Celebrating Ravel at 150: Tanglewood’s Magical Tribute Unveils the Composer’s Genius
TANGLEWOOD, MA — Few composers conjure wonder quite like Maurice Ravel, and at Ozawa Hall, the Tanglewood Music Center Orchestra celebrated his 150th birthday with an ambitious, magical program that spanned orchestral color and pianistic brilliance.
With Seong-Jin Cho commanding the second night’s solo program and conductors Leonard Weiss, Yirin Zhao, and Thomas Adès leading the orchestra, the weekend marked a fitting tribute to a composer whose work continues to enchant and challenge.
A Journey Through Ravel’s Modern Magic
Born in 1875, Ravel stood at the crossroads of romanticism and modernism. While often associated with Debussy, his musical palette expanded beyond impressionism, incorporating influences from Chopin to Couperin and even Liszt. Ravel’s music is often described as “magical”, and this concert was a case study in why.
Opening with the whimsical “Mother Goose Suite”, Weiss coaxed delicate textures from the orchestra—this once child-oriented piano duet now sparkled with orchestral nuance. Zhao’s interpretation of the “Daphnis and Chloe Suite No. 2” carried a lush sensuality, its tone colors painting entire worlds.
Stravinsky’s Fire Meets Ravel’s Dream
The pairing of Ravel with Stravinsky’s “Rite of Spring” proved especially instructive. Under Thomas Adès’ fierce baton, the Rite pulsed with tightly controlled chaos. But hints of such modernist fire—dissonance, color, even violence—were already present in Ravel’s earlier works like “Gaspard de la Nuit” and “Daphnis and Chloe.”
It became clear: Ravel didn’t follow modernism—he anticipated it.
Seong-Jin Cho Performs Ravel’s Complete Piano Works
In an astounding solo program on July 17, Seong-Jin Cho tackled the entirety of Ravel’s piano oeuvre. Across two intermissions, the pianist masterfully navigated everything from the sparkling “Jeux d’eau” to the cinematic “Miroirs”, each work demanding equal parts finesse and force.
The audience sat in rapt attention, especially during the formidable “Gaspard de la Nuit,” a suite steeped in surrealism and technical extremity. Cho’s interpretation of “Ondine,” “Le Gibet,” and the demonic “Scarbo” blended precision and mystery—a reminder of Ravel’s literary inspirations and Cho’s virtuosic command.
From Classical Roots to Ravel’s Future Vision
Ravel’s affinity for past masters—Couperin, Schubert, Haydn—was explored in the third act of Cho’s program. Pieces like “Valses nobles et sentimentales” and “Le Tombeau de Couperin” revealed how Ravel infused historical forms with his distinct modern voice.
The concert closed with the toccata from “Le Tombeau”, a blistering, Liszt-like finale that sealed both pianist and composer as enduring icons.
More Ravel to Come
Tanglewood’s Ravel celebration isn’t over. Audiences can still catch the Tanglewood Music Center Orchestra perform his opera “L’enfant et les sortilèges” on August 4. If this week’s concerts were any indication, that performance will be another spellbinding chapter in this summer’s tribute.
What’s your favorite Ravel piece? Have you ever heard “Gaspard de la Nuit” live? Share your concert memories with us at ChicagoMusicGuide.com and join the celebration of musical magic.