Maurice RAVEL (1875-1937)
Piano Concerto in G major (1931) [20:27] ¹
Piano Concerto in G major (1931) [22:21] ²
Darius MILHAUD (1892-1974)
Piano Concerto No.1 op.127 (1933) [12:25]
L’automne Op.115 No.2 Alfama (1932) [2:38]
Saudades do Brazil Op.67 No.12 Paysandú (1920-21) [1:46]
Claude DEBUSSY (1862-1918)
Arabesques 1 Andantino con moto [3:21]: 2 Allegretto scherzando (1888-91)
[3:12]
Estampes - Jardins sous la pluie (1903) [3:08]
La plus que lente (1910) [3:38]
Marguerite Long (piano)
Orchestre Symphonique/Pedro de Freitas Branco ¹
Orchestre de la Société des Concerts du Conservatoire/Georges Tzipine ²
rec. Paris 1932-52
PRISTINE AUDIO PASC 285 [72:56] 
This disc gives us the rare opportunity to hear Marguerite Long perform on
a single disc the Ravel Concerto in the two recordings she made. The first
was made in 1932, conducted by Pedro de Freitas Branco – the long fiction
that this was conducted personally by the composer was ended years ago – and
the second followed twenty years later, when Georges Tzipine was the conductor.
The earlier recording is the one more often encountered on disc, so it’s good
to hear the later version, though not everyone will be keen as mustard to
have the duplication.
The 1932 performance is brisk, business-like, rather boxily recorded, and
sometimes indifferently performed by the anonymous orchestra. That said, it
has real personality and a sense of occasion. Long is far faster here in the
first two movements than she was in the 1952 recording. This has the advantage
of strong, rhythmic dynamism, but the disadvantage of seeming slightly matter-of-fact
in the slow movement. In her second recording she is more circumspect, and
occasionally this leads to a slight feeling of a lack of direction in the
first movement. I do, however, prefer the generosity of phrasing in the Adagio
assai where she adds a minute and a quarter to her earlier recording’s
timing, and it makes a difference. It’s now less chipped and brittle, rounder
of tone and more long-breathed in phrasing – less detached, really, and less
objectified, albeit more conventionally beautiful. Some may yet prefer the
more taut construction of the 78 set.
There’s also the chance to hear Milhaud’s go-getting pocket 1933 First Piano
Concerto – all twelve or so minutes of it – in this first-ever 1935 recording
with the composer this time very definitely on the rostrum. This is a juicy,
freewheeling and virtuosic work that plumbs absolutely no expressive depths
and doesn’t mean to either. The highlight, of the work and the recording,
is the lovely fluid Barcarolle second movement which is very lightly
textured, well balanced – the violin and wind balancing is good here – and
played beautifully. Then Long unleashes some powerful chordal roulades in
the mock pompous finale.
The ‘fillers’ are just as good; more Milhaud solo works where the brio of
Alfama contrasts with the brooding Paysandú, and then a perhaps
even more important quartet of Debussy works. There are the Arabesques, a
glittering and excellently recorded Jardins sous la pluie, and a lovely
La plus que lente. Given her position as a leading exponent of the
composer’s music these are important documents – as indeed is everything on
this well transferred and engaging disc.
Jonathan Woolf
This well transferred and engaging disc.