Igor Markevitch: The Deutsche Grammophon Legacy (21 CDs)

Issued complete for the first time, Igor Markevitch’s Deutsche Grammophon legacy from Berlin, Paris, Prague and New York, made between 1953 and 1965. ORIGINAL JACKETS | LIMITED EDITION.

‘I record so much I forget even my own records!’ Markevitch was a prolific recording artist for several labels, principal among them Deutsche Grammophon, HMV/EMI and Philips (Eloquence has also released a new, complementary collection of his Philips legacy). He felt more comfortable in the studio than many of his podium colleagues and viewed recording as the opportunity to bring out aspects of the score which could remain unheard by live audiences.

As a polymath, Markevitch turned from composition to conducting after the Second World War, and soon became one of the most in-demand conductors of his day, at home in a vast range of repertoire, equally at home in Classical-era symphonies by Haydn, Mozart and Beethoven, Romantic narratives by Berlioz, Wagner and Tchaikovsky, and contemporary Francophone composers such as Milhaud, Honegger and Roussel, bringing to each of them a sharp attack and acute sensitivity to colour and harmony.

Nowadays, many conductors follow Markevitch’s lead in refusing to specialise: he was a man ahead of his time, and his analytical mind was well suited to the precision of DG’s engineering teams. He worked with many of Europe’s finest orchestras, enjoying a productive relationship with the Berlin Philharmonic which resulted in many superb recordings from 1953–55, such as a pioneering album of symphonies by Schumann’s Swedish contemporary, Franz Berwald. Late in 1956, an invitation to conduct the successor to Toscanini’s NBC Symphony, the Symphony of the Air, resulted in lithe and athletic symphonic Beethoven (No. 3) and Brahms (No. 1)

Most of Markevitch’s DG legacy, however, was made in Paris, with the Lamoureux Orchestra whose fortunes he revived as chief conductor between 1957 and 1961. This relationship produced fleet and graceful, French-accented Beethoven (Pastoral Symphony and overtures) and Brahms (Symphony No. 4) and a superbly cast Damnation of Faust still widely considered as the finest interpretation of Berlioz’s ‘dramatic legend’ on record. Gounod, Bizet, Auber and Debussy receive no less vividly idiomatic treatment.

Markevitch was best known internationally as a fiery interpreter of Russian repertoire, represented here by virtuoso pieces of tone-colour and atmosphere from Lyadov, Rimsky-Korsakov, Borodin and Tchaikovsky, including two specialities, Francesca da Rimini and the ‘Pathétique’ Symphony. He could also galvanise choruses to heights of dynamic response: DG recorded him in Haydn’s Creation, Mozart’s Coronation Mass (twice, in Berlin and Paris, both reissued here) and the less familiar D minor Requiem of Cherubini and Gounod’s Saint Cecilia Mass. Recorded in Prague with the Czech Philharmonic in the early 1960s, these albums became Markevitch’s swansong to DG. Featuring original covers and a new essay by Peter Quantrill, this box includes much material long unavailable on CD.

‘There has never been a Faust as totally idiomatic as this one. The score came home to Paris, as it were, not simply because of geography but more importantly, for the pure Gallic singing by the principals and the wonderfully piquant orchestral playing by the still traditional-sounding Orchestre Lamoureux … None of this would count for much if Markevitch weren’t such a superb Berlioz interpreter … equally superb Harold in Italy.’ Fanfare, March 2018

‘The brilliant, and brilliantly recorded, 1961 Markevitch reading builds from primly shaped, sharply etched detail in nervous, impetuous feints.’ Fanfare, September 1989 (Symphonie fantastique)

‘The most restrained approach to the flamboyant work on records … Markevitch’s presentation of the Credo remains my favorite.’ Fanfare, September 1989 (Gounod: St. Cecilia Mass)

‘This was the recording of The Creation in its day … direct and powerful … the standout performance is by Irmgard Seefried, whose pure, limpid soprano exudes sincerity throughout.’ Fanfare, September 2016

‘Markevitch is here the dedicated and devoted servant of the music … All five overtures receive unqualifiedly excellent performances.’ Stereo Review, July 1960 (Beethoven: Overtures)

‘With this release, Markevitch moves up alongside Munch and Beecham to the very forefront of insightful Berlioz conductors … The Lamoureux orchestra sounds for all the world like one of the great orchestras of the world, and the chorus covers itself with glory.’ Stereo Review, July 1960 (Berlioz: La Damnation de Faust)

