One selection has already been extracted from Martinon's original five-record set of Ravel's complete orchestral music (12/88), but this skims more of the cream than the last LP compilation (11/84) and has all the advantages of CD's banishment of extraneous noise. The programme admirably illustrates Ravel's wizardry at orchestration—whether in the chaste style of the Tombeau de Couperin and the ballet version of Ma mere l'oye or in the opulent colours of the two glittering pieces from Miroirs—the more remarkable in that all were developed from piano originals; and first-class recording (rightly highlighting the woodwind in the Tombeau) presents everything to maximum effect.
Martinon's interpretations tend to be more robust than is usual with Ravel, with, for example, a very intense Pavane and an exceptionally dramatic Trio to the Menuet of the Tombeau; but its Forlane is surprisingly jaunty. The most individual readings are of Ma mere l'oye: a slow ''Pavane de la Belle au bois dormant'', a very light-hearted Belle before she encounters the Beast, and a considerable slackening of the pace for the middle section of ''Laideronnette''. This is a generously filled and highly recommendable disc, especially at mid price.'