This is a follow-up to my post of last November presenting a Columbia LP of ballet music conducted by Efrem Kurtz.
That post contains an introduction to the career of this talented conductor who made many records with the New York Philharmonic and the Philharmonic Orchestra.
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| Efrem Kurtz |
I mentioned then that Kurtz was the music director of the Houston Symphony from 1948-54, but had recorded only a few items with that ensemble. Today we are concerned with his Houston recording of two pieces of French ballet music, Erik Satie's
Parade (Realistic Ballet) and a suite from Georges Auric's
Les Matelots ballet. The sessions were held in Houston's City Auditorium in December 14, 1949. It was a busy day for Kurtz and his charges - all their Columbia recordings were made during that session, including suites from
Kiss Me, Kate and
South Pacific, plus Fauré's Pavane, used as a filler on the
Kiss Me, Kate 78 set.
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| Auric by George Hoyningen-Huene; Satie by Man Ray |
Kurtz was particularly well suited to conducting the Satie and Auric ballets. Before coming to the US, he had been the conductor of the Ballets Russes de Monte Carlo for a decade. That was the successor troupe to Diaghilev's Ballets Russes, which premiered those works. Kurtz worked directly with Léonide Massine, who choreographed both ballets.
Satie and Auric were connected through an association with what became known as "Les Six." In 1917, Satie had assembled a group of younger composers he dubbed "Les nouveaux jeunes," including Auric. That group later became the basis of Les Six, with Jean Cocteau as guiding light rather than Satie.
This 10-inch LP is well played and recorded, and the music is delightful.
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| Kurtz's dog endorsed Calvert Reserve liquor |
