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Ravel Conducts Bolero (1930)

The first recording of this piece with the composer, in our fullest restoration to date. Maurice Ravel Bolero Maurice Ravel, conducting (with assistance by Albert Wolff) Orchestre des Concerts Lamoureux, Paris Recorded on January 9, 1930 possibly in the Théâtre des Champs-Élysées, Paris There have been many opinions and legends about this recording over the years, with some insisting that it is actually Albert Wolff conducting instead of the composer himself; recent research suggests otherwise, and the labels on the records are not misleading. This is Maurice Ravel on the podium, but those who insist it was Wolff are not altogether wrong, either. Bolero was an enormous success at both its European and American premieres, with the latter generating controversy, which only increased the reputations of both piece and composer. The famous falling out in Paris with Toscanini over the work lead to plenty of publicity, but damaged the relationship between the two men to such a degree that they never reconciled. The most likely account of this recording is that Ravel called in Wolff, a journeyman conductor with studio experience, to prepare the orchestra for the session. The composer sat in the booth and gave instructions to Wolff, who would then get the orchestra to do as he wished. When he was satisfied, he and Wolff would change places, and they cut the sides. According to sources, Ravel was so pleased with the final side that he slammed the baton on the podium before the recording light was off; causing both Wolff and the engineers to nearly jump out of their chairs. Ravel made another take, just as perfect, and waited patiently for the light to go off. There is also speaking at the end of side one, probably Ravel himself, which was abruptly cut to save the side. The remastering here is an effort to address the issues that have made full restoration of this recording very difficult. The first was to edit the recording together from the four sides in a seamless manner with consistent sound. The second issue was to ensure proper pitch. The third was to make the recording acoustically field coherent. The process began with trying to diagnose how the recording was made. The indication is that it was made with a single microphone, probably a carbon type, with a wide figure-eight field pattern angled at 5 - 8 degrees off acoustic center. There is also a slight gain correction about one minute into side two. Determining the actual phase polarity was revealing. The orchestra was acoustically flanking the microphone, a common issue at that time, and they probably addressed it without baffling. Controlling a microphone, and what it hears, required special placements of the instrumental groups. This may also be why Wolff was called in to assist; balancing an orchestra in such a recording situation was a very precise operation for both musicians and engineers. Mastering and Field Acoustic Restoration (2022): Paul Howard LISTENING TIP: Try this one through a good set of headphones.