‘There is a maximum of excitement, even nervous tension … worth hearing, especially for Markevitch’s intensity and his concentration on instrumental clarity.’ Stereo Review, January 1971 (Debussy, Roussel)

‘Markevitch’s vintage version, recorded in the mid-1960s, still sounds remarkably well. In his straight-faced way Markevitch makes the incongruity of Gounod’s jolly and vulgar tunes all the more delectable, and soloists, chorus and orchestra are all first rate.’ *** Penguin Guide, 1992 (Gounod: St. Cecilia Mass)

‘The brilliant and exciting mono recording of Harold in Italy by Heinz Kirchner, a first-rate soloist, with the Berlin Philharmonic under Markevitch, brings a riveting final orgy.’ Penguin Guide, 1994 (Harold in Italy)

‘A marvel: the Coronation Mass directed by Markevitch … and especially the sublime Maria Stader in the Agnus dei solo.’ Diapason, August 1990

‘An exceptional interpretation.’ Diapason, September 1965 (Cherubini: Requiem)

CD 1
LUIGI CHERUBINI (1760–1842)
Requiem No. 2 in D minor
Czech Philharmonic Chorus & Orchestra

WOLFGANG AMADEUS MOZART (1756–1791)
Mass in C major, KV 317 ‘Krönungsmesse’ (1959 recording)
Maria Stader, soprano
Oralia Dominguez, contralto
Ernst Haefliger, tenor
Michel Roux, bass
Choeurs Elisabeth Brasseur
Orchestre des Concerts Lamoureux

CD 2
WOLFGANG AMADEUS MOZART (1756–1791)
Symphony No. 34 in C major, KV 338*
Symphony No. 38 in D major, KV 504 ‘Prague’*
Berliner Philharmoniker

Symphony No. 35 in D major, KV 385 ‘Haffner’*

CHRISTOPH WILLIBALD GLUCK (1714–1787)
Sinfonia in G major (Arr. Hans Gál)
Orchestre des Concerts Lamoureux

*mono recordings

CD 3
WOLFGANG AMADEUS MOZART (1756–1791)
Bassoon Concerto in B flat major, KV 191
Maurice Allard, bassoon
Orchestre des Concerts Lamoureux

JOSEPH HAYDN (1732–1809)
Sinfonia concertante in B flat major, H.I: 105*
Georges Alès, violin · André Remond, cello
Émile Mayousse, oboe · Raymond Droulez, bassoon
Orchestre des Concerts Lamoureux

DOMENICO CIMAROSA (1749–1801)
Concerto for two flutes in G major*
Aurèle Nicolet, Fritz Demmler, flutes
Berliner Philharmoniker

FRANZ SCHUBERT (1797 –1828)
Symphony No. 3 in D major, D.200*
Berliner Philharmoniker

*mono recordings

CD 4
LUDWIG VAN BEETHOVEN (1770–1827)
Overture: Egmont, Op. 84
Overture: Leonore III
Overture: Fidelio, Op. 72
Overture: Coriolan, Op. 62
Overture: Zur Namensfeier, Op. 115
Overture: Die Weihe des Hauses, Op. 124
Orchestre des Concerts Lamoureux

CD 5
LUDWIG VAN BEETHOVEN (1770–1827)
Symphony No. 3 in E flat major, Op. 55 ‘Eroica’*
Symphony of the Air

*mono recording

CD 6
LUDWIG VAN BEETHOVEN (1770–1827)
Symphony No. 6 in F major, Op. 68 ‘Pastoral’*
Orchestre des Concerts Lamoureux

*mono recording

CD 7
JOHANNES BRAHMS (1833–1897)
Symphony No. 1 in C minor, Op. 68*
Symphony of the Air

*mono recording

CD 8
JOHANNES BRAHMS (1833–1897)
Symphony No. 4 in E minor, Op. 98
Orchestre des Concerts Lamoureux

HECTOR BERLIOZ (1803–1869)
Harold en Italie, Op. 16*
Heinz Kirchner, viola
Berliner Philharmoniker

*mono recording

CD 9
HECTOR BERLIOZ (1803–1869)
Symphonie fantastique, Op. 14 (1961 recording)

LUIGI CHERUBINI (1760–1842)
Anacréon: Overture

DANIEL AUBER (1782–1871)
La muette de Portici, S.16: Overture
Orchestre des Concerts Lamoureux

