Igor Markevitch (conductor)
The Philips Legacy
rec. 1959-68
No texts
ELOQUENCE 484 1744 [26 CDs: 26 hours]
Markevitch’s DG legacy has been collected in an Eloquence box (review) which I made one of the Records of the Year for 2021. The reasons weren’t hard to find; comprehensiveness, attractiveness, and an elevated standard of music making. Now here is its cousin, the conductor’s decade-long Philips legacy in 26 original jacketed CDs.
The two Haydn symphonies – full of detail, crisp percussion, timbral distinction and tight brass and with much wit and drive - are discussed during a review on this site that considers
Volume 1 of Doremi’s Markevitch series, which also includes works in this box; Beethoven’s First Symphony and Scheherazade. Disc two teams Markevitch with Clara Haskil in two Mozart concertos. Both musicians work admirably together, and other examples, notably broadcast ones, have survived of the pianist’s performances. There’s a rather cool feel here to both the D minor and the C minor concertos, as if Haskil was stepping around the more volatile aspects of the music (review). Haskil’s Mozart concertos received a very brief review from Peter Grahame Woolf (no relation) two decades ago. For cadenza vultures she plays her own in No 20, her own in the first movement of No 24, and Nikita Magaloff’s in the finale.
CDs 3 and 4 are devoted to Beethoven. Philips had borrowed Mercury’s ‘Hi-Fi’ moniker by now and in Eloquence’s Original Jacket release the title is proudly resplendent in the coupling of Symphonies 5 and 8, though Eloquence has added No 1 as well to CD 3. The First Symphony, once again with the Lamoureux, as is everything up to this point, is admirably and athletically punchy in sonority and tempo. Beethoven is a perfect fit for Markevitch’s purposeful approach whereas I too often feel he is brusque in Schubert. His 1959 Beethoven 5 is a remarkable reading, with a memorable overarching conception and a tenacious expressive grip, both in its introspective elements as much as in its more public ones. No 8 is scarcely less good and the original LP coupling, which also included a gatefold edition of all three symphonies, must be one of the most comprehensively successful of its time.
The Ninth has a vocal quartet of Hilde Gueden, Aafje Heynis, Fritz Uhl, and Heinz Rehfuss and was recorded a little later over the course of a fortnight between January and February 1961 and if it’s not quite in the rarefied league of the conductor’s recording of the Fifth it’s still one of the best Ninths of the 1960s.
More Haskil can be found in CD 5 though collectors will probably already have the relevant Haskil Philips Edition on 4782541, a 17-CD, 19-hour box that offers the chance to contrast, for example, her recording of the Mozart D minor concerto under a raft of conductors - Paumgartner, Fricsay and Swoboda as well, of course as Markevitch. Here in disc five there’s Beethoven’s Piano Concerto No 3, typically eloquent and deft in its avoidance of bombast, and a Chopin F minor concerto memorable for the eloquence of her phrasing in the slow movement.
Arthur Grumiaux’s famous recording of the Berg Concerto has seldom been out of the catalogue and has duly received a review here. It’s coupled with two pieces made in Moscow in 1963. I think that Kodály’s Psalmus Hungaricus with tenor Róbert Ilosfalvy, the Russian State Academy Choir and USSR State Symphony Orchestra, offers the more original repertoire for recording purposes and the choir’s singing is thrilling, the tenor powerful, the conductor’s conception superbly conceived. However, you should not overlook contralto Irina Arkhipova in Brahms’ Alto Rhapsody. I find her singing rich of tone, and deeply expressive, and it’s a performance to which I know I will return.
