Ravel & Debussy Stage Works
View record and artist detailsRecord and Artist Details
Composer or Director: Robert Schumann, Franz Liszt
Label: Historic
Magazine Review Date: 6/1993
Media Format: CD or Download
Media Runtime: 69
Mastering:
Mono
ADD
Catalogue Number: 433 404-2DM
![](https://reviews.azureedge.net/gramophone/gramophone-review-general-image.jpg)
Tracks:
Composition | Artist Credit |
---|---|
Concerto for Piano and Orchestra |
Robert Schumann, Composer
Josef Krips, Conductor London Symphony Orchestra Robert Schumann, Composer Wilhelm Kempff, Piano |
Papillons |
Robert Schumann, Composer
Robert Schumann, Composer Wilhelm Kempff, Piano |
Arabeske |
Robert Schumann, Composer
Robert Schumann, Composer Wilhelm Kempff, Piano |
Années de pèlerinage année 2: Italie, Movement: Sonetto 47 del Petrarca |
Franz Liszt, Composer
Franz Liszt, Composer Wilhelm Kempff, Piano |
Années de pèlerinage année 2: Italie, Movement: Sonetto 104 del Petrarca |
Franz Liszt, Composer
Franz Liszt, Composer Wilhelm Kempff, Piano |
Années de pèlerinage année 2: Italie, Movement: Sonetto 123 del Petrarca |
Franz Liszt, Composer
Franz Liszt, Composer Wilhelm Kempff, Piano |
Composer or Director: Ludwig van Beethoven
Label: Historic
Magazine Review Date: 6/1993
Media Format: CD or Download
Media Runtime: 45
Mastering:
Mono
ADD
Catalogue Number: 433 406-2DM
![](https://reviews.azureedge.net/gramophone/gramophone-review-general-image.jpg)
Tracks:
Composition | Artist Credit |
---|---|
Symphony No. 3, 'Eroica' |
Ludwig van Beethoven, Composer
(Royal) Concertgebouw Orchestra, Amsterdam Erich Kleiber, Conductor Ludwig van Beethoven, Composer |
Composer or Director: Claude Debussy, Maurice Ravel
Genre:
Opera
Label: Historic
Magazine Review Date: 6/1993
Media Format: CD or Download
Media Runtime: 141
Mastering:
Stereo
Mono
ADD
Catalogue Number: 433 400-2DM2
![](https://reviews.azureedge.net/gramophone/media-thumbnails/028943340021.jpg)
Tracks:
Composition | Artist Credit |
---|---|
(L')Enfant et les sortilèges, 'Bewitched Child' |
Maurice Ravel, Composer
Adrienne Migliette, Fire; Nightingale André Vessières, Don Inigo Gomez, Baritone Ernest Ansermet, Conductor Flore Wend, Child, Soprano Geneva Motet Choir Geneviève Touraine, Sofa; She-cat; Bat Gisèle Bobillier, Shepherdess Heinz Rehfuss, Ramiro, Baritone Hugues Cuénod, Teapot; Old Man; Frog, Tenor Juliette Bise, Owl; Shepherd, Soprano Lucien Lovano, Armchair; Tree, Baritone Marie-Luise de Montmollin, Mother; Chinese Cup; Dragonfly Maurice Ravel, Composer Michel Hamel, Torquemada, Tenor Paul Derenne, Gonzalve Pierre Mollet, Clock; Tom-cat, Baritone Suisse Romande Orchestra Suzanne Danco, Princess; Squirrel, Soprano Suzanne Danco, Woman; Cook, Soprano Suzanne Danco, Princess; Squirrel, Soprano Suzanne Danco, Concepcion, Soprano Suzanne Danco, Concepcion, Soprano Suzanne Danco, Princess; Squirrel, Soprano Suzanne Danco, Wolfie, Soprano Suzanne Danco, Concepcion, Soprano |
(Le) Martyre de Saint Sébastien |
Claude Debussy, Composer
Andrew King, Chamberlain Claude Debussy, Composer Doris Vane, Siébel, Soprano Emma Kirkby, Venus, Soprano Ernest Ansermet, Conductor Evelyn Tubb, Cupid, Soprano Harold Williams, Valentin, Baritone Heddle Nash, Faust, Tenor Joseph Cornwell, Death, Tenor Marie-Luise de Montmollin, Mezzo soprano Miriam Licette, Marguerite, Soprano Muriel Brunskill, Marthe, Soprano Nancy Waugh, Contralto (Female alto) Peilz Choral Union Poppy Holden, Cupid Richard Wistreich, Adonis, Bass Robert Carr, Wagner, Baritone Robert Easton, Mephistopheles, Bass Suisse Romande Orchestra Suzanne Danco, Soprano |
(L') Heure espagnole |
Maurice Ravel, Composer
