Artaulfo Argenta conducts Ravel and more

Ataulfo Argenta

Record Society RS35 highlights an all Ravel program led by the great Spanish conductor, Artaulfo Argenta. Here the Maestro leads the "Cento Soli" Orchestra of Paris, the orchestra of 100 soloists.

I must say that this is Ravel played with great transparency and clarity. I would even go so far as to say that at some points, it is almost austere but that is in a good sense. Ravel was a superb orchestrator and it is a oh so welcoming to hear the details in his writing rather then being swept away with waves of tutti sound. What a wonderful document on hand here of the art of Argenta!

No doubt that had he lived a rich, full life, well into old age, he would have gone down as one of the greatest of the 20th century podium masters. Certainly, when it comes to Spanish composers or Spanish inspired music, Argenta has never been equalled. His recording of Moszkowski's with the LSO is one of the best listening experiences that one could ever have. It sparkles like a California chardonnay.

Before Argenta leapt onto the international stage, he had a thriving career in Spain conducting the Spanish opera, the zarzuela. I have included an additional download of these. The record was volume 4 in Decca's "Espana" series. Argenta leads the Madrid Chamber Orchestra in the sprightly preludes.

These two mono lps add up to about 84 minutes of music. Enjoy!

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Music of Ravel conducted by Pedro de Freitas Branco

Today, the 1954 Westminster issue of the album above and then some. Awarded a Grand Prix du Disque, this is a terrific hour spent in Ravel's sound world. The Champs Elysees Theatre Orchestra is conducted by the fine Portuguese conductor, and father of Portuguese orchestral conducting, Pedro de Freitas Branco.

This lp piqued my interest when I picked it up a couple weeks ago. I had heard of the conductor's brother Luis, the composer, but the former was a mystery to me. Catching my eye was the seal on the lp cover signifying a Grand Prix du Disque so I thought it would be a a worthwhile purchase for a couple bucks. Am I glad I bought this one!

The interpretations are highly individual and stunning. Obvious to me is the great care that Freitas Branco has given to each composition. He makes the most out of Ravel's brilliant orchestrations and brings out details that are often glossed over. The dynamic range of each piece alone is hugely impressive! In addition, the Champs Elysees orchestra, though a second tier ensemble at best, provides the conductor with highly idiomatic and focused playing. This theatre orchestra is giving it their all and they are entralled by the presence of a a very fine conductor whom they hold in high respect. Munch, Paray and Martinon of course bring a special authority to Ravel but Freitas Branco makes you sit up and take notice in these gripping readings. No wonder this lp was awarded the coveted Grand Prix du Disque!

What a pleasant discovery! I'll have more "colorful" French music shortly with Menachem Pressler in Debussy.

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The Trio di Bolzano in Ravel and Shostakovich

From 1964, here is the monaural Westminster edition of the Trio di Bolzano performing Ravel's Piano Trio in a and Shostakovich's Piano Trio in e, Op. 67. The members of the trio are Gianino Capri, violin; Sante Amadori, cello; and Nunzie Montanan, piano.

Admittedly, I know next to nothing about this fine trio from the city of Bolzano, which is located a short distance from the Austrian border. A little digression, if you will permit me: some years ago, the Oktoberfest band that I play in did a gig for a  group of North Italian background that was celebrating an Oktoberfest type celebration here in Massachusetts. Most of these folks of Italian lineage had roots in and around Bolzano and the group had come from throughout the United States to celebrate their gathering. Strikingly, their costume and decoration for this event was right out of Munich! It was more Germanic then Italian even though the names were Italianate. It was a trip for me to say the least.  Enough of that.

These are two of the best trios written during the 20th century. Ravel's trio is a masterpiece of phrasing and nuance and this composer's understanding of the particular qualities/timbres of instruments is unimpeachable. Shostakovich is always a special case since what is on the surface is not always the inner meaning of the piece. Messages and meanings are buried within the lines and musicians with a strong roadmap of this composer are needed to bring forth a most persuasive performance of the work. One must remember that this trio was written shortly after the very public Symphony No 8 and like all of Shostakovich's chamber music, his true feelings about events and people are depicted here, and written "between the lines." Gilels - Rostropovich and Kogan capture this music definitively for the simple reason that they "knew" what Shostakovich was talking about.  Trio di Bolzano are quite credible, putting forth a striking recording, but my opinion remains that the Soviet musicians contemporary with the great composer are ultimately the way to go if you want to get inside of this complicated music.

I know that the Trio di Bolzano released a number of recordings on Vox during the 1950's and I am on the lookout for them. The ensemble is all but forgotten and it's really too bad since these three musicians possessed consumate technique and musicianship. They instinctively respond to each other and this is characteristic of great small ensemble playing.

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Munch conducts d'Indy and Ravel

Gil from Arizona, one of my most faithful readers and throughtful commentators, requested this upload. Charles Munch and the BSO excelling  in the heart of the French repertoire. Featuring soloist Nicole Henriot-Schweitzer, the works presented are d'Indy's Symphony on a French Mountain Air and Ravel's Concerto in G. Released in 1959, my copy is the monaural version though the Living Stereo issue is out there and if I find it, I will upload it.