CDs 10–11
HECTOR BERLIOZ (1803–1869)
La Damnation de Faust, Op. 24
Faust…………………………………………………………………………………………………Richard Verreau
Marguerite……………………………………………………………………………………………Consuelo Rubio
Méphistophélès……………………………………………………………………………………….Michel Roux
Brander………………………………………………………………………………………………….Pierre Mollet
Chœurs Elisabeth Brasseur
Chœur Enfants RTF
Orchestre des Concerts Lamoureux

CD 12
CHARLES GOUNOD (1818–1893)
Symphony No. 2 in E flat major*

GEORGES BIZET (1838–1875)
Jeux d’enfants, Op. 22*

CLAUDE DEBUSSY (1862–1918)
La Mer
Danse sacrée et Danse profane
Suzanne Cotelle, harp (Debussy: Danses)
Orchestre des Concerts Lamoureux

*mono recordings

CD 13
NIKOLAI RIMSKY-KORSAKOV (1844–1908)
Russian Easter Festival Overture, Op. 36*
Overture: May Night
Le Coq d’or – Suite

ALEXANDER BORODIN (1833–1887)
In the Steppes of Central Asia

ANATOLY LYADOV (1855–1914)
Fragment de l’Apocalypse – Tableau symphonique pour orchestre, Op. 66

MIKHAIL GLINKA (1804–1857)
Overture: Ruslan and Lyudmila
Orchestre des Concerts Lamoureux

*mono recordings

CD 14
PETER ILYICH TCHAIKOVSKY (1840–1893)
Symphony No. 6 in B minor, Op. 74 ‘Pathétique’*
Berliner Philharmoniker

Francesca da Rimini, Op. 32
Orchestre des Concerts Lamoureux

*mono recording

CD 15
RICHARD WAGNER (1813–1883)
Lohengrin: Preludes to Acts I & III
Tannhäuser: Overture
Orchestre des Concerts Lamoureux

Tannhäuser: Venusberg Music (Bacchanale)*
Siegfried Idyll*
Die Walküre: Walkürenritt*
Berliner Philharmoniker

*mono recordings

CD 16
DARIUS MILHAUD (1892–1974)
Les Choéphores, Op. 24*
Genevieve Moizan, soprano
Hélène Bouvier, mezzo-soprano (Electre)
Heinz Rehfuss, baritone (Oreste)
Claude Nollier, speaker
Chorale de l’Université de Paris
Georges Gitton, chorus master

ARTHUR HONEGGER (1892–1955)
Symphony No. 5 ‘Di tre re’*

ALBERT ROUSSEL (1869–1937)
Bacchus et Ariane, Op. 43 – Suite No. 2
Orchestre des Concerts Lamoureux

*mono recordings

CD 17
HECTOR BERLIOZ (1803–1869)
Symphonie fantastique, Op. 14 (1953 recording)*

MODEST MUSSORGSKY (1839–1881)
Pictures at an Exhibition (orch. Ravel)*
Berliner Philharmoniker

*mono recordings

CD 18
FRANZ BERWALD (1796–1868)
Symphony No. 3 in C major ‘Singulière’*
Symphony No. 4 in E flat major*

FRANZ SCHUBERT (1797–1828)
Symphony No. 4 in C minor, D.417 ‘Tragic’*
Berliner Philharmoniker

*mono recordings

CDs 19–20
JOSEPH HAYDN: (1732–1809)
Die Schöpfung, Hob. XI: 2*
Irmgard Seefried, soprano
Richard Holm, tenor
Kim Borg, bass
Chor der St. Hedwigs-Kathedrale, Berlin
Berliner Philharmoniker

WOLFGANG AMADEUS MOZART (1756–1791)
Mass in C major, KV 317 ‘Krönungsmesse’ (1954 recording)*
Maria Stader, soprano
Sieglinde Wagner, contralto
Helmut Krebs, tenor
Josef Greindl, bass
Chor der St. Hedwigs-Kathedrale
Berliner Philharmoniker

*mono recordings

CD 21
CHARLES GOUNOD (1818–1893)
Messe solennelle de Sainte Cécile*
Irmgard Seefried, soprano
Gerhard Stolze, tenor
Hermann Uhde, bass
Czech Philharmonic Chorus
Josef Veselka, chorus master
Czech Philharmonic Orchestra

IGOR MARKEVITCH
An Interview with Igor Markevitch*

*mono recordings