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01/05/2026
“Ravel: The Complete Works for Solo Piano Volume II”
Maurice Ravel: Menuet antique, M.7 – Menuet en ut dièse mineur, M.42 – Introduction et Allegro, M.46 (trans. Lucien Garban) ^ – Gaspard de la nuit, M.55 * – Menuet sur le nom de Haydn, M.58 * – Prélude, M.65 – Le Tombeau de Couperin, M.68 * – Berceuse sur le nom de Gabriel Fauré, M.74 (trans. Lucien Garban) ^
Vincent Larderet (piano)
Recording: Alter Sendesaal, Bremen, Germany (November 5‑7, 2024) (^ World Premiere Recording, * Prepared and recorded from personal scores of V. Perlemuter’s annotations) – 76’30
Stereo DDD Avie Records AV2766 (Distributed by Naxos of America) – Booklet in English, German and French
 
“There is no virtuosity without musicality.”
Vlado Perlemuter
Such percipient words of wisdom from this Franco-Lithuanian pianist place profundity upon this release by the “willfully-seasoned soul” of Vincent Larderet. M. Larderet has “far‑reaching” perspectives since his proficiencies span everything from Domenico Scarlatti to Pierre Boulez. A resounding universality, indeed, there’s a vibrant grounding and clean linearity into The Romantic Era: we turn to an ambitious young man’s revelatory interprétation in, yet, another round of Maurice Ravel’s artistic complexities, after launching a thoughtfully-broadened mindset within his Volume 1.
Carlos Cebro indelibly influenced M. Larderet; yet another tour‑de‑force turns to Vlado Perlemuter whose heavy investments upon Maurice Ravel bear deeper discussion: closely connected to the Basque-native, Vincent Larderet fortifies with resolve and understanding. While annotated by M. Perlemuter, how those reflections (i.e. dynamics) are appointed is where M. Larderet divests somewhat.
While both the Menuet antique and Le Tombeau de Couperin were originally written for piano, the subsequent orchestral versions take on a vastly different élan: Couperin’s pianistic overtures appear “mystifying” since ”Tombeau” memorializes the death of a notable individual. Perhaps listeners are eclipsed by orchestral versions of today which contrast with more demure gravity. Notwithstanding the technical proficiencies of Mssrs Perlemuter and Larderet, particular sections lean into “overzealousness” (was that what M. Ravel originally prescribed?). Supporting the previous point, the “Prélude” congeals with une grande vitesse, and the “Forlane” nudges “anxiously” as does the segueing “Rigaudon”. The “Menuet”, however, bears more semblant tempo characterization with the orchestral version. Contrastingly, Vincent Larderet’s display of the closing “Toccata” has a blistering, energetic appeal!
Maurice Ravel’s opening Menuet antique is marked with andante, conjuring a benevolent stroll. Yet, in this display, there’s a deeper “lean” into a broader column of ardent insistence. Conversely, the Minuet in C‑Sharp minor has one of the most delightfully-balanced expressions of cerebral delight: prosodic with thoughtful, charismatic carryover and substantial musical-poetry.
Soon to follow, the World-Premiere Recording of Lucien Garban’s transcription of the Introduction et Allegro is a “stunning musical composite”. Here, we discover the limpid insights of M. Larderet as he “persuades” audiences for total captivation: it holds suspense while it enthralls into a whirlpool of magnificent dynamism...true fluidity and Ravelian bliss. Exemplary.
Inspired by Aloysius Bertrand’s Fantaisies à la manière de Rembrandt et de Callot, we encounter M. Larderet’s interpretation inside Gaspard de la nuit. The water nymph‑driven energies inside “Ondine” percolate with brilliantly polished remarks. This beautifully contrasts with the more demonically grounded ostinato overtures revealed in the subsequent “Le Gibet”: pacing is well-articulated and well-grounded. The middle section allows a transitioning into the more challenging complexities of “Scarbo”. This takes one back to M. Perlemuter’s approaches inside this piece: the left‑hand drives the composition into the right hand (melody). Though difficult to ascertain at times, his framework is revealing, as evidenced by Vincent Larderet’s display: ominous yet restrained in the power to “over‑elevate” in certain emotions. This rendition has a resounding display of pianistic craftsmanship.
Certain œuvres inside this “Volume II” reveal refreshing discoveries, and Vincent Larderet adds curious surprises with positive enlightenment.
Christie Grimstad
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