If you were looking to fit orchestra with repertoire you could hardly do much better, in piquant sonorities and stylistic conviction, than the Lamoureux and Bizet. The two Carmen suites and both L’Arlésienne suites offer verdant charm and vitality in a near 60-minute CD 7. Disc 8 to 13 inclusive are self-recommending. The Tchaikovsky cycle has been reviewed here in its guise on Newton though note that Eloquence doesn’t repeat Newton’s decision to split symphonies across discs. Here each symphony has a disc to itself, and Nos 1 and 2 share the same CD. Manfred from the cycle is also discussed in Christopher Howell’s review of the Great Conductors of the Twentieth Century release devoted to Markevitch. The LP jackets were the much-loved Festivo ones with the exception of No 5 which is a Grandioso, for those that worry about such things. By common consent this is one of the greatest sets of the symphonies – with an incredibly fine Manfred to boot – ever to have been released. The LSO was in prime form, still Monteux’s orchestra. The Frenchman had been one of Markevitch’s teachers and Markevitch encourages the orchestra, which responds with huge lyric lustre and drama.
Scheherazade is also discussed along with the Capriccio Espagnol in a previous Eloquence single disc (review) where one finds the LSO’s leader Erich Gruenberg in excellent form. As a performance and certainly as a recording – superb in every way – it’s up there with Kletzki’s Philharmonia reading. There’s more Tchaikovsky in CD 15, a melange of his 1812 and Rimsky’s Russian Easter Festival Overture and Borodin’s Polovtsian Dances, all recorded with the Concertgebouw in 1964.
Two discs are devoted to Stravinsky with whom Markevitch did not have an easy relationship. Apollon musagète (1947 version) is with the LSO and the performance is, in some small places, orchestrally somewhat tentative. Better in this respect, because much easier, are the Suites for Small Orchestra, Four Norwegian Moods and Circus Polka for a Young Elephant, rather adventurously obscure stuff for the LSO to record. For L’Histoire du Soldat Markevitch went to Switzerland to record. The narrators were the elderly Jean Cocteau with Jean-Marie Fertey and Peter Ustinov, and Anne Tonietti as the Princess. A sterling team of instrumentalists is led by violinist Manoug Parikian. I have to say that Cocteau and Ustinov sound just a little under-characterised – I never thought I’d write that of the latter – but it’s crisply performed and shows how well Markevitch understood Stravinsky. The Symphony of Psalms, which ends CD 17, was recorded in Moscow with Russian forces and the result is predictably intense and dramatic.
CD 18 remains in Moscow for Markevitch’s orchestration of six Mussorgsky melodies, sung with leonine authority by Galina Vishnevskaya. Nikolai Tcherepnin’s Tàti-Tàti, making its first appearance on Decca CD, is played by pianist Olga Rostropovich, who must have only been nine at the time. The music is sourced from Borodin, Cui, Liadov, Rimsky and Liszt. Mozart’s Toy Symphony and Bizet’s Jeux d’enfants – Petite Suite, Op 22, which can be listened to in conjunction with CD 7, complete this disc. There’s an outstanding disc of Verdi orchestral music in CD 19 where the conductor was teamed with the New Philharmonia in 1967. The last two tracks are given over to the first two movements of the same composer’s Requiem which concludes on disc twenty. Recorded in Moscow in 1960 this has always been something of a controversial recording. For a start it’s very difficult to work out if it’s mono or stereo – or rather poor stereo – (the booklet note says that everything here is in stereo) and there are left/right channel issues. The performance though is passionate. The choir is typically involving, and the Moscow Philharmonic too digs in with fervour. The vocal soloists epitomise the ‘variable casting’ tag, though, and this is where things break down. Vishnevskaya sings with power but is not always in tune. Bass Ivan Petrov has nobility and Nina Isakova, mezzo-soprano, is perhaps the most consistent of the singers. Of tenor Vladimir Ivanovsky, it’s kindest to say nothing. Nevertheless, do hear this famous recording for its fervour at least.
The remainder of the box charts Markevitch’s Spanish recordings: most of the discs were indeed recorded in Madrid. Mompou’s Los Improperios is a stylistically fluid piece, with Gregorian vocal elements and Franco-impressionistic orchestral ones. It’s movingly done here. Victoria as arranged by Falla prefaces Padre Ferrer as arranged and revised by the chorus master Alberto Blancafort. In CD 22 Markevitch directs Victoria’s Magnificat (primi toni) and Blancafort must undoubtedly have had a significant part to play in the choral preparation for the sessions in October 1966. Óscar Esplá y Triay’s De Profundis, a setting of Psalm 129, is an approachable contemporary work in four brief movements whilst Halffter’s Canticum in P.P. Johannem XXIII has its more astringent moments along with refulgent ones.
