Markevitch - The Philips Legacy

Nearly all of Igor Markevitch’s recorded legacy is now available in three convenient boxes:-- "Igor Markevich Icon" HMV/EMI recordings (18 CDs, 1950-1959 = 16 mono + 2 stereo). Surprisingly, 95% of the music in this box is NOT duplicated by the Deutsche Grammophon or Philips boxes. For a list, see my Amazon review of “Igor Markevich Icon”.-- “Igor Markevitch Deutsche Grammophon Legacy” (21 CDs, 1953-1965 = 11½ mono + 9½ stereo).-- “Igor Markevitch Philips Legacy” (26 CDs, 1959-1968, all are stereo).Igor Markevitch was a French conductor who was stereotyped as Russian solely because of his name.His parents emigrated to Paris in 1914 when Igor was two years old.Between 1957 and 1961, he was Music Director of the Concerts Lamoureux in Paris (recordings on DG and EMI).Before Lamoureux, he recorded with the Philharmonia and French National Orchestras for EMI, and with the Berlin Philharmonic for DG.After Lamoureux, he recorded with with the Czech Philharmonic for DG, and with the London Symphony, Amsterdam Concertgebouw, and the Orquesta Sinfonica de la RTV Española for Philips.PHILIPS LEGACY:Igor Markevitch resisted the Russian stereotype - when he finally visited Russia in 1960, the major work he recorded was Verdi’s Requiem with the Moscow Philharmonic (in this box).Even so, the Philips years were Markevitch’s most “Russian” time in the recording studio (11 of 26 CDs).Markevitch was the first conductor to record all the Tchaikovsky Symphonies (including Manfred).Great performances, even though they don’t really sound all that “Russian”.Surprise! Leonard Bernstein recorded the most stereotypically “Russian” cycle of Tchaikovsky Symphonies: Unashamedly heart-on-sleeve, even flirting with vulgarity, a style he learned from his mentor Serge Koussevitzky (my favorite set, available on Sony).The Philips Legacy CDs are in “original jacket” format in a cardboard box with a 48 page booklet.-- According to Eloquence’s advertising, the 1960 Verdi Requiem, recorded in Moscow, appears in stereo for the first time, but I’m not so sure. The sound is congested, without a lot of channel separation (something more than mono but less than stereo when listened to over headphones). It has it's moments, but is mostly a mess. Still a fabulous performance. Russian stereo had improved by his return visit in 1962.-- Zarzuela is a uniquely Spanish form of operetta. In 1967 Markevitch recorded a two LP set of Zarzuela highlights (see photo) with the Orquesta Sinfonica de la RTV Española. In 1992 Philips released 72 minutes on a single CD, but this is the first complete release of “Antologia de la Zarzuela” on two CDs (106 minutes).Other than these, Eloquence makes no claims about remastered sound.Even so, everything here sounds good to me, but I’m old.COMBINED CONTENTS OF DEUTSCHE GRAMMOPHON AND PHILIPS LEGACIES:see the end of the list for “Spanish Music of the 16th to 18th Centuries” and “Zarzuela”.Stereo unless otherwise indicated:ALBÉNIZ: Catalonia: Orquesta de la RTV Española (1968) PHILIPSAUBER: La muette de Portici Overture: Lamoureux Orchestra (1961) DGBEETHOVEN:-- Symphony No.1: Lamoureux Orchestra (1960) PHILIPS-- Symphony No.3 ‘Eroica’ Symphony of the Air (1957 mono) DG-- Symphony No.5: Lamoureux Orchestra (1959) PHILIPS-- Symphony No.6 ‘Pastoral’ Lamoureux Orchestra (1957 mono) DG-- Symphony No.8: Lamoureux Orchestra (1959) PHILIPS-- Symphony No.9 (Gueden, Heynis, Uhl, Rehfuss) Lamoureux Orchestra (1961) PHILIPS-- Piano Concerto No.3 with Clara Haskil: Lamoureux Orchestra (1959) PHILIPS-- Overtures (Coriolan, Egmont, Fidelio, Leonore III, Namensfeier, Weihe des Hauses) Lamoureux Orchestra (1958) DGBERG: Violin Concerto with Arthur Grumiaux: Amsterdam Concertgebouw (1967) PHILIPSBERLIOZ:-- Symphonie fantastique:------- 1953: Berlin Philharmonic (mono) DG------- 1961: Lamoureux Orchestra (stereo) DG-- Harold in Italy (Heinz Kirchner viola) Berlin Philharmonic (1955 mono) DG-- Damnation of Faust (Verreau, Rubio, Roux) Lamoureux Orchestra (1959) DGBERWALD: Symphonies No.3 & 4: Berlin Philharmonic (1955 mono) DGBIZET:-- L’Arlésienne Suites 1 & 2: Lamoureux Orchestra (1960) PHILIPS-- Carmen Suites 1 & 2: Lamoureux Orchestra (1960) PHILIPS-- Jeux d’enfants:------- 1957: Lamoureux Orchestra (mono) DG------- 1965: USSR Symphony (stereo) PHILIPSBORODIN: Prince Igor Polovtsian Dances with Chorus: Amsterdam Concertgebouw (1964) PHILIPSBRAHMS:-- Symphony No.1: Symphony of the Air (1956 mono) DG-- Symphony No.4: Lamoureux Orchestra (1958) DG-- Tragic Overture: USSR Symphony (1963) PHILIPS-- Alto Rhapsody (Irina Arkhipova) USSR Symphony (1963) PHILIPSCHABRIER: España Rhapsody: Orquesta de la RTV Española (1966) PHILIPSCHERUBINI:-- Anacréon Overture: Lamoureux Orchestra (1961) DG-- Requiem for Male Chorus and Orchestra: Czech Philharmonic (1962) DGCHOPIN: Piano Concerto No. 2 with Clara Haskil: Lamoureux Orchestra PHILIPSCIMAROSA: Concerto for two Flutes with Nicolet, Demmler: Berlin Philharmonic (1954 mono) DGDEBUSSY:-- La Mer: Lamoureux Orchestra (1959) DG-- Danse sacrée et Danse profane: Lamoureux Orchestra (1959) DGESPLÁ: De Profundis: Orquesta y Coros de la RTV Española (1966) PHILIPSFALLA:-- El amor brujo (Ines Rivadeneyra contralto) Orquesta de la RTV Española (1966) PHILIPS-- Nights in the Gardens of Spain with Clara Haskil piano: Lamoureux Orchestra (1960) PHILIPS-- Siete Canciones populares españolas (orch. Markevitch) (Ángeles Chamorro soprano) Orquesta de la RTV Española (1968) PHILIPSGLINKA: Ruslan and Ludmila Overture: Lamoureux Orchestra (1959) DGGLUCK: Sinfonia in G major: Lamoureux Orchestra (1958) DGGOUNOD:-- Symphony No.2: Lamoureux Orchestra (1957 mono) DG-- Messe solennelle de Sainte Cécile (Seefried, Stolze, Uhde) Czech Philharmonic (1965 DGGRANADOS:-- Goyescas: Intermezzo: Orquesta de la RTV Española (1968) PHILIPS-- Spanish Dances, Op. 37 No.4,8,9: Orquesta de la RTV Española (1968) PHILIPS-- Zapateado: Orquesta de RTV Española (1968) PHILIPSHALFFTER:-- Fanfare a la memoria de Enrique Granados: Orquesta de la RTV Española (1968) PHILIPS-- Canticum in P.P. Johannem XXIII: Orquesta y Coros de la RTV Española (1966) PHILIPSHAYDN:-- Symphonies No.103 & 104: Lamoureux Orchestra (1959) PHILIPS-- Sinfonia concertante: Lamoureux Orchestra (1957 mono) DG-- Die Schöpfung (Seefried, Holm, Borg) Berlin Philharmonic (1955 mono) DGHONEGGER: Symphony No.5 ‘Di tre re’ Lamoureux Orchestra (1957) mono DGKODÁLY: Psalmus Hungaricus with Róbert Ilosfalvy tenor: USSR Symphony (1963) PHILIPSLIADOV: Fragment de l’Apocalypse: Lamoureux Orchestra 1960 DGMILHAUD: Les Choéphores (Moizan, Bouvier, Rehfuss) Lamoureux Orchestra (1957 mono) DGMOMPOU: Los Improperios: Orquesta y Coros de la RTV Española (1968) PHILIPSLEOPOLD MOZART: Toy Symphony (Cassation in G major) USSR Symphony (1965) PHILIPSMOZART:-- Symphony No.34 with minuet k409: Berlin Philharmonic (1954 mono) DG-- Symphony No. 35 ‘Haffner’ Lamoureux Orchestra (1957 mono) DG-- Symphony No.38 ‘Prague’ Berlin Philharmonic (1954 mono) DG-- Bassoon Concerto with Maurice Allard: Lamoureux Orchestra (1958) DG-- Piano Concerti No.20 & 24 with Clara Haskil: Lamoureux Orchestra (1960) PHILIPS-- Mass k317 ‘Coronation Mass’------- 1954: (Stader, Wagner, Krebs, Greindl) Berlin Philharmonic (mono) DG------- 1959: (Stader, Dominguez, Haefliger, Roux) Lamoureux Orchestra (stereo) DGMUSSORGSKY:-- Pictures at an Exhibition (orch. Ravel): Berlin Philharmonic (1953 mono) DG-- Six songs (orch. Markevitch) (Galina Vishnevskaya soprano) USSR Symphony (1965) PHILIPSRAVEL: Boléro: Orquesta de la RTV Española (1966) PHILIPSRIMSKY-KORSAKOV:-- Scheherazade: London Symphony (1962) PHILIPS-- Capriccio Espagnol: London Symphony (1962) PHILIPS-- Le Coq d’or Suite: Lamoureux Orchestra (1958) DG-- May