I have only once come 
                across David Korevaar's playing, on 
                a disc of Brahms Variations also for 
                this company (Brahms Opp. 9, 21 Nos. 
                1 and 2, D minor Variations from the 
                Sextet and Op. 24; Ivory Classics 74004), 
                which seemed rather mixed in its merits. 
                This Ravel disc finds Korevaar on ground 
                on which he obviously feels more at 
                home. 
              
 
              
Miroirs is given 
                a thoughtful and sensitive reading. 
                The bleak world of 'Oiseaux tristes' 
                is particularly well captured - almost 
                tending towards Messiaen around 4'20, 
                before veering to Spain. The extrovert 
                - and famous because of its orchestral 
                guise - 'Alborada del grazioso' is clearly 
                enjoyed by the pianist here. 'Alborada' 
                was written for the music critic M. 
                D. Calvocoressi. Korevaar, in his own 
                booklet notes, writes, 'The idea of 
                a music critic as 'court jester' to 
                a musician-heavy circle of artists is 
                certainly delicious!'. Hmmmm. 
              
 
              
Interesting that Gaspard 
                is placed in the middle of the recital, 
                given the virtuosic leanings of its 
                final 'Scarbo'. The booklet even finds 
                space to publish translations of the 
                Bertrand prose poems which inspired 
                the work - there are no multi-lingual 
                translations of Korevaar's text itself, 
                so there is more space available, I 
                suppose. A nice idea. The desolation 
                of 'Ondine' and the concentrated atmosphere 
                of 'Le gibet' both prepare the way for 
                a spooky, buzzing 'Scarbo', with appropriate 
                fantastic elements. 
              
 
              
Finally, the Tombeau 
                de Couperin - for those familiar 
                only with the orchestral version, the 
                piano has two further movements. Certain 
                movements emerge better than others. 
                The Prelude is nicely shaped, the Fugue 
                placid. But the Forlane suffers from 
                a touch of the plodding, and it almost 
                seems as if Korevaar is either bored 
                with this movement or he just plain 
                does not like it. The finale (Toccata) 
                buzzes nicely, but is that an edit I 
                hear literally just before the end - 
                around 3'58? The timing for the entire 
                movement is 4'08. There appears to be 
                some shift of perspective, anyway – 
                a shame, as there is much to admire 
                on this disc, not least the sensitive 
                Miroirs. 
              
 
              
Worth investigating 
                if not a Ravelian front-runner. 
              
Colin Clarke