Alborada del gracioso (orchestral version)
Le Tombeau de Couperin (piano version)
Piano Concerto in G major
Le Tombeau de Couperin (orchestral version)
Alborada del gracioso (piano version)

What do you get when you combine Spanish pianist Javier Perianes, the Orchestre de Paris and Spanish conductor Josep Pons joining forces to perform the music of Maurice Ravel (1875-1937)? The ideal genetic mix best inclined to aptly demonstrate the powerful influence Spain wielded on Ravel's output. A prime example of this is the wonderful Alborada del gracioso with its flamenco pulse. By the use of specific instruments within Ravel's own orchestration, one can almost hear the strumming of guitars in certain passages. In this new recording in particular, key elements of this intricate orchestration are well defined, along with an infectious rhythmic bounce.

Ravel once said: "The music of a concerto should be light-hearted and brilliant." His Piano Concerto in G is nothing if not that. Written in 1929 when jazz was all the rage in Paris, its two outer movements are riddled with jazzy elements, once again enhanced by Ravel's brilliant orchestration. Pianist Javier Perianes excels here with pinpoint rhythmic accuracy and quick-fire action in dynamic shifts. And during the moments that rub shoulders with Rachmaninov, the passion is palpable in Perianes' playing. This concerto's middle Adagio assai movement, one of the most beautiful in the piano concerto repertoire, is projected here with more warmth and intimacy than I've heard before.

As the title suggests, this recording is laid out so that the second half is an exact mirror image of the first, offering either its orchestrated or original piano counterpart. Because Perianes plays it so well, I think the piano version of the Tombeau de Couperin sounds more authentic, and despite the fact that Ravel's stunning orchestration makes the orchestral Alborada a clear winner, Perianes' excellent shaping and coloring certainly makes a convincing case for its piano version. All of this makes for a well-rounded and highly enjoyable CD of some of Ravel's best music, eschewing the usual suspects like Bolero and Daphnis.