Wednesday, September 17, 2064

Thursday, April 19, 2018

Joe Pass - Simplicity

One of our favorite albums by guitarist Joe Pass, rather spare, featuring Joe in a very intimate setting — guitar with little other backing, save for light percussion, and some occasional instrumentation, like vibes or organ. The mood is very gentle, which is perfect for Pass' light touch on the strings — and the selection of tracks makes for a lovely blend of modes that show Joe at his expressive best. Titles include "Luciana", "You & Me", "The Gentle Rain", "Some Time Ago", "Nobody Else But Me", and "Where Was I".
© 1996-2011, Dusty Groove America, Inc.

Source : http://www.dustygroove.com/item.php?id=3bs69y3vvq

Joe Pass
Simplicity

Tracks

1 You And Me (de Moraes, Lyra)  2:20
2 'Tis Autumn (Nemo)  3:26
3 Luciana (Jobim, de Moraes, Lees)  2:55
4 I Had the Craziest Dream (Gordon, Warren)  2:54
5 Nobody Else But Me (Hammerstein II, Kern)  4:03
6 Simplicity (Pass)  2:51
7 The Sands Of Time" (Barr, Leshay)  2:41
8 Sometime Ago (Mihanovich)  3:41
9 The Gentle Rain (Bonfá, Dubey)  3:19
10 Who Can I Turn To ? (Bricusse, Newley)  3:26
11 Where Was I (Donde Estuve Yo) (Karen, Reuss, Robinson)  2:11

*

Personnel
Joe Pass - g
Hagood Hardy - vb
Julian Lee - p & org
Bob Whitlock - b
Colin Bailey - dr

Recorded in 1967
________
L'Avis du Patron
Cette session dirigée par Joe Pass en 1967 avait été exclue, pour des raisons très discutables, ainsi que deux autres disques (''A Sign of the Times'', et ''The Stones Jazz'') du magnifique coffret Mosaic qui regroupait, en cinq disques admirablement présentés, l'ensemble des sessions en quartet, conduites par le grand guitariste. Si l'on peut considérer, avec notre sévère censeur, que ces deux derniers disques relèvent d'une ''entreprise commerciale'' (livret Mosaic, p. 12), comment réunir dans une même demi opprobre ce splendide enregistrement, alors qu'on y trouve le meilleur Joe Pass, dans un environnement strictement jazz ? Voilà une énigme que je soumets à votre sagacité... La petite histoire dit que Wes Montgomery connaissait ce disque et qu'il le trouvait, évidemment, remarquable. On pourrait d'ailleurs l'entendre comme un hommage discret rendu au Géant d'Indianapolis. Même évidence harmonique, même ''simplicité'' dans l'approche des standards.
Les japonais, toujours inspirés, en matière de réédition, ont eu la bonne idée de republier cette session telle qu'en elle-même, c'est-à-dire débarrassée des oripeaux commerciaux qui pouvaient en embarrasser l'écoute (la seule réédition existante, me semble-t-il, était couplée avec ''A Sign of the Times''). Rendu à sa plénitude, on retrouve ici toutes les qualités de ce merveilleux enregistrement.

Jimmy Raney - A (SHM-CD)

Jimmy Raney leads two separate groups on this [japanese] reissue, both recorded during the mid-'50s. The first session finds the leader experimenting with overdubbing a second guitar line over his introduction and closing during all four pieces, including the very exciting "Minor" (which is based on the chord changes to "Bernie's Tune"), "Double Image" (inspired by "There Will Never be Another You"), plus some wild improvised counterpoint between Raney and pianist Hall Overton in "On the Square" and an intricate rendition of the ballad "Some Other Spring." John Wilson is added on trumpet for the second and third studio dates, which primarily consist of standards. The briskly swinging "Spring Is Here," a softly played "What's New," and a very delicate "You Don't Know What Love Is" are highlights. Raney's originals include "One More for the Mode," an enjoyable reworking of a Bach two-part invention, and "Tomorrow, Fairly Cloudy," a blazing bop number which is the high point of the latter date. This CD contains some of Jimmy Raney's finest work as a leader and is highly recommended.
Ken Dryden

Source : http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:3xfexqtgld6e

Jimmy Raney
A
(SHM-CD)