Night Overture: Lamoureux Orchestra (1958) DG-- Russian Easter Overture:------- 1957: Lamoureux Orchestra (mono) DG------- 1964: Amsterdam Concertgebouw (stereo) PHILIPSROUSSEL: Bacchus et Ariane Suite No.2: Lamoureux Orchestra (1958) DGSCHUBERT: Symphonies No.3 & 4: Berlin Philharmonic (1954 mono) DGSTRAVINSKY:-- Symphony of Psalms with Academic Choir: Russian State Orchestra (1962) PHILIPS-- Apollon musagète (1947 version) London Symphony (1963) PHILIPS-- Circus Polka: London Symphony (1963) PHILIPS-- Four Norwegian Moods: London Symphony (1963) PHILIPS-- Suites No. 1 and 2 for Small Orchestra: London Symphony (1963) PHILIPS-- L’Histoire du Soldat (with Jean Cocteau, Peter Ustinov), chamber ensemble (1962) PHILIPSTCHAIKOVSKY:-- Symphonies No.1-6: London Symphony (1962-1967) PHILIPS-- Symphony No. 6 ‘Pathétique’: Berlin Philharmonic (1953 mono) DG-- Manfred Symphony: London Symphony (1963) PHILIPS-- Francesca da Rimini:------- 1959: Lamoureux Orchestra (stereo) DG------- 1967: New Philharmonia (stereo) PHILIPS-- Hamlet: New Philharmonia (1967) PHILIPS-- 1812 Overture: Amsterdam Concertgebouw (1964) PHILIPSTCHEREPNIN: Tàti-Tàti (Olga Rostropovich, age 6, piano) USSR Symphony (1965) PHILIPS VERDI:-- Requiem (Vishnevskaya, Isakova, Ivanovsky, Petrov) Moscow Philharmonic (1960) PHILIPS-- Aida Overture: New Philharmonia (1967) PHILIPS-- La forza del destino Sinfonia: New Philharmonia (1967) PHILIPS-- Giovanna d’Arco Overture: New Philharmonia (1967) PHILIPS-- Luisa Miller Overture: New Philharmonia (1967) PHILIPS-- Macbeth Ballet Music: New Philharmonia (1967) PHILIPS-- La traviata Preludes to Acts 1 & 3: New Philharmonia (1967) PHILIPS-- Vespri siciliani Overture: New Philharmonia (1967) PHILIPSWAGNER:-- Lohengrin Preludes to Acts 1 & 3: Lamoureux Orchestra (1958) DG-- Tannhäuser Overture: Lamoureux Orchestra (1958) DG-- Tannhäuser Venusberg Music (Bacchanale): Berlin Philharmonic (1954 mono) DG-- Siegfried Idyll: Berlin Philharmonic (1954 mono) DG-- Die Walküre Ride of the Valkyries: Berlin Philharmonic (1954 mono) DGWEBER: Preciosa Overture: Orquesta de la RTV Española (1966) PHILIPSINTERVIEW WITH IGOR MARKEVITCH (in English) 1957 DG---------------------------------------------------------------------------------------------------------SPANISH MUSIC OF the 16th to 18th CENTURIES:recorded 1966-1968 on PHILIPS:performed by Escolania de nuestra Señora del Buen Retiro, and Orquesta y Coros de la RTV Española:TOMÁS LUIS DE VICTORIA (1548-1611):-- Ave Maria and Vexilla regis-- Magnificat primi toniIGNACIO RAMONEDA (1735–1781): Veni CreatorPADRE JAIME FERRER (1762–1824): Lamentación 1aANTOLOGIA DE LA ZARZUELArecorded 1967: soloists, Orquesta y Coro de la RTV Española on PHILIPS:FRANCISCO ALONSO: La Calesera: Dice el Rey que le debe guardarVICENTE LLEÓ BALBASTRE: La corte de Faraón: Son las mujeres de Babilonia – ¡Ay ba!FRANCISCO ASENJO BARBIERI: El barberillo de Lavapiés (excerpts)TOMÁS BRETÓN: La Verbena de la Paloma (excerpts)UPERTO CHAPÍ Y LORENTE:-- La Revoltosa (excerpts)-- El tambor de Granaderos: Preludio-- El Rey que Rabio: Coro de doctorsFEDERICO CHUECA: Agua, Azucarillos y Aguardiente: Vivimos en la Ronda de EmbajadoresMANUEL FERNANDEZ-CABALLERO: Gigantes y Cabezudos: JotaGERÓNIMO GIMÉNEZ:-- La Tempranica (excerpts)-- El baile de Luis Alonso: Intermedio-- La Tempranica: Zapateado-- La boda de Luis Alonso: Intermedio-- Enseñanza Libre: GavotaPABLO LUNA: El Niño Judio (excerpts)MANUEL PENELLA: El Gato Montés: PasadobleAMADEO VIVES: Doña Francisquita (excerpts)------------------------------------------------------------------------------------------------HMV RECORDINGS NOT IN THE DG OR PHILIPS BOXES:About 95% of the music in the Warner “Igor Markevitch Icon” box was not re-recorded for DG or Philips.ONLY FIVE RECORDINGS ARE STEREO: Britten Young Person’s Guide to the Orchestra / Prokofiev Peter & the Wolf / Stravinsky Rite of Spring / Tchaikovsky Romeo & Juliet + Nutcracker Suite.Mono unless otherwise indicated:(ORTF = French National Radio Orchestra)BACH: Musical Offering (orch. Markevitch): ORTF (1956)BARTOK: Dance Suite: Philharmonia (1954)BRAHMS: Variations on a Theme of Haydn: Philharmonia (1951)BRITTEN: Young Person's Guide to the Orchestra:------- 1952 with Peter Pears (in English) Philharmonia mono------- 1969 with Peter Ustinov (in French) Orchestre de Paris STEREOBUSONI: Tanzwalzer: Philharmonia (1954)CHABRIER: Le Roi malgré lui: Fête Polonaise: Philharmonia (1952)CHOPIN: Les Sylphides Mazurka: Philharmonia (1954)DALLAPICOLLA: Canti di Prigionia: Santa Cecilia Orch. (1954)DEBUSSY: Prélude à l'après-midi d'un faune: Philharmonia (1954)DUKAS: Sorcerer's Apprentice: Philharmonia (1952)FALLA: El Sombrero de Tres Picos three dances: Philharmonia (1952)GLINKA: ‘A Life for the Tsar’ complete opera: Lamoureux (1957)HANDEL: Concerto Grosso Op.6,No.5: Philharmonia (1950)HAYDN: Symphonies No.101 & 102: ORTF (1955)LIADOV: Kikimora: Philharmonia (1954)LISZT: Mephisto Waltz: Philharmonia (1954)MARKEVITCH:-- L'Envol d'Icare: Belgian National Orchestra (1938)-- Le Nouvel Âge: Belgian National Orchestra (1938)MENDELSSOHN: Symphony No.4: ORTF (1955)MOZART: German Dance K605,No.3 'Die Schlittenfahrt' Philharmonia (1954)MUSSORGSKY: Night on Bare Mountain: ORTF (1954)OFFENBACH: ‘La Perichole’ complete opera: Lamoureux (1958)PROKOFIEV:-- Symphony 1 'Classical' Philharmonia (1952)-- Peter and the Wolf------- 1950 with Wilfred Pickles (English) Philharmonia (1950) mono------- 1969 with Peter Ustinov (French) Orchestre de Paris (1969) STEREO-- Love for Three Oranges Suite: ORTF (1955)-- Le Pas d'Acier Suite: Philharmonia (1954)-- Scythian Suite: ORTF (1955)RAVEL:-- Daphnis et Chloé Suite No.2: Philharmonia (1954)-- La Valse: Philharmonia (1952)ROSSINI: Overtures (Barbiere di Siviglia, Cenerentola, Gazza ladra, L'Italiana in Algeri, Scala di seta, William Tell) ORTF (1957)SAINT-SAENS:-- Danse macabre: Philharmonia (1954)-- Le carnaval des animaux (Geza Anda & Bela Síki pianos) Philharmonia (1954)SATIE: Parade: Philharmonia (1954)SCARLATTI: Good-humoured Ladies (orch. Tommasini) Philharmonia (1954)SCHUBERT: Symphony 8 'Unfinished' ORTF (1955)SHOSTAKOVICH: Symphony No.1: ORTF (1955)SIBELIUS: Valse Triste: Philharmonia (1954)R. STRAUSS:-- Le Bourgeois Gentilhomme Suite: ORTF (1956)-- Till Eulenspiegels lustige Streiche: ORTF (1956)STRAVINSKY:-- The Rite of Spring:------- 1951 Philharmonia mono------- 1959 Philharmonia STEREO-- Pulcinella Suite: ORTF (1954)-- Le Baiser de la Fée Divertimento: ORTF (1954)-- Petrushka Suite: Philharmonia (1954)TCHAIKOVSKY:-- Nutcracker Suite: Philharmonia (1959) STEREO-- Romeo & Juliet:------ 1954 ORTF mono------ 1959 Philharmonia STEREO-- Swan Lake, Op. 20: Philharmonia (1954)-VERDI: Battaglia di Legnano Overture: Philharmonia (1951)-WEBER: Invitation to the Dance:------ 1950 Philharmonia mono------ 1954 Philharmonia mono

26 CD's covering the complete Philips recordings of one of the last century's finest conductors. Tchaikovsky lovers will rejoice at the complete symphonies and many overtures included here. Four Beethoven symphonies but no Brahms, Schubert or Schumann... I guess he had his preferences.

The superb Eloquence label continues to provide gift upon gift to grateful collectors. A new 26-CD set comprises the complete Philips recordings of conductor Igor Markevitch (1912-1983). Eloquence has concurrently issued Markevitch’s entire DGG catalogue on 21 discs, a release I review in this issue as well. Many of the Philips recordings receive either their first Decca CD release, or first international CD release (for a full accounting of that aspect, see: eloquenceclassics.com/releases/igor-markevitch-the-philips-legacy/). The Eloquence DGG and Philips sets are of the utmost importance, and