I must admit that under "normal" circumstances, neither work thoroughly engages me. However, with Munch at the helm in a French work, a new level of engagement unfolds for me. Unlike Paray or Monteux, who disliked heartily being pegged as French music specialists, Munch rather embraced the notion and for many people, he was synonymous with French music and culture. However, we must not forget that he had strong German ties and, that during the war years, evidence has been uncovered that he cooperated with the Vichy government and its pro German sympathies. I suppose Munch wanted to put much of that behind him after the war and therefore, became a great champion for all things French during the 50's and 60's. Interesting stuff and I suppose more will be released on the subject in the years to come.

Back to the music;  these are as fine performances as one will have though Nicole Henriot-Schweitzer, though a solid artist, is not, in my opinion, a front rank keyboard artist. But with Munch collaborating in music that he championed, even a middling conservatory student could come away sounding like a bona fide virtuoso. Per usual, the BSO plays this fare to the manner born as Munch could whip up a level of excitement and engagement that few others could.

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French Music for Piano and Violin with Fistoulari conducting

Another MGM record that sparked my interest. Interesting repertoire featuring a fine conductor, two excellent orchestras, and two rather less famous soloists.

Elizabeth Lockhart, the Scottish born violinist, was actually Anatole Fistoulari's second wife. A web search turned up a few reviews of performances dating from the 1940's but little else. From the evidence here, she is a self assured player, technically sound but, not someone that I would easily remember. I suppose Ms Lockhart had a rather provincial career of teaching and playing - she passed on in 1995.

Fabienne Jacquinot is new to me too, however there is recorded evidence that she collaborated frequently enough with Fistoulari. Again, not much to find on her though she was a judge at the International Piano Competition in Andorra as recently as 2008. Jacquinot's playing is very good though not top tier. However, as with the Lockhart pieces, a conductor of Fistoulari's stature can make all the difference and it does! The Milhaud and Honegger are delightful and a pleasant treat for the ears.

Anatole Fistoulari is too often earmarked as a ballet specialist and this recording does its job to cause us to rethink that assumption. Obviously, Fistoulari was a multitalented man with a healthy repertoire whose time for reassessment is long overdue. A retrospective by Decca or EMI would be nice.

Not sure of the exact date of these recording but I'd say mid to late 50's. 

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Hugo Rignold conducts Dukas, Ravel and Dvorak

A while back, David Gideon at reDiscovery posted a paperback issue featuring the English conductor Hugo Rignold in Rimsky-Korsakov's Suite from The Golden Cockeral and Mussorgsky's Night on a Bald Mountain in the R-K orchestration. Both performances struck me as quite good and rather idiomatic. So with those fresh in mind, I set out to locate a few more examples of Hugo Rignold's art.

Here we have a Somerset recording of Dukas' Sorcerer's Apprentice and Ravel's Bolero and, an Alshire LP with Dvorak's New World Symphony. All performances feature the London Philharmonic and they date from around 1960.

Of the three compositions, Sorcerer's is the strongest performance with exemplary playing and an insightful interpretation that really goes all out to tell the story in music. Bolero is good, though others have done a far stronger job of building the tension through dynamics and phrasing. This piece REALLY needs significant rehearsal in order to maximize its effect. The New World Symphony practically plays itself although Rignold exhibits a strong sensibility for Dvorak's musical language by stressing the "folk" elements of the score. This recording does possess the tell tale signs of a "rush job," most notably in some intonation problems with the horns. That aside, there is an excitement level present and an overall firm grasp of the symphony is readily apparent.

It would appear that Rignold had a brief recording career, for whatever reason I don't know. From the evidence of these recordings, and those available through reDiscovery, it seems a bit of a pity that Hugo Rignold is all but forgotten today.

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Two Pianos are Better Than One!

A little while ago, The High Pony Tail posted a very lovely, but neglected, LP of Schubert's Grand Duo that featured the wonderful duo of Gold and Fizdale. Though much celebrated in their day, the recorded legacy that they left behind has sadly languished in the vaults. I greatly enjoyed the Schubert and recently, I was fortunate to come across this record of the two performing Brahms and Debussy.

Brahms' Haydn Variations is just a superbly realized creation and Debussy's "Children's Games" sparkle with an effervescence that only "little ones" can innocently muster. Very different compositions yes, but Gold and Fizdale manage the transitions between the two in a masterful fashion. This is excellent music making by the premier duo of the time. Artists like the Lebecque sisters don't hold a candle to G & F and  the former often resort to cheap trickery to get their message across. Gold and Fizdale let the music breathe and fly on its own initiative and this Odyssey reissue was well pressed for a budget offering.

I've included another wonderful duo to round off the program, the husband and wife team of Walter and Beatriz Klien. Walter Klien was a very admired interpreter of Mozart, however, he and his wife make a strong impression in this French program of Debussy, Ravel and Milhaud. I especially like the Scaramouche of Milhaud though the Debussy in the Klien's hands is handled so delicately and with a tender touch. A beautiful program released by Vox.

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