Coming off a successful Handel album, Seong-Jin Cho embarks on this new and ambitious project. In commemoration of Maurice Ravel’s 150th birthday, he presents the composer’s complete piano works. This 2-CD set includes all the solo works, and Deutsche Grammophon has announced the release of an additional album of the piano concertos this February (2025).
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Any review of the Ravel compendium should include the hallmark Gaspard de la Nuit. Unfortunately, I found this one of the weaker offerings on the album. In Ondine (track 13), the accompanimental textures shimmer but feel too similar to the delicate melody, creating competing voices that result in an overly extroverted character. The issue is compounded by mic placement, which feels uncomfortably close—though this isn’t as problematic in other works.
While nicely nuanced, Le Gibet (track 14) fails to capture the truly sinister element lurking at its core—something Martha Argerich conveys more effectively. In Scarbo (track 15), things get off to a bit of a rushed start: I was hoping Cho could utilize the rests a bit better to drive suspense, but he launches into the subsequent phrases too abruptly. I was impressed, though, with his choice to eschew the use of the pedal and rely on finger legato textures, which makes this a particularly sharp and fiery Scarbo.
Some of the other sets fare better—especially a movement like Oiseaux Tristes from Miroirs (track 9). An interesting parallel exists between this particular movement and Le Gibet, with the opening B-flat bell toll. The color harmonic language also speaks to a similarly chilling disquiet, which Cho executes perfectly. The clangs and clusters of dissonances certainly elicit the unease one hopes to hear.
Another highlight is Tombeau de Couperin, which has some captivating twists and turns in interpretation. In the Prélude , Cho nicely reconciles Ravel’s intricate rhythmic textures with a sense of organic fluidity, especially between phrase junctures. And while a more metronomic (but equally excellent) interpretation from Jean-Yves Thibaudet gives off a delightful rustle of anticipation, Cho’s delivers lyricism without sacrificing the sense of energy.
The Minuet, though beautiful, has too many ebbs and flows. A more consistent tempo might do to capture the element of dance. I did appreciate Cho’s signature introspection, which comes through in sensitive dynamic shading, and his focus on inner voices not usually heard on other recordings.
As the virtuosic highlight of the set, the final Toccata is simply exquisite: while the account from Jean-Efflam Bavouzet proves captivating for its verve and electric energy, Cho’s attracts with a polished elegance that belies the intense technical demands.
The shorter works exhibit similar strengths and weaknesses as those in the larger sets. Jeux D’eau (track 4), with its crystal-clear articulation, evokes most pristine waters. Some of the filigree textures sound quite straight, where a slightly more relaxed approach might conjure up the work’s intended image more vibrantly.
That Cho presents a complete set of works as nuanced and technically challenging as these certainly warrants praise. While I don’t see this recording replacing any landmarks, Cho’s ability to express subtleties remains evident. With a compositional style that is already so sensitive itself, some listeners will yearn for a greater sense of imagination and even drama, but surely, Cho’s admirers will not be disappointed.
Recommended Comparisons:
Argerich | Thibaudet | Bavouzet | Gieseking
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Album Details |
|
|---|---|
| Album name | Ravel – The Complete Piano Works |
| Label | Deutsche Grammophon |
| Catalogue No. | 4866814 |
| Amazon Music link | Stream here |
| Apple Music link | Stream here |
| Artist | Seong-Jin Cho |
