Gabriel Durliat's new album Le Tombeau de Ravel is a musical journey exploring themes of lineage and transformation, drawing from a wide range of composers including Rameau, Debussy, Dukas, Messiaen, Couperin, and Ravel himself. The album is centered around Le Tombeau de Couperin, a piece that serves as a bridge between historical and contemporary musical expressions. The album opens with Jeux d'eau, a piece by Debussy, where Durliat presents a unique pianistic vision. Here, the sound of water is both fluid and solid, as if it were made of stone. The performance uses blocks of sound, creating a clear and sculpted texture while maintaining a remarkable sense of flow and efficiency. Rameau's Tendres Plaintes continues this impression of solidity, with the clarity of its ornamental details and the precision of its articulation. This contrasts sharply with Debussy's Hommage à Rameau, which is more blurred and elusive in its expression. Dukas's La Plainte, au loin, du Faune... brings a crystalline transparency, while Messiaen's Pièce pour le Tombeau de Paul Dukas introduces a heavy, dense texture through its use of chromatic chords. Couperin's Forlane, performed in a style reminiscent of the harpsichord, sets the stage for the sound world of Couperin's Tombeau. The Prelude is marked by its mobility, while the Fugue is delicate and almost subdued. The Rigaudon piece is particularly well-suited to Durliat's playing style, showcasing his rhythmic clarity and momentum. The Menuet stands out for its muffled sonorities, which highlight the upper register in a light and transparent manner. The Toccata is notable for its clarity and power, driven by an almost unstoppable momentum, yet still retaining a playful quality. The Bourrée, reconstructed from Ravel's sketches, connects directly to the Tombeau and reflects Durliat's dual role as both performer and composer. This piece smoothly transitions into the original composition Danse rituelle for Tombeau de Maurice Ravel, which is among the most compelling parts of the album. It blends consonances and dissonances, with resonant low notes and intricate high-register passages. The album concludes with Pavane pour une infante défunte, a piece by Ravel, performed with simplicity and elegance. The regular tempo and controlled intensities reflect a pearl-like sonority, summarizing key traits of Durliat's playing style: a readable musical line, controlled gestures, and attention to phrasing. Overall, Durliat's approach emphasizes clarity of attack, precision in sound shaping, and a natural physical relationship with the keyboard. While some may wish for a broader dynamic range, especially in the softer passages, this restraint enhances the album's rhetorical clarity and structural solidity. Despite the wide range of composers represented, the album maintains a strong sense of coherence, thanks to the depth of interpretation and the care with which Durliat connects the pieces.