Disc 23 is largely one of arrangements and orchestrations. The composer’s own orchestrations of Falla’s Siete Canciones populares españolas are here and the soprano is Ángeles Chamorro. The Granados dances are largely orchestrated by Hallfter and it’s no wonder that the German LP reproduction proclaims the album title as ‘Tänze und Lieder aus Spanien’. Once again with the Symphony Orchestra of Spanish Radio and TV Markevich ramps up the desirability quotient of this box set with a marvellous Falla disc that contains Nights in the Gardens of Spain, where Haskil proves as eloquent and evocative a soloist as Curzon and where, in El amor brujo, the conductor brings every ounce of character to the music. Chabrier’s España and Ravel’s Boléro end a disc of vibrant pleasure.
The last two discs reflect Markevitch’s Zarzuela anthology. There’s a capacious acoustic in the Cinema Monumental (a well-chosen name) in Madrid for these 1967 sessions. These are brilliantly played and exciting examples from the Zarzuela repertoire and they were cannily chosen to reflect the genre’s many moods and pleasures. I defy you to sit still during the three minutes of Amadeo Vives’ Fandango from Doña Francisquita and that’s just a single example among many.
Remastering engineer Chris Bernauer has ensured that these recordings sound suitably attractive and the booklet has been compiled to Eloquence’s usual high standard, with full track listings and discographical details, numerous illustrations and Peter Quantrill’s essay included.
Jonathan Woolf
Contents
CD 1
FRANZ JOSEPH HAYDN (1732–1809)
1–4 Symphony No 103 in E-flat major, H.I:103 ‘Drum Roll’*
5–8 Symphony No 104 in D major, H.I:104 ‘London’*
Orchestre des Concerts Lamoureux
CARL MARIA VON WEBER (1786–1826)
9 Preciosa – Overture, Op 78, J.279
Orquesta Sinfónica de la RTV Española
Recordings: La Maison de la Chimie, Paris, France, 10–23 December 1959 (Haydn); Cinema Monumental, Madrid, Spain, October 1966 (Weber)
Original Philips Releases: 835 038 (Haydn); 6580 064 (Weber)
*FIRST INTERNATIONAL CD RELEASE ON DECCA
CD 2
WOLFGANG AMADEUS MOZART (1756–1791)
1–3 Piano Concerto No 20 in D minor, KV 466
4–6 Piano Concerto No 24 in C minor, KV 491
Clara Haskil, piano
Orchestre des Concerts Lamoureux
Recording Location: La Maison de la Chimie, Paris, France, 14–18 November 1960
Original Philips Release: 835 075
CD 3
LUDWIG VAN BEETHOVEN (1770–1827)
1–4 Symphony No 1 in C major, Op 21*
5–8 Symphony No 5 in C minor, Op 67*
9–12 Symphony No 8 in F major, Op 93*
Orchestre des Concerts Lamoureux
Recordings: La Maison de la Chimie, Paris, France, October 1959 (Symphonies Nos 5 & 8), October 1960 (Symphony No 1)