Adrian Thompson, Maese Pedro, Tenor Anna Steiger, Eurydice, Soprano Ernest Ansermet, Conductor Gaynor Morgan, Le Renard, La Soeur Jumelle Malcolm Walker, Orphée, Baritone Matthew Best, Le Vannier, L'Ours, Bass Matthew Best, Don Quixote, Bass Matthew Best, Don Quixote, Bass Matthew Best, Le Vannier, L'Ours, Bass Matthew Best, Don Quixote, Bass Matthew Best, Le Vannier, L'Ours, Bass Maurice Ravel, Composer Patricia Bardon, La Loup, La Soeur Ainée, Soprano Patrick Donnelly, Le Charron Paul Harrhy, Le Maréchal, Le Sanglier, Tenor Samuel Linay, El Trujamán, Treble/boy soprano Suisse Romande Orchestra Susan Bickley, La Soeur Cadette, Soprano |
Composer or Director: Hector Berlioz
Label: Historic
Magazine Review Date: 6/1993
Media Format: CD or Download
Media Runtime: 63
Mastering:
Mono
ADD
Catalogue Number: 433 405-2DM
![](https://reviews.azureedge.net/gramophone/gramophone-review-general-image.jpg)
Tracks:
Composition | Artist Credit |
---|---|
Benvenuto Cellini, Movement: Overture |
Hector Berlioz, Composer
Charles Munch, Conductor Hector Berlioz, Composer Paris Conservatoire Orchestra |
(Le) Corsaire |
Hector Berlioz, Composer
Charles Munch, Conductor Hector Berlioz, Composer Paris Conservatoire Orchestra |
Roméo et Juliette, Movement: Roméo alone |
Hector Berlioz, Composer
Charles Munch, Conductor Hector Berlioz, Composer Paris Conservatoire Orchestra |
Roméo et Juliette, Movement: Capulet's ball |
Hector Berlioz, Composer
Charles Munch, Conductor Hector Berlioz, Composer Paris Conservatoire Orchestra |
Roméo et Juliette, Movement: Love scene |
Hector Berlioz, Composer
Charles Munch, Conductor Hector Berlioz, Composer Paris Conservatoire Orchestra |
Roméo et Juliette, Movement: Queen Mab scherzo |
Hector Berlioz, Composer
Charles Munch, Conductor Hector Berlioz, Composer Paris Conservatoire Orchestra |
(Les) Troyens, '(The) Trojans', Movement: Royal Hunt and Storm |
Hector Berlioz, Composer
Charles Munch, Conductor Hector Berlioz, Composer Paris Conservatoire Orchestra |
Author:
Munch's Romeo extracts are similarly hightension; the playing of the Paris Conservatoire Orchestra mightn't have the Boston Symphony's sheen and refinement (RCA, 4/93), but it does succeed in communicating the conductor's passionate response to this most original of romantic Romeo and Juliet settings. Munch in Paris is highly excitable, where his later Bostonian persona sacrificed forward momentum and spontaneity for the sake of surer execution. The rest of the concert is equally volatile, with a particularly thrilling Le corsaire—but the sound, even by 1949 standards, is scrawny and constricted.
Sonic considerations hardly matter in the case of Ansermet's Debussy and Ravel, but then I wouldn't have written that had the sound proved a stumbling block. As it happens, the 1953-4 Decca team achieved startling presence, with the Martyre sequences in particular yielding generous bass sonorities within the context of an impressive aural canvas.
Some would argue that Wilhelm Kempff should enjoy similar catalogue longevity, and when it comes to Beethoven sonatas I would normally agree. Kempff's Schumann Concerto, however, is a little too muted for my taste, although far surer than his DG version with Kubelik (nla) and full of quietly meaningful points of interpretation. Krips's neat accompaniment cushions the soloist with obvious respect, but taken as a whole I would rather opt for the more assertive 1948 Lipatti (EMI, 7/89) or the 1964 Serkin (Sony Classical). The solo works exhibit a similar care and conscientiousness; there is much thinking behind Kempff's playing, and his imagination has a good deal to teach us about the music—but I sense that all these performances would have been far more involving and spontaneous had they been given before a live audience. The sound is fairly good in the concerto, but sadly emaciated in the solo works.'
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