It is good to have so much of the late-lamented Werner Haas's distinguished Ravel playing together; in fact, these two LPs are well filled. The main tests, of course, are Miroirs and then Gaspard de la nuit, and he throws off ''Noctuelles'', the former's initial movement, with remarkable alacrity, the effect being at once of polish and spontaneity. A comparable fluency is evident in ''Une barque sur l'ocean (third of Miroirs), which is notable for the beauty and well-modulated fullness of Haas's tone. The independent Jeux d'eau leaves a similar impression, but, surprisingly, ''Alborada del gracioso'', fourth of Miroirs, is less individual. The best qualities evident in Miroirs are present in heightened and intensified form in Gaspard de la nuit, which conveys, also, an impression of rounded wholeness, of musical solidity, the glitter notwithstanding. ''Scarbo'' especially has a remarkable combination of force and refinement.
Such an interpretation displays a command of every aspect of Ravel's highly-wrought piano writing—and yet Haas performs some of the easier things less well. In the finale of the Sonatine, for example, he misses some points through haste and seeming inattention. Again, in Valses nobles et sentimentales Nos. 2 and 5 are exquisitely sensitive, No. 1 rather too ebullient, No. 4 somewhat peremptory. In Le tombeau de Couperin, however, the ''Forlane'', ''Rigaudon'' and ''Menuet'' are strongly characterized, and the ''Toccata'', while giving rise to the expected outburst of virtuousity, is shown to be more lyrical than usual. With the exception of Menuet antique, which is a bit noisy, these performances are sympathetically recorded and the set represents good value.'