Original Philips Releases: 835 087–088 (Symphony No 1, released as a 2-LP set coupled with Symphony No 9); 835 034 (Symphonies Nos. 5, 8)
*FIRST INTERNATIONAL CD RELEASE ON DECCA
CD 4
LUDWIG VAN BEETHOVEN (1770–1827)
1–4 Symphony No 9 in D minor, Op 125 ‘Choral’*
Hilde Gueden, soprano
Aafje Heynis, contralto
Fritz Uhl, tenor
Heinz Rehfuss, baritone
Oratorienchor Karlsruhe
Orchestre des Concerts Lamoureux
Recordings: La Maison de la Chimie, Paris, France, 20 January–2 February 1961
Original Philips Release: 835 087–88 (released as a 2-LP set coupled with Symphony No 1)
*FIRST INTERNATIONAL CD RELEASE ON DECCA
CD 5
LUDWIG VAN BEETHOVEN (1770–1827)
1–3 Piano Concerto No 3 in C minor, Op 37
FRÉDÉRIC CHOPIN (1810–1849)
4–6 Piano Concerto No 2 in F minor, Op 21
Clara Haskil, piano
Orchestre des Concerts Lamoureux
Recordings: La Maison de la Chimie, Paris, France, 1 December 1959 (Beethoven), 3–4 October 1960 (Chopin)
Original Philips Releases: 835 040 (Beethoven); 835 072 (Chopin)
CD 6
ALBAN BERG (1885–1935)
1–2 Violin Concerto ‘To the Memory of an Angel’
Arthur Grumiaux, violin
Concertgebouworkest
JOHANNES BRAHMS (1833–1897)
3 Tragic Overture, Op 81
4 Alto Rhapsody, Op 53
ZOLTÁN KODÁLY (1882–1967)
5 Psalmus Hungaricus, Op 13
Irina Arkhipova, contralto (Alto Rhapsody)
Róbert Ilosfalvy, tenor (Psalmus Hungaricus)
Russian State Academy Choir
USSR State Symphony Orchestra
Recording Locations: Moscow, Russia, 1963 (Brahms, Kodály); Grote Zaal, Concertgebouw, Amsterdam, The Netherlands, 23–25 January 1967 (Berg)
Original Philips Releases: 802 785 (Berg); 835 734 (Brahms, Kodály)
CD 7
GEORGES BIZET (1838–1875)
1–5 Carmen – Suite No 1
6–10 Carmen – Suite No 2
11–14 L’Arlésienne – Suite No 1
15–17 L’Arlésienne – Suite No 2
Orchestre des Concerts Lamoureux
Recordings: La Maison de la Chimie, Paris, France, 30 May–10 June 1960
Original Philips Release: 835 039
CD 8
PYOTR ILYICH TCHAIKOVSKY (1840–1893)
1–4 Symphony No 1 in G minor, Op 13, TH.24 ‘Winter Daydreams’
5–8 Symphony No 2 in C minor, Op. 17, TH.25 ‘Little Russian’
London Symphony Orchestra
Recording Location: Wembley Town Hall, London, UK, 6–12 March 1965 (Symphony No 2), 16–19 February 1966 (Symphony No 1)
Original Philips Releases: 802 702 (Symphony No 1); 835 390 (Symphony No 2)
CD 9
PYOTR ILYICH TCHAIKOVSKY (1840–1893)
1–5 Symphony No 3 in D major, Op. 29, TH.26 ‘Polish’
London Symphony Orchestra
6 Francesca da Rimini, Op 32, TH.46
New Philharmonia Orchestra
Recording Location: Wembley Town Hall, London, UK, 3–6 March 1965 (Symphony No 3), 6, 7 & 9 June 1967 (Francesca da Rimini)
Original Philips Releases: 835 327 (Symphony No 3); 802 840 (Francesca da Rimini)
CD 10
PYOTR ILYICH TCHAIKOVSKY (1840–1893)
1–4 Symphony No 4 in F minor, Op 36, TH.27