Tracks

1 Minor (Raney)  4:31
2 Some other Spring (Herzog, Kitchings)  5:01
3 Double Image (Raney)  4:28
4 On the Square (Raney)  4:27
5 Spring is Here (Hart, Rodgers)  2:53
6 One More for the Mode (Raney)  3:49
7 What's New ? (Burke, Haggart)  2:42
8 Tomorrow Fairly Clowdy (Raney)  3:28
9 A Foggy Day (Gershwin, Gershwin)  4:07
10 Someone to Watch over Me (Gershwin, Gershwin)  3:12
11 Cross Your Heart (DeSylva, Gensler)  3:53
12 You Don't Know What Love is (DePaul, Raye)  3:39


*

Personnel
[# 1-4] Jimmy Raney Quartet feat. Hal Overton (New Jazz LP-1101)
Jimmy Raney - g
Hall Overton - p
Teddy Kotick - b
Art Mardigan - dr
[# 5-12] Jimmy Raney 1955 (Prestige LP-199)
Jimmy Raney - g
John Wilson - tp
Hall Overton - p
Teddy Kotick - b
Nick Stabulas - dr

Recorded at the Van Gelder Studios, Hackensack, New Jersey ; [# 1-4] May 28, 1954 ; [# 5-8] February 18, 1955 ; & March 8, 1955 [# 9-12]

Wynton Kelly - Whisper Not

In January 1958, producer Orrin Keepnews brought pianist Wynton Kelly and guitarist Kenny Burrell into the studio. Although he had for years been a highly regarded sideman with the likes of Dizzy Gillespie, Lester Young and Dinah Washington, the recording that resulted was only Kelly's second date as a leader. In 1951 Kelly had shown great promise, cutting his debut album at the age of twenty. Whisper Not showcases Kelly and Burrell in a trio setting with bassist Paul Chambers, and for one side adds drummer Philly Joe Jones. The tunes include Harold Arlen's "Ill Wind," Billie Holiday's "Don't Explain," and the title track, penned for the Gillespie band by Benny Golson. Unfortunately, Kelly is not given an opportunity to shine in a conventional piano trio setting with only bass and drums, a format in which he excelled. His distinctive drive and buoyant swing feel is in evidence, however, and despite a less than perfect audio mix (a bit dry), Whisper Not is recommended as an important recording in the oeuvre of Wynton Kelly. [Originally released in 1958, JVC Victor reissued the LP on CD in 1999 and added a bonus track.]
Lee Bloom

Source : http://www.allmusic.com/album/piano-whisper-not-mw0000206718

 
Wynton Kelly
Whisper Not

Tracks

1 Whisper Not (Golson)  7:12
2 Action (Kelly)  7:12
3 Dark Eyes (Trad.)  5:59
4 Strong Man (Brown Jr.)  5:17
5 Ill Wind (Arlen, Koehler)  4:25
6 Don't Explain (Holiday, Herzog)  5:36
7 You Can't Get Away (Kelly)  6:24
8 Dark Eyes [take 2] (Trad.)  5:19

*

Personnel
Wynton Kelly - p
Kenny Burrell - g [# 1-3 & 8]
Paul Chambers - b
Philly Joe Jones - dr

Recorded in New York City ; January 31, 1958.

Wednesday, April 18, 2018

Germaine Thyssens-Valentin Plays Gabriel Fauré (2)