both assume the top position among my 2022 Want List candidates. Igor Markevitch was born in Kiev on July 27, 1912. In 1913, Markevitch’s family left Russia for Switzerland, where the young Igor heard Ernest Ansermet conduct his Orchestre de la Suisse Romande. Igor Markevitch displayed considerable musical potential. In 1925, Markevitch, at the introduction of pianist Alfred Cortot, began studies at the École Normale in Paris. There, Markevitch studied piano with Cortot, and composition with Nadia Boulanger. Sergei Diaghilev invited Markevitch to compose a new piano concerto for the Ballets Russes, as part of the troupe’s London tour. Markevitch was the soloist in the work’s 1929 London premiere, conducted by Roger Desormière. Igor Markevitch quickly emerged as one of the world’s most gifted young composers (several of the releases by Marco Polo/Naxos of Markevitch’s Complete Orchestral Works have received glowing reviews from my Fanfare colleagues). In the 1930s, Markevitch studied conducting with Hermann Scherchen. At the invitation of Pierre Monteux, Markevitch made his conducting debut with the Amsterdam Concertgebouw Orchestra in 1933, leading the premiere of his composition Rebus. Markevitch studied conducting with Monteux as well. In the early 1940s Markevitch was in Italy, where he joined the Italian partisan movement. The Allied occupying forces invited Markevitch to become the conductor of the Florence May Festival. At this point, Markevitch began to make conducting the focus of his musical life. Igor Markevitch established himself as a conductor of international importance, appearing as guest with major ensembles around the world. During his career, Markevitch held several principal conductor posts, his best known with the Lamoureux Orchestra (1957-1961). Markevitch was also an influential teacher; Hebert Blomstedt was one of his pupils.Markevitch was a prolific recording artist. In addition to his recordings for DGG and Philips, Markevitch made numerous discs for HMV (available complete on an 18-disc Warner Classics Icon release). And both in terms of quantity and quality, Igor Markevitch’s recorded legacy ranks among the finest. Several factors contributed to Markevitch’s success as a recording artist. Markevitch was a master technician, someone who had the ability to draw from orchestras precisely the execution and interpretation he desired. A video of Markevitch conducting the Orchestre National de l’ORTF at the 1968 Bésançon International Festival is both revealing and instructive. Markevitch conducts the orchestra in Wagner’s Tannhäuser Overture and Prelude and Liebestod from Tristan und Isolde. They are superb performances, masterfully sculpted and beautifully played. It is clear in these concert performances (and all the recordings on the Eloquence DGG and Philips sets) that Markevitch had a keen understanding of the architecture of the music, and how to pace it so as to achieve optimal impact. The Bésançon video documents Markevitch’s economical and highly effective technical approach. Markevitch’s beat, indicated by the baton in his right hand, is straightforward and crystal clear. Markevitch also makes frequent use of his left hand for matters of articulation and expression (the conductor’s long, elegant fingers serve as a subsidiary baton). Markevitch also uses his eyes for cuing, with an authoritative focus and seriousness of purpose that no doubt could be intimidating. Throughout the performances, Markevitch avoids all extraneous body movements and facial expressions. Even when Markevitch turns to one side of the stage or the other to communicate with a section of the orchestra, his lower body remains firmly planted and directed toward the center. It’s clear that Markevitch never kept his orchestra in limbo or suspense about what he wanted it to do.All these qualities served Markevitch