5 Hamlet, Op 67
London Symphony Orchestra
New Philharmonia Orchestra
Recording Location: Wembley Town Hall, London, UK, 19–21 October 1963 (Symphony No 4), 6, 7 & 9 June 1967 (Hamlet)
Original Philips Releases: 835 249 (Symphony No 4); 802 840 (Hamlet)
CD 11
PYOTR ILYICH TCHAIKOVSKY (1840–1893)
1–4 Symphony No 5 in E minor, Op 64, TH.29
London Symphony Orchestra
Recording Location: Wembley Town Hall, London, UK, 19–25 February 1966
Original Philips Release: 802 703
CD 12
PYOTR ILYICH TCHAIKOVSKY (1840–1893)
1–4 Symphony No 6 in B minor, Op 74, TH.30 ‘Pathétique’
London Symphony Orchestra
Recording Location: Wembley Town Hall, London, UK, 9, 11 & 12 January 1962
Original Philips Release: 835 126
CD 13
PYOTR ILYICH TCHAIKOVSKY (1840–1893)
1–4 Manfred Symphony, Op 58, TH.28
London Symphony Orchestra
Recording Location: Wembley Town Hall, London, UK, 1, 2, 13 & 14 November 1963
Original Philips Release: 835 250
CD 14
NIKOLAI RIMSKY-KORSAKOV (1844–1908)
1–5 Capriccio Espagnol, Op 34
6–9 Scheherazade, Op 35
Erich Gruenberg, solo violin
London Symphony Orchestra
Recording Location: Wembley Town Hall, London, UK, 20–22 October 1962
Original Philips Release: 835 160
CD 15
PYOTR ILYICH TCHAIKOVSKY (1840–1893)
1 Ouverture solennelle ‘1812’ , Op 49
NIKOLAI RIMSKY-KORSAKOV (1844–1908)
2 Russian Easter Festival, Overture, Op 36
ALEXANDER BORODIN (1833–1887)
3 Polovtsian Dances (from Prince Igor)
Netherlands Radio Chorus (Borodin)
Concertgebouworkest
Recording Location: Concertgebouw, Amsterdam, Netherlands, 15–17 September 1964
Original Philips Release: 835 302
CD 16
IGOR STRAVINSKY (1882–1971)
1–10 Apollon musagète (1947 version)
11–14 Suite No 1 for Small Orchestra
15–18 Suite No 2 for Small Orchestra
19–22 Four Norwegian Moods
23 Circus Polka for a Young Elephant
London Symphony Orchestra
Recording Location: Wembley Town Hall, London, UK, 17, 18, 26 & 30 October 1963 (Apollon musagète, Suites Nos 1 & 2, Four Norwegian Moods), 14 November 1963 (Circus Polka)
Original Philips Release: 835 255
CD 17
IGOR STRAVINSKY (1882–1971)
1–24 L’Histoire du Soldat
Jean Cocteau, Jean-Marie Fertey, Peter Ustinov, narrators
Manoug Parikian, violin
Joachim Gut, double bass
Ulysse Delécluse, clarinet · Henri Helaerts, bassoon
Maurice André, trumpet · Roland Schnorkh, trombone
Charles Peschier, percussion
25–27 Symphonie de Psaumes
Boys’ and Male Voices of the Russian State Academic Choir
Russian State Academy Orchestra
Recordings: Théâtre de Vevey, Switzerland, October 1962 (L’Histoire du Soldat); Moscow, Russia, October 1962 (Symphonie de Psaumes)
Original Philips Releases: 835 181 (L’Histoire du Soldat); 835 120 (Symphonie de Psaumes)
CD 18
MODEST MUSSORGSKY (1839–1881)