No‚ I hadn’t heard of her before‚ either‚ but on opening my copy of Fauré’s Nocturnes I noticed that ‘G Thyssens-Valentin’ was credited with fingering the first eight of them. Before reading Bryce Morrison’s laudatory booklet-notes I suppose I imagined that she must have been some respected Conservatoire professor‚ a Fauré specialist‚ and that her playing would be immaculately correct‚ incorporating all that a student pianist should know about this music except the genius to bring it to life.
How wrong one can be! I now have not the slightest doubt that Germaine Thyssens-Valentin (1902-87) was a great and inspired pianist ; I’ve heard Fauré playing that approaches‚ or even occasionally equals hers‚ but none that surpasses it. I could fill the rest of my space with a catalogue of her qualities‚ but her intimacy of expression demands first place. Fauré’s music has a confiding quality to it‚ as though it were a message intended for an audience of one‚ and Thyssens-Valentin is in perfect accord with this. Those messages‚ however‚ especially in the later Nocturnes and Barcarolles‚ are often of great profundity‚ and she has both the heart and the technique to convey them. I have not often been so struck by Fauré’s extraordinary courage in distilling emotions far too deep for words from the silent isolation of his old age.
Why is Thyssens-Valentin not better known ? I suppose that being a superlative interpreter of Fauré was not a reliable passport to international fame in the middle years of the 20th century. She also retired from the concert platform for a lengthy period (1924-51)‚ in order to bring up a family of five children. And she seems to have recorded mainly for the Ducretet-Thomson company‚ whose decline coincided with the arrival of stereo. The recordings here‚ by the way‚ are admirably clean and the remastering is beyond praise.
So some sort of a catalogue there must be. Her sound‚ first of all‚ is wonderfully beautiful‚ a combination of the subtlest colour and great delicacy of touch (a note by her daughter tells us that from the age of four or five she was studying the harpsichord as well as the piano) ensuring that contrapuntal voices are in perfect balance. She is a mistress of the most refined rubato‚ extreme finesse of articulation and smooth‚ singing line. Although she excels in quiet delicacy‚ her strength when required is formidable but even in the strongest fortissimo she never makes an ugly sound. She is‚ blessedly‚ aware that Fauré had a sense of humour‚ and not only in the frank exuberance of the Valses caprices. Nor is she one of those artists that it takes a while to get used to. On each of these discs the first track is immediately characteristic of her. The first Nocturne has immaculate voice-leading and the most light-fingered leggierissimo playing imaginable ; the first Barcarolle is wonderfully tender‚ its second idea poised and liquid ; the first Valse caprice has rich fantasy‚ dazzling brilliance and adorable wit.
I had intended to listen to these discs over a period of several days‚ making instructive comparisons with other fine Fauré interpreters. I wolfed them down at a sitting; the exploration of Fauré’s emotional and technical range through the Barcarolles and especially the Nocturnes had never seemed so absorbing‚ the companion on that voyage never so prodigal with insight. A great pianist‚ I repeat‚ and if anyone should object that no pianist could be termed great on the evidence of their perceptions of a single composer I would reply that no one would say that if the composer were Beethoven. Good heavens! Am I setting Fauré alongside Beethoven? I am‚ and I could call upon no more eloquent witness to prove my case than Germaine Thyssens-Valentin. Her other recordings (there is at least one Mozart concerto) urgently demand reissue.

Source : https://www.gramophone.co.uk/review/faur%C3%A9-barcarolles-theme-and-variations

Germaine Thyssens-Valentin
Plays
Gabriel Fauré
(1902-1924)

Tracks

13 Barcarolles
1 N° 1 in A Minor, Op. 26  5:23
2 N° 2 in G Major, Op. 41  7:03
3 N° 3 in G-Flat Major, Op. 42  6:23
4 N° 4 in A-Flat Major, Op. 44  3:47
5 N° 5 in F-Sharp Minor, Op. 66  6:00
6 N° 6 in E-Flat Major, Op. 70  3:17
7 N° 7 in D Minor, Op. 90  3:03
8 N° 8 in D-Flat Major, Op. 96  3:30
9 N° 9 in A Minor, Op. 101  4:03
10 N° 10 in A Minor, Op. 104, n° 2  3:21
11 N° 11 in G Minor, Op. 105  4:24
12 N° 12 in E-Flat Major, Op. 106a  3:03
13 N° 13 in C Major, Op. 116  3:45

Thème & Variations in C-Sharp Minor, Op. 73
14 Thème  2:15
15 Var. 1  1:08
16 Var. 2  0:50
17 Var. 3  0:45
18 Var. 4  0:50
19 Var. 5  0:53
20 Var. 6  1:57
21 Var. 7  0:59
22 Var. 8  0:58
23 Var. 9  1:28
24 Var. 10  1:04
25 Var. 11  2:13

*

Germaine Thysses-Valentin - p

Recorded at Salle Adyar, Paris ; May 25, 28 & 29, 1956 ; & April 19, 1955 [# 14-25]

The Immortal Charlie Parker

The series of Charlie Parker LPs released by Savoy Records after the alto saxophonist's untimely demise in 1955 are now being digitally remastered and reissued. The original liner notes, reproduced as part of this release, indicate that the recordings released as NEWLY DISCOVERED SIDES "were given to Savoy by the Parker estate to help complete the already extensive catalogue of "Charlie Parker Masters on Savoy Records." These "sides" include six tunes recorded live in 1948 and 1949, most of which bear out the bebop practice of composing serpentine new melodies over standard chord progressions.
Unconstrained by the limitations of the studio, the musicians stretch out a little further than usual in terms of solo length, but all the cuts still clock in under the five-minute mark. Bird is in familiar company: Al Haig on piano, Tommy Potter on bass and Max Roach on the drums. On four of the cuts, Miles Davis rounds out the group (blowing thoroughly convincing bop lines on "52nd Street Theme"). The remaining two tunes include Kenny Dorham on trumpet, along with Lucky Thompson on tenor saxophone and Milt Jackson on vibes.
All Music Review