well both live performances and recordings. With regard to the latter, Markevitch fully embraced both the process of making recordings, and the unique qualities they brought to music performance and communication with audiences. Markevitch believed that recording made orchestras far better performing ensembles. In his excellent liner notes for the Eloquence Philips set, Peter Quantrill cites Markevitch’s comment in an interview with High Fidelity: “An orchestra that has recorded plays twice better than one that has never recorded.” Markevitch also believed that recordings afforded the opportunity to achieve instrumental balances and clarity of voicing not possible in the concert hall: “Proportions are not always well constructed by composers…To restore the balance is part of the real art of recording.” And by way of illustration, there is Markevitch’s 1962 recording of the Tchaikovsky “Pathétique” with the LSO. Markevitch highlights the work’s seminal theme, from the opening bassoon solo to the work’s close, with an arresting (and perhaps unique) presence and clarity. At the same time, there is not a hint of artificial spotlighting in the recording perspective. Markevitch would pace a work differently in concert and recordings: “To get the truth in recording, you have to change a bit.” In the recording studio, Markevitch was inclined to narrow the boundaries of tempo extremes. That said, Markevitch’s recordings lack neither variety nor flexibility of pacing. But there is a complete lack of eccentricity or egoism in his interpretations. Markevitch brought a composer’s respect to the creations of his predecessors and contemporaries: “In a recording I am making a photograph, but a photograph of the composer’s score, not my performance. I, as Markevitch must move into the picture only to give something alive.” In that sense, Markevitch’s approach is closer to that of Monteux than Scherchen (to cite his two early conducting mentors). I don’t think there is a substandard recording to be found in the Eloquence DGG and Philips sets. All are excellent, and many are among the greatest ever made of the works in question. If a listener used these two sets as introductions to the featured repertoire, (s)he’d be off to an impeccable start.The first disc in the Eloquence Philips Markevitch retrospective sets the stage and standards for all that follows. The Haydn Symphonies Nos. 103 and 104 with the Lamoureux Orchestra, made in 1959, constituted Markevitch’s Philips debut. The slow-tempo introduction that opens the Haydn “Drumroll” is ideal both in pacing and textural clarity. Markevitch allows us to hear every instrumental component in perfect balance with the other (and the drumroll is appropriately mysterious and insinuating). And while Markevitch observes Haydn’s Adagio tempo marking, the music never drags. Rather, the tension and suspense build, so that the ensuing Allegro con spirito, taken at a brisk clip and impeccably articulated, provides the utmost contrast. This level of concept and execution continues throughout both Haydn symphonies. Interesting, then, that Quantrill includes some insights from Markevitch about Haydn interpretations and performances that, in addition to being most instructive, are notably self-effacing. Markevitch clearly views Haydn as a precursor to Beethoven’s robust “new path”. The same holds true for his Mozart, here represented by the Piano Concertos Nos. 20 and 24, with Clara Haskil as soloist (as a child, Markevitch heard Haskil as soloist with the Suisse Romande O). These are vibrant performances, brimming with character and energy (as are the artists’ recordings of the Beethoven 3 and Chopin 2). The Beethoven Symphonies Nos. 1, 5, 8, and 9 are all with the Lamoureux O (the French horns in the trio of the 8th sound very French, indeed!). Markevitch embraces Beethoven’s revolutionary