{"product_id":"m-long-plays-ravel-milhaud-debussy-1929-52-pasc285","title":"M. LONG plays Ravel, Milhaud, Debussy (1929-52) - PASC285","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRAVEL \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Concerto in G\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMILHAUD \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Concerto No. 1\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMILHAUD \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u0026amp; \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDEBUSSY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eShort pieces\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1929, 1930, 1932, 1935 and 1952\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 72:56 \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMarguerite Long, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony Orchestras\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003ePedro de Freitas Branco\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003esupervisor \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMaurice Ravel \u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDarius Milhaud\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eGeorges Tzipine \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fOnce again Pristine’s transfers easily surpass the competition. A very attractive release578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThis enterprising release couples both of\nMarguerite Long’s recordings of the Ravel concerto. The earlier one has\nbeen widely available on many different labels, but the remake is a real\nrarity I’d never encountered before. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe virtues of the 1932 premiere recording\n(famously supervised—though not conducted, as once thought—by Ravel\nhimself) are well known: Long’s objective style, cool and dry but with\nsplendid snap and animation in the outer movements; and in the central\nAdagio, just the right kind of fine-tuned expression—a delicate\ngive-and-take in the melody, and purposeful direction to the phrases.\nThe orchestra is more of a mixed blessing; its sound and color\n(especially the winds) are ideal for the music, but the outer movements\nare plagued by serious rhythmic insecurity—the panicked scrambling of\nthe cor anglais solo at rehearsal 4–2 in the first movement is all too\nsymptomatic. Pristine’s transfer is much more vivid than previous ones I\nhad on hand (EMI, Cascavelle, and Andante). \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe Paris Conservatory Orchestra is much better in\nher 1952 remake with Georges Tzipine—still plenty of tangy French\ncharacter, but without the near-chaos of their predecessors. On the\ndebit side, Long herself is now comparatively tired- and\ncareful-sounding, especially in the first movement (though still with\ngood technical command). The biggest difference is in the Adagio, now\nmuch slower, more casual, indeed sentimentalized, with too much pedal.\nThe finale is still effective, at much the same tempo as before. The\nrecording is excellent. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eMilhaud’s concerto, recorded with the composer in\n1935, is dispatched with snap and spirit, though the music itself\nstrikes me as so much inconsequential note-spinning. His solo piano\nworks are much more attractive, and Long’s performances are piquant and\nrichly colored. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eHer Debussy (recorded 1929–30) is very impressive\nindeed, combining French sensibility with strikingly robust emotional\nengagement. Melodic lines are sharply etched, with a keenly animated\nsense of the dramatic life of phrases, and everywhere a wonderful\nvariety of color, touch, and pedaling. Once again Pristine’s transfers\neasily surpass the competition (Cascavelle). \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n\u003cspan class=\"TIMES\"\u003eOverall, a very attractive release. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eBoyd Pomeroy \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 35:2 (Nov\/Dec 2011) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC285.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eLong's two Ravel Concertos - and the Milhaud - plus Debussy\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eA cornucopia of composer-performer collaboration in new XR remasters\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThe first recording of Ravel's Piano Concerto in G, allegedly with the composer conducting, took place exactly three months after its première in Paris - which he did conduct, and where most of the rest of the program had been conducted by de Freitas Branco. It is the latter who conducts the 1932 recording here, despite continued and repeated billing both by HMV and EMI, and more recently other labels, of Ravel himself.\u003c\/p\u003e\n\u003cp\u003eIt does seem far more likely that, by contrast, it is the composer who conducts Milhaud's Piano Concerto here - as with Ravel, and also Debussy, Fauré and other French composers of the era, Marguerite Long had a close and fruitful working relationship with Darius Milhaud.