Source : https://www.allmusic.com/album/newly-discovered-sides-mw0000077769

New Discovery Sides by
The Immortal
Charlie Parker

Tracks

1 52nd Street Theme (Monk)  4:17
2 A Night in Tunisia (Gillespie, Paparelli)  4:41
3 Slow Boat to China (Loesser)  3:44
4 Groovin' High (Gillespie)  4:52
5 Big Foot (Parker)  4:45
6 Hot House (Dameron)  4:23

*

Personnel
[# 1]
Miles Davis - tp
Charlie Parker - as
Al Haig - p
Tommy Potter - b
Max Roach - dr
Recorded live at "Royal Roost", New York City ; September 4, 1948
[# 2 & 3]
Kenny Dorham - tp
Charlie Parker - as
Lucky Thompson - as
Milt Jackson - vb
Al Haig - p
Tommy Potter - b
Max Roach - dr
Recorded same place as above ; February 26, 1949 [# 2] ; & March 12, 1949 [# 3]
[# 4-6]
Same as [# 1]
Recorded same place as above ; December 11 & 12 [# 6 ?], 1948

Miles Davis - Birth of the Cool

So dubbed because these three sessions — two from early 1949, one from March 1950 — are where the sound known as cool jazz essentially formed, Birth of the Cool remains one of the defining, pivotal moments in jazz. This is where the elasticity of bop was married with skillful, big-band arrangements and a relaxed, subdued mood that made it all seem easy, even at its most intricate. After all, there's a reason why this music was called cool; it has a hip, detached elegance, never getting too hot, even as the rhythms skip and jump. Indeed, the most remarkable thing about these sessions — arranged by Gil Evans and featuring such heavy-hitters as Kai Winding, Gerry Mulligan, Lee Konitz, and Max Roach — is that they sound intimate, as the nonet never pushes too hard, never sounds like the work of nine musicians. Furthermore, the group keeps things short and concise (probably the result of the running time of singles, but the results are the same), which keeps the focus on the tones and tunes. The virtuosity led to relaxing, stylish mood music as the end result — the very thing that came to define West Coast or "cool" jazz — but this music is so inventive, it remains alluring even after its influence has been thoroughly absorbed into the mainstream.
Stephen Thomas Erlewine

Source : http://www.allmusic.com/album/birth-of-the-cool-mw0000111184

Miles Davis
Birth of the Cool

Tracks

1 Move (Best)  2:35
2 Jeru (Mulligan)  3:10
3 Moon Dreams (MacGregor, Mercer)  3:21
4 Venus de Milo (Mulligan)  3:14
5 Budo (Davis, Powell)  2:34
6 Deception (Davis)  2:50
7 Godchild (Wallington)  3:12
8 Boplicity (Henry)  3:02
9 Rocker (Mulligan)  3:07
10 Israel (Carisi)  2:19
11 Rouge (Lewis)  3:17
12 Darn That Dream (DeLange, VanHeusen)  3:26

*

Personnel
Feat. Miles Davis, J. J. Johnson, Lee Konitz, Gerry Mulligan, Al McKibbon, Max Roach, Kenny Clarke, John Lewis, Nelson Boyd, Kai Winding, Al Haig, John Barber, Joe Shulman, etc...

Recorded in New York City ; between January 21, 1949 & March 9, 1950

(See the complete artwork for details)

Yvonne Lefébure - Une légende du piano (I)

