit, M. 55: Gaspard de la nuit, M. 55: I. Ondine. Lent (06:29)
1-13. Alexander Krichel – Gaspard de la nuit, M. 55: II. Le Gibet. Très lent (06:30)
1-14. Alexander Krichel – Gaspard de la nuit, M. 55: Gaspard de la nuit, M. 55: Gaspard de la nuit, M. 55: III. Scarbo. Modéré (10:26)
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Moods can alter in a second, as when the trio of an otherwise jaunty ‘Rigaudon’ turns strangely lonely or the prevailing ease and playfulness of ‘Alborada’ gives way to agonisingly questioning recitatives. Textures run the gamut from the sumptuous to the skeletal. ‘Une barque sur l’océan’, for instance, is as richly evocative as any canvas by Turner, while the shadows cast by the demon ‘Scarbo’ are all the more terrifying for their elusiveness. The identity of individual pieces contributes to the overall shape of an entire suite. Le tombeau de Couperin maintains a simplicity of utterance that is dispelled only in the final pages of the Toccata, which seem to burst forth like fireworks at Versailles.
Bertrand Chamayou’s complete traversal of all the piano music last year has set a high bar for Ravel players. Nonetheless, Krichel’s deep affinity for the composer is obvious and his readings have a cast all their own. His understated originality is always consistent with Ravel’s admonition to Marguerite Long that, rather than interpretation, his music requires realisation. (Gramophone)