Six Melodies orch. Markevitch
1 Cradle Song
2 The Magpie
3 Night
4 Where art thou, little star?
5 The Ragamuffin
6 On The Dnieper
Galina Vishnevskaya, soprano
NIKOLAI TCHEREPNIN (1873–1945)
7–13 Tàti-Tàti*
Olga Rostropovich, piano
LEOPOLD MOZART (1719–1787)
14–16 Toy Symphony (Cassation in G major for Orchestra and Toys)°
GEORGES BIZET (1838–1875)
17–21 Jeux d’enfants – Petite Suite, Op 22°
Children’s Ensemble of the Moscow School of Music (Toy Symphony)
USSR State Symphony Orchestra
Recordings: Moscow, Russia, October 1962 (Mussorgsky), 29 December 1965 (Tcherepnin, Leopold Mozart, Bizet)
Original Philips Releases: 835 120 (Mussorgsky); 835 753 (Tcherepnin, Leopold Mozart, Bizet)
*FIRST CD RELEASE ON DECCA
°FIRST INTERNATIONAL CD RELEASE ON DECCA
CD 19
GIUSEPPE VERDI (1813–1901)
1 La forza del destino – Sinfonia
2 Macbeth – Ballet Music (Act III)
3 La traviata – Prelude (Act I)
4 Luisa Miller – Overture
5 Aida – Overture
6 Giovanna d’Arco – Overture
7 La traviata – Prelude (Act III)
8 I vespri siciliani – Overture
New Philharmonia Orchestra
Messa da Requiem*
beginning
9–10 Requiem et Kyrie
Recording Location: Wembley Town Hall, London, UK, 16–18 October 1967
Original Philips Release: 839 575
Recording Location: Moscow, Russia, 1960
Original Philips Release: G 03096-97 L
CD 20
GIUSEPPE VERDI (1813–1901)
1–19 Messa da Requiem*
conclusion
Galina Vishnevskaya, soprano
Nina Isakova, mezzo-soprano
Vladimir Ivanovsky, tenor
Ivan Petrov, bass
Russian State Academy Choir
Moscow Philharmonic Orchestra
Recording Location: Moscow, Russia, 1960
Original Philips Release: G 03096-97 L
*FIRST STEREO CD RELEASE ON CD
CD 21
FEDERICO MOMPOU (1893–1987)
1–8 Los Improperios
Peter Christoph Runge, baritone
Orquesta Sinfónica y Coros de la RTV Española
Alberto Blancafort, chorus master
TOMÁS LUIS DE VICTORIA (c. 1548–1611)
9 Ave Maria
10 Vexilla regis
Escolania de nuestra Señora del Buen Retiro
César Sanchez, Maestro de la Escolanía
Coro de la RTV Española
Alberto Blancafort, chorus master
PADRE JAIME FERRER (1762–1824)
11–16 Lamentación 1a
Ángeles Chamorro, soprano
Norma Lerer, contralto
Julian Molina, tenor
Orquesta Sinfónica y Coros de la RTV Española
Recordings: Cinema Monumental, Madrid, Spain, October 1966 (Victoria), 18 October–2 November 1968 (Mompou, Ferrer)
Original Philips Release: 839 776
CD 22
TOMÁS LUIS DE VICTORIA (c. 1548–1611)
1–8 Magnificat primi toni
Coro de la RTV Española
Alberto Blancafort, chorus master
ÓSCAR ESPLÁ Y TRIAY (1886–1976)
9–12 De Profundis
Ángeles Chamorro, soprano
Ines Rivadeneyra, mezzo-soprano
Carlo del Monte, tenor
Antonio Blancas, baritone
Orquesta Sinfónica y Coros de la RTV Española
Alberto Blancafort, chorus master
ERNESTO HALFFTER (1905–1989)
13 Canticum in P.P. Johannem XXIII*
IGNACIO RAMONEDA (1735–1781)
14 Veni Creator*
Ángeles Chamorro, soprano
Antonio Blancas, baritone
Orquesta Sinfónica y Coros de la RTV Española
Alberto Blancafort, chorus master
Recordings: Cinema Monumental, Madrid, Spain, 10–24 October 1966
Original Philips Release: 802 779
*FIRST CD RELEASE ON DECCA
CD 23
MANUEL DE FALLA (1876–1946)
1–7 Siete Canciones populares españolas* orchestrated by Igor Markevitch