The long-lived pianist Yvonne Lefébure died in 1986 and to mark the thirtieth anniversary Solstice issued this vast box in 2016. She was a pupil of Maurice Emmanuel and Charles-Marie Widor as well as Cortot and in turn she taught such young players as Dinu Lipatti, Samson François, Janina Fialkowska and Imogen Cooper.
Given inherent duplication, some of the works heard more than once are ones most central to her repertoire, there are fascinating perspectives since Lefébure was not a musician content simply to reprise performances. Her Mozart D minor Concerto, D466 with Pablo Casals directing his Prades forces in 1951 is murkily recorded and rather expansive whilst the 1954 version directed by Furtwängler in Lugano, which is one of the best-known of her recordings, has some ensemble slippages and a fitfully successful first movement cadenza. A 1958 performance with Pierre Dervaux finds less imaginative conducting but a more sympathetic basic pulse in the opening movement. The C minor Concerto, K491 with Fernand Oubradous conducting, dates from 1962 and features another wild cadenza and some glassy strings – but excellent solo projection.
Her Schumann Concerto performances were eagerly awaited. The 1955 performances with Pierre Dervaux has some muffled piano sound, a few fluffs and an incendiary left hand – too outsize. Teaming up with George Sébastian in 1964 she turns in a strong, confident performance pretty much on a par with the more famous Paul Paray traversal in 1970. It’s especially rewarding to compare and contrast the versions of the Ravel Concerto. There’s one from Radio Orchestra Beromünster under Jean-Marie Auberson, whilst the others were both were taped in 1970 - Orchestre Philharmonique de l’O.R.T.F. and Paul Paray, and the Orchestre de la Suisse Romande and Ernest Ansermet. The Auberson is notably successful, the Ansermet somewhat stymied by orchestral imperfections but the Paray is the most complete performance. It is at her regular tempi (she is actually consistent throughout in this respect) and both moving in the slow movement and rhythmically taut in the outer ones.
There is one Beethoven Concerto performance, an exciting, determined 1959 broadcast of the Fourth with the Orchestre National de France directed by Stanislaw Skrowaczewski but there is wealth of sonatas and variations to savour. She recorded Opp. 109 and 110 along with the Diabelli Variations for EMI in the mid-1950s and these studio performances occupy disc four in the set. Op.109 is wonderfully stoic and unforced though her tempos in late Beethoven could be fast, as in the case of its finale. 1977 versions of both these sonatas re-emphasize her incisive tempi and unsentimental warmth of expression. When it comes to Op. 111 (1959 and 1977) the differences are limited though she is slightly more expansive in the "Arietta" in 1977. She eschews a large number of repeats in the Diabelli both in this studio inscription (EMI, March 1956) and in the 1975 broadcast, which is marginally less successful. The Hammerklavier is very impressive though one must surrender to her sense of time – quite rapid – in the "Adagio sostenuto" to appreciate her conception of its architecture the more fully. Lefébure and Sándor Végh performed the complete cycle of Violin Sonatas together. Here we hear three sonatas plus the slow movement of Op. 30, n° 1. There is fine ensemble and the expected intensity and it’s especially rewarding to hear Végh’s legato in the slow movements of Op. 12, n° 3 and Op. 23 in particular. He’s flat too often for comfort though, and his tone is inclined to roughness, which means Op. 96 is less successful than anticipated.
Bartók’s Book VI of Mikrokosmos provides opportunities for animated vitality. Fortunately she is not percussive, and doesn’t sound metallic or detached in the six short character pieces. Henri Martelli (1895-1980) wrote his Five Dances Op. 47 in 1941. They were taped here a few years later. These five movements offer a vivid sequence of stylised neo-classical dances. Some, like the penultimate dance, a passacaglia, are quite extended at five minutes in length. They are valuable discoveries and are played with great concern for balance and movement. There’s a 1960 performance of Henry Barraud’s 1939 Piano Concerto, given live with Manuel Rosenthal. Barraud (1900-97) writes a very breezy, extrovert neo-classical piece with a theatrical and dramatic slow movement. He has a sense of humour in the finale too. The Maurice Emmanuel Sonatines are deliciously done and in his Sonatine Op. 11 she’s also joined by two august representatives of the French wind school Ulysse Delécluse (clarinet) and René Le Roy (flûte).
A significant part of her legacy lies in Debussy and Ravel. Images (both books) was taped very late, 1982-83 but there is a huge amount to admire here. Her technique is perfectly at the service of her vivid sense of characterisation – unexaggerated and yet pointed. The Préludes (Books I from 1970 and Book II from 1963) have chordal depth, droll wit and quite some legerdemain. Her Ravel – before whom she played – is fascinating. Whilst her 1975 Le Tombeau de Couperin is splendid, the 1969 version is better. However the January 1955 version, courtesy of Schweitzer Radio und Fernsehen, is better still – more involved, more sharply characterised and enshrining some of the very best playing in this set – which is saying something, given the excellence to be heard throughout. The three sets of Valses Nobles et Sentimentales (May 1961, August 1961 and 1975) don’t offer as much in terms of interpretative difference but are wonderful to have : a surfeit of superb Ravel playing. Similarly, one can pick and choose from different versions of Jeux d’eau.
Her 1980 Fauré recital leaves a mixed impression ; the Theme and Variations, Sixth and Thirteenth Nocturnes are also to be heard in 1961 London recordings and there are further examples of the Variations and Nocturne 13 from 1967. She can sound somewhat hasty from time to time and is no real match for a pianist I have repeatedly praised here for her famous Fauré recordings, now on Testament, Germaine Thyssens-Valentin.
From 1971 comes a sequence of works associated with Cortot, Chopin’s Mazurkas and the Barcarolle Op. 60 with the Second Scherzo and Fourth Ballade, the latter especially good. The Mazurkas are perhaps best represented in her case by Op. 17, n° 4 which is fluid but expressive. She has a few trivial technical problems with the Barcarolle - she had small hands – but otherwise her control of its syntax is fine. More consistently impressive, though, are the pieces by Schumann, Papillons and the Fantaisie, which show what a tonally and expressively communicative artist she could be. She shows, as had Cortot before her, real affinities for Schumann’s music. There are two outstanding recordings of the Posthumous Variations, Op. 13, a personal and personable (very Cortot-like in those respects) Kinderszenen, albeit it can be a bit heavy in places and Fürchtenmachen is a bit of a scramble, and Davidsbündlertänze which is purposeful but also deeply poetic.
There are two Schubert Sonatas. D960 was taped when she was 80 but there are few signs of any lessening of skill and it impresses by virtue of its reserved nobility of expression. There’s a similar quietly undemonstrative approach to the Adagio of D958 that ensures that the expressive proportions of the music are never imperiled.
Her Bach includes commercial recordings made in Paris for EMI in 1955. The Liszt transcriptions are commanding artifacts in her hands, and the two Chorale transcriptions, both very familiar ones by Busoni and Myra Hess, sit well together : indeed, she returned to both of these last works in her 1978 recitals with no less successful results. The Partitas n° 1 BWV825 and N° 6 BWV830 were taped in a church acoustic which encourages a spread to the sound but Lefébure plays with enviable contrapuntal clarity and musical directness. The Concerto, BWV1052 sports some audience rustling and sneezing but is played with robust assurance

