Editorial Board
MusicWeb International
Founding Editor Rob Barnett Editor in Chief
John Quinn Contributing Editor Ralph Moore Webmaster
David Barker Postmaster
Jonathan Woolf MusicWeb Founder Len Mullenger
French Orchestral Music Georges BIZET(1838-1875)
Carmen – Suite No.1 [10:43]
Patrie – overture [12:33] *
Roma – carnaval [7:14] * Emmanuel CHABRIER (1841-1894)
Gwendoline – Overture [9:24]
Joyeuse Marche [3:44] *
España – Rapsodie [6:05] # Gabriel FAURÉ (1845-1924)
Dolly – Suite Op.56 orchestrated by Henri Rabaud [17:52] Camille SAINT-SAËNS (1835-1921)
Le Rouet d’Omphale Op.31 [9:22] *
Orchestre
National de la Radiodiffusion Française, Royal Philharmonic
Orchestra
*,
London Philharmonic Orchestra #/Thomas Beecham
rec. Salle Wagram, Paris 1957-59; No.1 Studio, Abbey Road, London 1957 (Saint-Saëns;
Joyeuse); No.1 Studio, Abbey Road, London 1939 (España);
Walthamstow Assembly Hall, London 1956 (Patrie) EMI CLASSICS
GREAT RECORDINGS OF THE CENTURY 3799862 [77:35]
This is one of Beecham’s
stamping grounds and is now revivified by EMI in their GROC
incarnation. Some were enshrined together on LP – Dolly,
Carmen and Gwendoline shared vinyl space together.
But Beecham’s industry in the recording studios was legendarily
complicated and recordings could span not merely sessions
but years. So some of these tracks were made with the Orchestre
National de la Radiodiffusion Française at the Salle Wagram
during the period 1957-59. Others were made in 1957 with
Beecham’s RPO. And one, the only pre-War side, was that famous
and stunning recording of España made with the LPO
on 1939.
The Carmen Suite
was recorded during June 1958. The performance is galvanizing
and brilliant but has all Beecham’s characteristic wit and
lightness of touch in this repertoire as well, notably in
the Act II Entr’acte. There is a very brief moment of drift
across the channels at 1:50 in the Prelude to Act I but whilst
disconcerting it passes in a flash. In an earlier Paris session
Beecham and the orchestra set down Chabrier’s rather Wagnerian Gwendoline Overture.
This has all the hallmarks of a joyous Beecham performance – and
real electricity. There’s tangible sentiment in the phrasing,
powerful and vibrant trumpet calls, energetic wind pointing.
The urgency and zest of the climax is breathtaking, with
Beecham whipping up his band with inimitable fervour.
The Dolly Suite
is heard in the Rabaud orchestration. Beecham’s attention
to detail is nowhere more in evidence here than in his shaping
of lines, his obvious care over string part markings and
the warmly balanced textures he evokes. Tenderness and gentle
wit mark out this well loved reading. Saint-Saëns’s Le
Rouet d’Omphale is a molten melodrama in Beecham’s hands
and the rest of the programme no less intoxicating. Chabrier’s Joyeuse
Marche features the RPO and in particular their charismatic
wind section. It’s true that the obviously more dated 78
sound of España causes an aural jolt but the playing
is famously triumphant. The Bizet twosome is once more with
the RPO in recordings made in London and Paris. Patrie has
always seemed to me to have to been the kind of work in which
Dvorak was interested – especially in the wind writing which
has a Bohemian tang.
To everything in this collection
Beecham brings sensitivity, élan, warmth and dynamism. No
hesitation required.
Reviews
from previous months Join the mailing list and receive a hyperlinked weekly update on the
discs reviewed. details We welcome feedback on our reviews. Please use the Bulletin
Board
Please paste in the first line of your comments the URL of the review to
which you refer.