voice with pungent accents and brisk tempos. Still, Markevitch knows when to highlight Beethoven’s lyrical voice, as in his interpretation of the third movement of the 9th, expansive in tempo and brimming with song (this, after a blazing account of the scherzo).Markevitch was a superb advocate for his fellow 20th century composers. A 1967 recording of the Berg Violin Concerto, with Arthur Grumiaux and the Concertgebouw O never loses sight of the work’s Romantic lineage, without lapsing into excessive sentimentality. Grumiaux and the Concertgebouw play in radiant fashion. There is also a stirring account of the Kodály Psalmus Hungaricus. The Brahms Tragic Overture and Alto Rhapsody (the latter with the magnificent Irina Arkhipova) on the same disc are remarkable performances. They emphasize the somber elements of Brahms’s vision with measured tempos and the dark colors Markevitch inspires from the USSR State SO. The stylish and lively accounts of the Bizet Carmen and L’Arlésienne Suites (Lamoureux) on the following disc are a pleasing reminder of Markevitch’s versatility.Markevitch’s Tchaikovsky Symphony cycle (including Manfred) with the London Symphony Orchestra is one of my favorites. The LSO plays gorgeously, and Markevitch’s genius for delineating instrumental textures is a constant source of gratification. Those seeking a highly romanticized view of Tchaikovsky, replete with thick orchestral sonorities, broad application of rubato, and juxtapositions of extreme tempos, will have to look elsewhere. But under Markevitch’s inspired direction, the lyrical and dramatic elements of Tchaikovsky’s scores are given full measure, all the while maintaining inner tension and momentum. And so, a work like Tchaikovsky’s Manfred, which can overstay its welcome in the hands of lesser interpreters, is a riveting experience. Markevitch’s recordings of Tchaikovsky’s Francesca da Rimini and Hamlet with the New Philharmonia O are also included with this cycle. They are fine performances, but Markevitch’s white hot Francesca with the Lamoureux (on the DGG set) is my preferred version. The discs of orchestral showpieces by Tchaikovsky, as well as fellow Russians Rimsky-Korsakov and Borodin are equally impressive. The Scheherazade (LSO) is, once again, among the finest of all recorded versions. Two marvelous discs of Stravinsky works are highlighted by a superb performance of L’Histoire du Soldat, with Jean Cocteau as the Narrator, Peter Ustinov as the Devil, and a crack instrumental ensemble that includes Maurice André on trumpet. A recording of six songs by Mussorgsky, imaginatively and beautifully orchestrated by Markevitch and sung by Galina Vishnevskaya (at the peak of her vocal and dramatic powers), is pure gold. That recording is coupled with charming works based upon themes relating to children.Instrumental excerpts from Verdi operas, performed by Markevitch and the New PO, are unerringly paced and beautifully executed. It’s a shame that Markevitch did not record more of this repertoire, including complete Verdi operas. An Otello well cast and led by Markevitch could have been something to treasure. That sentiment is redoubled for me by the ensuing Verdi Requiem, recorded in Moscow in 1960. As in the case of the previous Brahms pieces, Markevitch emphasizes the Verdi Requiem’s pain and despair with a measured and intense approach. That pacing makes the appearances of the Dies irae, taken at a contrastingly ferocious clip, all the more impactful and bone-chilling. The capable quartet of vocal soloists is led by Vishnevskaya, once again in riveting form. The Russian State Academy Choir has a Slavic edge and dark, bass-oriented sonority that complement Markevitch’s approach. While I would not want this to be my only Verdi Requiem, it nonetheless retains an important and valued place in my collection.In 1965, Markevitch helped