There is much else to commend, too much indeed even in a review this size ; I’d add Lefébure and Jeanne Gautier’s Mozart Violin Sonata K379 recording, full of sharp intensity and aria-like beauty. The final CD, No.24, features the pianist in conversations that were taped in 1976, 1979 and 1981. There is a splendid 59-page booklet with a wealth of musical and biographical detail and splendid photographs. If you can’t cope with CD24 you’ll find the original text with an English translation alongside. The CD cards are LP miniaturisations, such as are happily often to be found these days. A fine retro touch. This is an absolutely superb collection. The repertoire duplications offer real pleasure and serve only to deepen one’s respect for this vividly communicative and outstanding musician.
Jonathan Woolf

Source : http://www.musicweb-international.com/classrev/2017/Apr/Lefebure_legende_SOCD321.htm

Yvonne Lefébure
Une légende du piano (I)
(1951-1984)

Tracks

Cd. 1

Wolfgang Amadeus Mozart
(1756-1791)

Piano Concerto n° 20 in D Minor, K. 466
1 I. Allegro  11:35
2 II. Romance  8:46
3 III. Rondo (Allegro assai)  6:26

Piano Sonata n° 14 in C Minor, K. 457
4 I. Molto allegro  4:09
5 II. Adagio  6:15
6 III. Allegro assai  4:15

Piano Concerto n° 24 in C Minor, K. 491
7 I. Allegro  12:46
8 II. Larghetto  8:11
9 III. Allegretto  8:32

*


Cd. 2

Robert Schumann
(1810-1856)

Piano Concerto in A Minor, Op. 54
1 I. Allegro affetuoso  14:03
2 II. Intermezzo  5:05

4 Papillons, Op. 2  12:20

Fantasie in C Major, Op. 17
5 I. Durchaus phantastisch une leidenschaftlich vorzutragen  11:31
6 II. Mäßig, durchaus energisch  7:03
7 II. Langsam getragen  8:32

*


Cd. 3

Johanne Sebastian Bach
(1685-1750)

Prélude & Fugue in A Minor, BWV 543
(transcr. Liszt)
1 Prélude  3:35
2 Fugue  5:55

3 Choral "Ich ruf' zu dir, Herr Jesu Christ", BWV 639  3:34
(transcr. Busoni)

Fantaisie & Fugue in G Minor, BXV 542
(transcr. liszt)
4 Prélude  6:02
5 Fugue  4:52

6 Choral "Jesu bleibet meine Freunde" (Cantate 147)  3:00
(transcr. Hess)

Wolfgang Amadeus Mozart
(1756-1791)

Piano Concerto n° 20 in D Minor, K. 466
1 I. Allegro  13:04
2 II. Romance  9:12
3 III. Rondo (Allegro assai)  6:53

*


Cd. 5

Maurice Ravel
(1875-1937)

Piano Concerto in G Major
1 I. Allegramente  7:56
2 II. Adagio assai  8:59
3 III. Presto  4:05

