Search - Debussy, Ravel, Ibert :: Trois Nocturnes / Rapsodie / Escales

Unsurpassed Rapsodie Espagnole

10/18/2003

(5 out of 5 stars)

"The literature has often declared the Fritz Reiner-Chicago Rapsodie Espagnole from the 50s as the greatest recording of this piece. I do not concur. Though the Reiner reading is great, it falls short of the pure visceral energy delivered by Stokowski in this regrettably hard-to-find recording. The swing of mood and depth of sublimity in the Prelude a la Nuit are sculputed by Stokowski in a manner that has never been repeated in any other interpretation. The Nocturnes also have a vitality and energy not found in other recordings.An additional treat of this CD (besides the Ibert pieces--also great) are the unusual and always delightful Stokowski idosyncracies. The orchestra configuration and seating arrangements were, as the liner notes indicate, quite unconventional. Also out of conventional bounds was the placement of the women's chorus for the Nocturnes (the upper left-hand side of the stage). There is also a vividness in the recording that's attributable to an interesting microphone placement for the recording sessions, another trait of 1950s recordings in early stereo.In short, a listener possessing this and Reiner's Rapsodie Espagnole need not purchase any other recordings as these two readings are simply unsurpassed. Any listener need not hesitate. I only wish that EMI made this recording more of a staple offering as it is one of their classic catalog items."

The Dionysian gaze!

Hiram Gomez Pardo | Valencia, Venezuela | 07/06/2006

(5 out of 5 stars)

"It' s well known about the exacerbated rationalism has frequently been one of the virtues of the Frenchmen. But many times this quality may become a serious obstacle in what concerns to get the visible sensuality, enraptured joy and Dionysian spirit that nestle in many musical scores.



In this sense there were five notable exceptions in the orchestral direction: the Alsatian Charles Munch, Pierre Monteux, Paul Paray, Jean Martinon and Louis de Fremaux. But if not for the singular contributions of these three other conductors such Leopold Stokowski, Igor Markevitch and Andre Cluytens, the final destiny of the French music would have been less known.



The fecund and fertile musical imagination of this director was always enriched by his cultural formation, undeniable cosmopolitism and abundant doses of sensuality. This factor allowed him to carve in relief many relevant scores of the French repertoire; since Bizet `s Carmen, Oliver Messiaen, Jacques Ibert, Erik Satie, Darius Milhaud and Maurice Ravel, for instance. This approach, joined with his charismatic presence notably enhanced and expanded the presence of the French music around the world in the middle of the XX Century.



In this sense these works acquired notably distinction, refined scent, sensual rapture that signified new airs and also new approaches,



Go for this album It will satisfy even the most exigent listener.

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