Conductors’ musical compositions usually reflect, more or less, the particular bias of their creators’ standard-repertory interpretations: Furtwangler’s unfold in huge, often elemental paragraphs; Kubelik’s are lyrical and teem with instrumental activity, and Paul Paray’s First Symphony is as wholesome, energetic and emotionally direct as most of his recorded performances. It was composed in 1935 and reflects the worlds of Schumann (Paray recorded all four Schumann symphonies) and Cesar Franck. The assertive and tightly structured first movement incorporates echoes of Faure (try 5'48''), then climaxes to a loudly mushrooming tam-tam (a thrilling spot of sonic extravagance, at 8'56''), and quotes the three succeeding movements in reverse order before calming for a melancholic Quasi lento. The Allegretto con grazia third movement serves as a gentle, Faurean intermezzo before the lively finale hints at Poulenc and, perhaps, Nielsen (his first two symphonies). Paray’s First Symphony (there is a Second in A major plus a Symphony for strings) pretends no secrets or depths but wears both its skill and its bold, essentially nineteenth-century spirit with pride. I greatly enjoyed it.
The Mass for the 500th Anniversary of the Death of Joan of Arc was completed in 1931 and was much admired by Florent Schmitt, who wrote in terms of a “great beauty in which the sustained vocal lines murmur their plaintive and majestic litany” (Kyrie), a “stroke of genius” (the highly eventful Gloria) and “a warlike Sanctus [which] explodes in glory”. The last-named is my own favourite movement (the opening fanfares are particularly striking), although the closing Agnus Dei – which, incidentally, Paray himself appears to have had some doubts about – is happily reminiscent of Bach. The rest melds memories of Faure and Franck with skilful fugal writing and a good deal of appealing melody. The performance, too, is extremely accomplished, less forceful (and, dare I say, less slick) than Paray’s own 1956 Mercury recording (a fine-sounding production, though the orchestra tend to swamp the chorus) and balanced virtually to perfection. James Paul’s account of the First Symphony is just as good (Paray’s own recording – a Paris broadcast, apparently – was only ever granted a limited edition) and, again, the sound is very well managed. The Royal Scottish National Orchestra are on excellent form throughout; the singing in the Mass is first-rate and I would heartily recommend all lovers of French music, and of romantic French music in particular, to sample this rewarding CD. '