Le Tombeau de Couperin
4 Prélude  2:20
5 Fugue  2:39
6 Forlane  3:45
7 Rigaudon  2:21
8 Menuet  3:36
9 Toccata  3:29

Claude Debussy
(1862-1918)

La Boîte à joujoux
10 Premier tableau  11:47
11 Deuxième tableau  7:47
12 Troisième et Quatrième tableaux  7:32

*


Cd. 6

Johanne Sebastian Bach
(1685-1750)

1 Fantaisie & Fugue in G Minor, BXV 542  10:45

Concerto in D Minor, BWV 1052
2 I. Allegro  8:15
3 II. Adagio  8:19
4 III. Allegro  8:09

Partita n° 6 in E Minor, BWV 830
5 Toccata  5:50
6 Allemande  2:20
7 Courante  2:56
8 Air  1:01
9 Sarabande  3:32
10 Gavotte  1:13
11 Gigue  3:30

12 Prélude & Fugue in C-Sharp Major, BWV 848  3:26

*


Cd. 7

Wolfgang Amadeus Mozart
(1756-1791)

Piano Sonata in G Major, K. 379
1 I. Adagio  3:25
2 II. Adagio  2:52
3 III. Andantino cantabile  8:22

Piano Concerto n° 20 in D Minor, K. 466
4 I. Allegro  12:31
5 II. Romance  8:31
6 III. Rondo (Allegro assai)  6:10

7 Fantaisie in C Minor, K. 396  6:12
8 Fantaisie in C Minor, K. 475  10:17
9 Variations K. 265 sur "Ah, vous dirai-je maman"  6:04

Joseph Haydn
(1732-1809)

10 Variations in Minor, Hob.XVII.6  8:47

*


Cd. 8

Ludwig van Beethoven
(1770-1827)

Piano Concerto n° 4 in G Major, Op. 58
1 I. Allegro  17:13
2 II. Adagio assai  4:41
3 III. Presto 9:10

Piano Sonata n° 1 in F Minor, Op. 2
4 I. Allegro  3:03
5 II. adagio  3:44
6 III. Minuetto (Allegretto)  2:58
7 IV. Prestissimo  3:22

Piano Sonata n° 32 in C Minor, Op. 111
8 I. Maestoso - Allegro con brio ed appassionata  6:21
9 II. Arietta (Adagio molto simplice e cantabile)  10:40

Bagatelles, Op. 119
[excerpts]
10 N° 4 in A Major  1:000
11 N° 9 in A Minor  0:29
12 N° 1 in G Minor  1:37
13 N° 2 in C Major  0:52
14 N° 5 in C Minor  0:54
15 N° 3 in D Major  1:28
16 N° 11 in B-Flat Major  1:07

*


Cd. 9

Ludwig van Beethoven
(1770-1827)

Piano Sonata n° 29 in B-Falt Major, Op. 106 "Hammerklavier'
1 I. Allegro  8:20
2 II. Scherzo (assai vivace)  2:30
3 III Adagio sostenuto  13:49
4 IV. Largo - Allegro risoluto  10:50

Variations in C Minor, Op. 120
(sur une valse d'Anton Diabelli)
5 Thème  0:27
6 var. I-III  1:46
7 Var. IV-VI  1!:50
8 Var. VII-IX  2:07
9 Var. X-XV  2:21
10 Var. XIII-XV  2:30
11 Var. XVI-XVIII  1:43
12 Var. XIX-XXI  2:22
13 Var. XXII-XXIV  2:06
14 XXV-XXVII  1:27
15 Var. XXVIII-XXX  3:09
16 Var. XXXI-XXXIII  9:23

*


Cd. 10

Ludwig van Beethoven
(1770-1827)

Piano Sonata n° 30 in E Major, Op. 109
1 I. Vivae ma non troppo  3:14
2 II. Prestissimo  2:15
3 III. Andante et variations  8:56

Piano Sonata n° 31 in B-Flat major, Op. 110
4 I. Moderato cantabile  5:53
5 II. Allegro molto  2:06
6 III. Adagio ma non troppo - Fuga (Allegro ma
non troppo - Tempo de l'arioso - Tempo
della fuga - Coda  9:32

Piano Sonata n° 32 in C Minor, Op. 111
7 I. Maestoso - Allegro con brio ed appassionato  6:38
8 II. Arietta (Adagio molto simplice e cantabile)  11:14