found the Spanish Radio and Television Orchestra (Orquestra Sinfónica de la RTV Española). In addition to leading that ensemble, Markevitch taught conducting at Madrid’s Royal Conservatory. The final 6 discs spotlight Markevitch’s work with the RTV Española. In Quantrill’s liner notes, Markevitch observes: “My repertory runs from Purcell to Dallapiccola. To be a really complete musician you should never be a specialist…something like The Rite of Spring is not a work in itself. You must know those centuries. Versatility is needed to play it.” The two lovely discs of Spanish choral music spanning the 16th through the 20th centuries, are testament to Markevitch’s creed. Discs 23 and 24 present works by de Falla, Albéniz, Ernesto Halffter, Granados, Chabrier, and Ravel. Markevitch secures his characteristic high level of execution from the RTV Española (Haskil and Lamoureux in the Falla Nights in the Gardens of Spain), and the performances all have a marvelous energy, coupled with a warm embrace of Spanish melodies and dance rhythms. Again, Markevitch’s versatility is quite astounding, a point redoubled by the concluding two discs, an Anthology of Zarzuela. Markevitch, a first-rate group of vocal soloists, and the RTV Española Chorus and Orchestra enjoy a spirited romp through excerpts from various beloved zarzuela works. Zarzuela, Spain’s indigenous synthesis of opera and operetta, has not exported particularly well, either in live performance or recordings. The sparkling renditions that conclude the Markevitch Philips retrospective showcase this form of lyric theater in grand style.All of the recordings are in stereo, and hardly sound their age in these latest restorations (the sonics for the Verdi Requiem are the least impressive, but still more than adequate to savor the performance’s unique aspects). The 26 discs are housed in separate cardboard sleeves, each with original cover art. The booklet contains artist photos, work, track and performer listings, as well as recording dates and acknowledgments of premiere CD releases. This set would be worthy of acquisition at full price. As a budget release, it’s essential. Thank-you, Eloquence. I am eternally in your debt.Ken Meltzer

Neben der Deutschen Grammophon hat auch Philips alle Aufnahmen mit dem ingeniösen Dirigenten Igor Markevitch veröffentlicht. Die Sammlung bietet die Möglichkeit, auch bisher unbekanntere Interpretationen des 1912 in Kiew geborenen, seit 1914 in Frankreich und der Schweiz lebenden Dirigenten und Komponisten kennen zu lernen. Unbedingt empfehlenswert!

Quel chef, aujourd'hui -mais hier, déjà- capable d'animer -autant au sens de "donner une âme à" qu'à celui de "mettre en mouvement"- des horizons musicaux aussi divers que la gouaille irrésistible de la "zarzuela" -découvrez la magnifique soprano Angeles Chamorro!-, de bannir toute sentimentalité chez un Tchaikovsky nerveux, frémissant et dramatique, de dérouler un tapis de douceur sous le piano en état de grâce de Clara Haskil -merveilleux concertos de Mozart, hypnotiques "Nuits dans les jardins d'Espagne" de Falla-, d'insuffler une dose d'humour à "L'histoire du soldat" de Stravinski -version définitive!- ?Vulgairement, on pourrait résumer ainsi ce coffret et "l'autre", le "Deutsche Grammophon Legacy":RIEN À JETER* !!!Qu'il nous manque un chef comme celui-ci, aujourd'hui, loin des chefs "metteurs en place" qui n'apportent rien à la musique, et surtout pas la moindre interprétation.Igor Markevitch nous offre son approche de l'œuvre sans que nous ayons jamais le sentiment qu'il s'y fourvoie: mais oui, c'est ainsi qu'il faut l'entendre!Et sans nous agresser de partis pris jusqu'au-boutistes!Un investissement, certes, mais il s'agit d'interprétations qu'on réécoutera longtemps avec plaisir.PS: avec le seul et unique bémol du "Tati Tati" de Nikolai Tcherepnin, sans grand intérêt.

GRANDIOSO