Morel Conducts Bizet and Chabrier

French music, particularly of the lighter variety, is not well represented on symphonic programs these days, with the exception of Debussy and Ravel. I took a look at the Cleveland Orchestra's upcoming season and there is exactly one piece from France, Debussy's Images.

Works from French composers (and those of other nationalities) such as those on today's LP are generally corralled into pops programs, which to me consigns their melodic and orchestral genius to a lesser status.

Be that as it may, this 1958 LP is a wonderfully entertaining example of music that is no longer heard very often in concert halls. It contains superior works from Georges Bizet (1838-75) and Emmanuel Chabrier (1841-94).

From the former, we have his two L'Arlésienne suites, from the latter his Rapsodie España and Joyeuse marche. (To be fair, España does at times lead off symphonic programs because it is an orchestral showpiece.)

Jean Morel

This post also gives us an opportunity to again explore the recorded legacy of a fine conductor, Jean Morel, who in this program is leading the Orchestra of the Royal Opera House, Covent Garden. He has been heard here previously in Albéniz and Ravel, Tchaikovsky, and a Mozart concerto with Rosina Lhévinne. (The latter is newly remastered.)

Most of today's album is devoted to Bizet's L'Arlésienne suites. These atmospheric and enchanting pieces were taken from the incidental music the composer wrote for Alphonse Daudet's play of that name. And while the music may be charming, the plot was serious. Set in Provence, it concerns a young man who commits suicide when he discovers his hoped-for bride (the "girl from Arles," who never appears on stage) has been unfaithful.

The play was not successful, but the music became popular. Bizet chose the seven most substantial pieces from the incidental music for his two suites. These show his gift for memorable themes and imaginative orchestration. 

Paul Affelder had this to say in High Fidelity: "One would expect idiomatic interpretations of this French music from a French conductor of Jean Morel's stature, and with one exception he does not disappoint. That exception is the second L'Arlésienne Suite, which he delivers in a routine fashion. This is surprising, because he infuses the first suite with poise and sensitivity." In my view, the only routine part of the second suite is the opening Pastorale, which is strangely inert.

Bizet's second suite closes with a Farandole that, following its opening recapitulation of the first suite's Prelude, turns into a remarkable orchestral showpiece. The Covent Garden orchestra was not considered to be first-rank, but they do well throughout the suites.

Emmanuel Chabrier

This fine playing extends to the colorful works of Chabrier. As I mentioned, España is an orchestral showpiece, and the performance here is faultless. Like Bizet's suites, it became popular and famous. The composer was moved to write the work following a trip to Spain.

I never tire of mentioning that Al Hoffman and Dick Manning turned one of España's subsidiary themes into something called "Hot Diggity (Dog Ziggity Boom)." It was a hit for Perry Como in 1956 (and I had the record back then).

Chabrier's Joyeuse marche is not as popular as España, but perhaps it should be. Chabrier tinkered with it for some time; it also exists in two different piano four-hands versions.

The recording of these pieces is one of the best from the late 1950s - well-balanced, atmospheric and convincing. It was done for the RCA Victor "Living Stereo" line by UK Decca in the person of engineer Kenneth Wilkinson, working in the Kingsway Hall, London.

Altogether, a most happy LP - well, except for the suicide.

LINK

A Little More Bizet from Rodzinski

Not long ago I shared a 10-inch LP of Bizet's early symphony by Artur Rodzinski leading the New York Philharmonic. The progenitor of that recording was this 78-rpm set from circa 1945. The earlier album also included the prelude to Act III of Bizet's Carmen in a particularly lovely performance not on the LP.

The earlier set also had a different - and to my eyes far more attractive - Alex Steinweiss cover than did the 10-inch LP. The back of the cover (below) had a photo of Rodzinski not to be found on the LP. Finally the sound is better on the 78s, which are, of course, much less convenient than the LP. All this is strangely reminiscent of the trade-offs in the transition from LP to CD, as you may have noticed.

The download contains the Carmen Act III prelude and the two covers from the 78 set.

REMASTERED VERSION - JANUARY 2015

Rodzinski Conducts Bizet

When we last heard from Artur Rodzinski on this blog, he was conducting the New York Philharmonic in Prokofiev. I said he would return with the Cleveland Orchestra.

Since then, I've discovered that all the Cleveland/Rodzinski recordings in my collection are already available online here. So I've returned to his NYPO recordings for this 10-inch LP of Georges Bizet's early symphony, a work that was not performed until 1935

The recording was made in Carnegie Hall on the same January day in 1945 on which these forces incised the Rachmaninoff symphony featured here earlier. It first appeared on 78s then on this LP with cover by Alex Steinweiss.

Rodzinski and Bizet may not be an intuitive match - and truthfully this does not erase the sonic memories of other performances - but it is a spruce affair that is sure to give pleasure.

REMASTERED VERSION - JANUARY 2015