Six Bagatelles, Op. 126
9 I. Andante (G Major)  1:18
10 II. Allegro (G Minor)  1:23
11 III. Andante (E-Flat Major)  1:39
12 IV. Presto (B Minor)  1:20
13 Quasi allegretto (G Major)  1:20
14 Presto - Andante (E-Flat major)  1:58

15 Bagatelle in F Minor, Op. 33, n° 3  1:17
16 Bagatelle in A Minor "Für Elise"  2:17

Piano Sonata n° 8 in C Minor, Op. 13 "Pathétique"
[excerpts]
17 I. Grave - Allegro molto e con brio  6:20

*


Cd. 11

Maurice Ravel
(1875-1937)

Valses nobles et sentimentales
1 Modéré, très franc  1:13
2 Assez lent, avec une expression intense  1:38
3 Modéré  1:06
4 Assez animé  0:43
5 Presque lent, dans un sentiment intime  1!08
6 Vif  0:30
7 Moins vif  2:19
8 Epilogue (lent)  40;4

Gabriel Fauré
(1845-1924)

9 Nocturne n° 6 in D Minor, Op. 63  6:57
10 Barcarolle n° 6 in E Minor, Op. 70  3:05
11 Nocturne n° 13 in B Minor, Op. 119  6:12

Franz Schubert
(1797-1828)

15 Valses & Ländler
(disposés en Suite par Yvonne Lefébure)
12 Valse noble in C Major, D 969/11 - Valse in F Minor, D 365/33
Valse sentimentale in A-Flat major, D 779/19 - Danse allemande in
A-Flat Major, D 790/19...  3:21
13 Valse in B Minor, D 148/10 - Danses allemandes
in D Major, D 790/1-3 - Valse sentimentale in G Major,
D 779/3 - Valse entimentale in C Major, D 779/1  3:04
14 Danses allemandes in A Minor D 366/3-4 - Valse sentimentale in A Major
D 779/13 - Ländler in C Major, D 734/8  2:15

Claude Debussy
(1862-1918)

Préludes, Livre II
15 Brouillards  2:15
16 Feuilles mortes  2:31
17 La Puerta des vino  3:03
18 Les Fées sont d'exquises danseuses  2:56
19 Bruyères  2:36
20 Général Lavine eccentric  2:05
21 La Terrasse des audiences du clair de lune  4:05
22 Ondine  2:53
23 Hommage à S. Pickwick, Esq. p.p.M.p.C  2:07
24 Canope  2:38
25 Les Tierces alternées  2:277
26 Feux d'artifice  3:50

*


Cd. 12

François Couperin
(1668-1733)

1 Le Tic-Toc-Choc ou Les Maillotins  1:55
2 Les Barricades mystérieuses  1:35

Jean-Philippe Rameau
(1683-1764)

3 Gavotte et Six Doubles  6:15

Claude Debussy
(1862-1918)

Préludes, Livre (1er Livre)
4 Danseuses de Delphes  2:48
5 Voiles  2:54
6 Le Vent dans la plaine  2:00
7 Les Sons et les parfums tournent dans l'air du soir  3:06
8 Les Collines d'Anacapri  2:30
9 Des pas sur la neige  2:56
10 Ce qu'a vu le vent d'ouest  3:07
11 La Fille aux cheveux de lin  1:54
12 La Sérénade interrompue  2:03
13 La Cathédrale engloutie  5:10
14 La Danse de Puck  2:29
15 Minstrels  1:59

16 Etude pour les arpèges composés  4:31
17 Etude pour les sonorités opposées  4:33

Paul Dukas
(1865-1935)

18 Variations, interlude et finale  15:55
(sur un thème de Rameau)

*

Yvonne Lefébure - p

Orchestre du Festival de Prades/Pablo Casals - dir. [Cd. 1, # 1-3]
Orchestre de Chambre de paris/Fernand Oubradous - dir. [Cd. 1, # 7-9]
Orchestre national de la R.T.F./Pierre Dervaux - dir. [Cd. 2, # 1-3]
Berliner Philharmoniker/Wilhelm Furtwängler - dir. [Cd. 4, # 7-9]
Radio Orchestra Beromünster/Jean-Marie Auberson - dir. [Cd. 5, # 1-3]
Pierre Bertin - réc. [Cd. 5, # 10-13]
Orchestre de chambre Fernad Oubradous [Cd. 6, # 2-4]
Orchestre Radio Symphonique de Paris/Pierre Dervaux - dir. [Cd. 7, # 4-6]
Orchestre National de France/Stanislaw Skrowaczewski - dir. [Cd. 8, # 1-3]

Recorded between June 17, 1951 & January 20, 1984

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