ISAAC ALBÉNIZ (1860–1909)
8 Catalonia°
ERNESTO HALFFTER (1905–1989)
9 Fanfare (a la memoria de Enrique Granados)*
ENRIQUE GRANADOS (1867–1916)
10 Spanish Dance, Op 37 No 9 ‘Romantica’°
11 Spanish Dance, Op 37 No 4 ‘Villanesca’°
12 Intermezzo (from Goyescas)°
13 Zapateado (from Six Pieces on Spanish Folksongs)°
14 Spanish Dance, Op 37 No 8 ‘Asturiana’°
Ángeles Chamorro, soprano (Falla)
Orquesta Sinfónica de la RTV Española
Recordings: Cinema Monumental, Madrid, Spain, 18 October–2 November 1968
Original Philips Release: 839 775
*FIRST CD RELEASE ON DECCA
°FIRST INTERNATIONAL CD RELEASE ON DECCA
CD 24
MANUEL DE FALLA (1876–1946)
1–3 Noches en los jardines de España
Clara Haskil, piano
Orchestre des Concerts Lamoureux
4–16 El amor brujo
EMMANUEL CHABRIER (1841–1894)
17 España – rapsodie pour orchestre
MAURICE RAVEL (1875–1937)
18 Boléro
Ines Rivadeneyra, contralto (El amor brujo)
Orquesta Sinfónica de la RTV Española
Recordings: La Maison de la Chimie, Paris, France, 3–4 October 1960 (Falla: Noches en los jardines de España); Cinema Monumental, Madrid, Spain, 11–24 October 1966 (Falla: El amor brujo, Chabrier, Ravel)
Original Philips Releases: 835 072 (Falla: Noches en los jardines de España); 802 783 (Falla: El amor brujo, Chabrier, Ravel)
CD 25
ANTOLOGIA DE LA ZARZUELA*
GERÓNIMO GIMÉNEZ (1854–1923)
1–3 La Tempranica (excerpts)
AMADEO VIVES (1871–1932)
4–5 Doña Francisquita (excerpts)
GERÓNIMO GIMÉNEZ (1854–1923)
6 El baile de Luis Alonso: Intermedio
VICENTE LLEÓ BALBASTRE (1870–1922)
7 La corte de Faraón: Son las mujeres de Babilonia – ¡Ay ba!
PABLO LUNA (1879–1942)
8–10 El Niño Judio (excerpts)
TOMÁS BRETÓN (1850–1923)
11–13 La Verbena de la Paloma (excerpts)
Ángeles Chamorro, Alicia de la Victoria, sopranos · Norma Lerer, contralto
Angel Custodio, Gregorio Gil, Carlo del Monte, tenors
Rafael Enderis, baritone
Julio Catania, Jesus Coiras, José Granados, Antonio Lagar, José Le Matt, basses
Coro y Orquesta Sinfónica de la RTV Española
Alberto Blancafort, chorus master
CD 26
MANUEL PENELLA (1880–1939)
1 El Gato Montés: Pasadoble
FRANCISCO ALONSO (1887–1948)
2 La Calesera: Dice el Rey que le debe guardar
RUPERTO CHAPÍ Y LORENTE (1851–1909)
3–4 La Revoltosa (excerpts)
FEDERICO CHUECA (1846–1908)
5 Agua, Azucarillos y Aguardiente: Vivimos en la Ronda de Embajadores
GERÓNIMO GIMÉNEZ (1854–1923)
6 La Tempranica: Zapateado
7 La boda de Luis Alonso: Intermedio
RUPERTO CHAPÍ Y LORENTE (1851–1909)
8 El tambor de Granaderos: Preludio
FRANCISCO ASENJO BARBIERI (1823–1894)
9–11 El barberillo de Lavapiés (excerpts)
RUPERTO CHAPI Y LORENTE (1851–1909)
12 El Rey que Rabio: Coro de doctores
GERÓNIMO GIMÉNEZ (1854–1923)
13 Enseñanza Libre: Gavota
MANUEL FERNANDEZ-CABALLERO (1835–1906)
14 Gigantes y Cabezudos: Jota
Ángeles Chamorro, Alicia de la Victoria, sopranos · Norma Lerer, contralto
Carlo del Monte, José Antonio Viñe, tenors · Antonio Lagar, bass
Orquesta Sinfónica y Coros de la RTV Española
Alberto Blancafort, chorus master
CD 25 – CD 26
Recordings: Cinema Monumental, Madrid, Spain, October 1967
Original Philips Release: 802 716–7
*FIRST COMPLETE RELEASE ON CD OF ‘ANTOLOGIA DE LA ZARZUELA’
STEREO RECORDINGS
