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Ravel's Daphnis et Chloé (Second Suite) was the orchestra's showpiece.
A colleague of Bizet's, Ernest Guiraud, later arranged a second suite.
Ravel was represented by Le Tombeau de Couperin and the second suite from Daphnis et Chloé.
The second suite was a quiet theme and variations on "My Funny Valentine" that dipped in and out of jazz.
A vivacious account of the second suite from Falla's "Three-Cornered Hat" made for a rousing conclusion.
The jewel in the collection is Gonzalo X Ruiz's reconstruction of the Second Suite, played in the warmer key of A minor, with oboe replacing the solo flute.
The Second Suite, its themes underpinned by rapid figurations even when the material is at its most expansive, fiercely demands its performers function as an indivisible unit.
There followed the second suite from Falla's "Three-Cornered Hat," and finally Mozart's second flute concerto with James Galway: a golden flute as a counterweight to the Golden Age Collection of strings.
The second suite from Ravel's ultra-lavish Daphnis et Chloé ended it in a riotous blaze of exotic colour, with the BBC Singers' wordless exultations adding to its sense of wild pagan hedonism.
But where Dudamel and his players really shone was in the all-Ravel second half, which delivered technically accomplished and artistically finely judged accounts of the second suite from Daphnis and Chloé and La Valse.
Whereas he definitely gives us the full two discs – we even get three extra versions of the Courante from the Second Suite (Bach couldn't decide on an ending) – and all with that Egarrian expressive heft that is anything but domestic.
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Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com