Maurice RAVEL: Daphnis et Chloé; La Valse Orquesta Filarmónica de Berlín; Rundfunkchor Berlin; Pierre Boulez. Deutsche Grammophon 447057-2 [70'46"]

Increasingly, for considering modern recordings of Daphnis et Chloé, it seems you must banish memories of Monteux; put behind you the most playful, mobile, texturally diaphanous, rhythmically supple account of the score ever recorded; one that is uniquely informed by history and self-less conductorial wisdom (and one that perhaps presents the work as a «choreographic chamber symphony»). In addition to that 1959 LSO Decca recording, there is also, on a Music & Arts CD, a live Concertgebouw/Monteux taping; in some respects, even more of a spontaneous marvel, but slightly cut, and in 1955 «off-the-air» mono. I understand that, for some, Monteux's view may remain a rather moderate one � certainly in terms of basic tempo and basic dynamic range; and Ravel's score suggests tempos and dynamics which modern performances, and especially recordings, have more faithfully reproduced (not necessarily to its advantage).

Boulez has, of course, acquired 20 years of conductorial wisdom (not least in subtle accommodations of pace and general phrasing) since his first New York recording of Daphnis (now on Sony). And here he has the Berlin Philharmonic Orchestra � on top form � to sustain and shape melody within some of his strikingly slow tempos (such as the opening, and Part 3's famous «Daybreak»), and who remain «composed» in his daringly fast ones (the «Dance of the young girls around Daphnis» and the «Danse guerriere» � one of the most exciting I've heard). Just occasionally, I felt that there were parts of the work that interested him less than others (Chloe's «Danse suppliante», and the «amours» of the «Pantomime»). But anyone who doubts Boulez's ability to achieve, first, a sense of ecstasy should hear this «Daybreak»; secondly, a refined radiance (rather than ripe refulgence), should try the first embrace (track 5, 2'49"; at this point, this is also one of the very few recordings where you can hear the chorus); or, thirdly, to characterize properly the supernatural, listen to the «flickering» accents he gives the start of the string tremolo chords in the «Nocturne».

The chorus work, not least in the so-called «Interlude», is outstanding; the harmonic boldness of this passage was just as startling in New York, but the Berlin chorus, unlike the New York one, are here properly set back. Vowel sounds are varied; the dynamics are just as powerfully graded and the passage builds superbly to the «Danse guerriere», with off-stage brass perfectly placed and timed. In general, DG's recording �a sumptuous Jesus-Christus Kirche production� strikes exactly the right compromise between clarity and spaciousness, much as Decca's did for Dutoit. Finer details, dynamic extremes and internal balances aren't quite as consistently observed as in the Rattle, either from the podium or from the mixing desk, but that production sounds comparably studio-bound. With the added lure of an expansive and often massively powerful La valse (spectacular timpani), this is now the most recommendable modern Daphnis available.