\u003c\/p\u003e\n\u003cp\u003eNaturally the 1920s and 30s recordings frequently betray their age sonically, though often - particularly in the Milhaud - we are treated to clear upper frequencies, particularly in the brass, which offer a brightness which, if occasionally a little harsh, suggests a far more recent recording. The Ravel concerto - in its 1932 recording - suffered considerable swish, particularly during the quieter second movement, and a lot of effort has been expended in trying to reduce or eliminate this.\u003c\/p\u003e\n\u003cp\u003eNaturally the 1952 recording of the concerto is of considerably higher fidelity - it was included here both to bring together Long's only studio recordings of the concerto, and also to offer the chance to contrast and compare the two quite different interpretations by someone who perhaps knew the both work and its composer's intentions better than any other pianist. \u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eRAVEL \u003c\/b\u003ePiano Concerto in G major\u003cbr\u003e\u003cb\u003eSymphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by\u003cb\u003e Pedro de Freitas Branco\u003c\/b\u003e\u003cbr\u003erecording supervised by \u003cb\u003eMaurice Ravel\u003c\/b\u003e\u003cbr\u003eNB. Ravel has regularly but mistakenly been billed as the conductor of this recording \u003cbr\u003eRecorded 14 April 1932, issued as Columbia LFX 257-259\u003cbr\u003e\u003cbr\u003e\u003cb\u003eMILHAUD \u003c\/b\u003ePiano Concerto No. 1, Op. 127\u003cbr\u003e\u003cb\u003eSymphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eDarius Milhaud \u003c\/b\u003e\u003cbr\u003eRecorded 5 April 1935, issued as Columbia LFX 375-6 \u003cbr\u003e\u003cbr\u003e\u003cb\u003eMILHAUD \u003c\/b\u003eAutomne, Op. 115 - 2: Alfama\u003cbr\u003e\u003cb\u003eMILHAUD \u003c\/b\u003eSaudades do Brazil, Op. 67 - 12: Paysandu\u003cbr\u003eRecorded 5 April 1935, issued as Columbia LFX 375 \u003cbr\u003e\u003cbr\u003e\u003cb\u003eDEBUSSY \u003c\/b\u003eTwo Arabesques\u003cbr\u003eRecorded 10 July 1930, issued as Columbia LF 55 \u003cbr\u003e\u003cbr\u003e\u003cb\u003eDEBUSSY \u003c\/b\u003eEstampes - 3. Jardins sous la pluie\u003cbr\u003eRecorded 12 November 1929, issued as Columbia LFX 24\u003cbr\u003e\u003cbr\u003e\u003cb\u003eDEBUSSY \u003c\/b\u003eLa Plus que Lente (valse)\u003cbr\u003eRecorded 6 November 1929, issued as Columbia LFX 24\u003cbr\u003e\u003cbr\u003e\u003cb\u003eRAVEL \u003c\/b\u003ePiano Concerto in G major\u003cbr\u003e\u003cb\u003eOrchestre de la Socitété des Concerts du Conservatoire\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eGeorge Tzipine\u003c\/b\u003e\u003cbr\u003eRecorded 12 June 1952, issued as Columbia FCX 169\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMarguerite Long\u003c\/b\u003e piano\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose at Pristine Audio, March - April 2011\u003cbr\u003eCover artwork based on a photograph of Marguerite Long\u003cspan style=\"font-size: 18px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\nTotal duration: 72:56 \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC285.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC285.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\"Long made two recordings of the G major Concerto. The first one was recorded by Columbia on three 78 rpm records shortly after the January 1932 premiere. René Dumesnil reviewed it in Eve:\u003cbr\u003e\u003cbr\u003e\u003ci\u003eThe recording of the Concerto pour piano by Maurice Ravel ... is quite worthy of the new work, whose success this winter in Paris, and later in all of Europe's capitals, was resounding. It is Mme. Marguerite Long, dedicatee of the Concerto, whom we hear again at the piano with the same delight as we did at the work's premiere. Her interpretation can be regarded as a model of intelligence, of finesse and of technical perfection. . . . And one must praise equally the orchestra under the direction of the composer. \u003c\/i\u003e\u003cbr\u003e[August 28, 1932.]\u003cbr\u003e\u003cbr\u003eThe recording was advertised as being conducted by Ravel, but that was not quite the truth. It was actually under the baton of Pedro de Freitas-Branco, who had conducted most of the program on January 14, 1932. But, Long insisted, Ravel was present in the recording booth during the whole session, which lasted well into the night. He attentively followed every minute, voicing his opinion over the smallest details, and demanding that the performers start over until he was completely satisfied. And in the early morning hours he finally was.\u003cbr\u003e\u003cbr\u003eTwenty years later, in 1954 [sic], with the advent of long-playing records, Long recorded the G major Concerto again, with the Orchestre de la Société du Conservatoire under Georges Tzipine. On the flip-side was a new performance of Fauré's Ballade, conducted by André Cluytens. The 1954 Ravel recording was criticized by many for its stylistic looseness, particularly in the slow movement. At 80, Long chose a more sentimental rendition, as opposed to the classical sobriety of her earlier version. Whether a matter of taste or not, the later performance contradicted Ravel's intentions, as Long herself described them.\"\u003cbr\u003e\u003cbr\u003e\u003cb\u003eCecilia Dunoyer, \"Marguerite Long: a life in French music, 1874-1966\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\"In 1933, Milhaud set out to write his First Piano Concerto and asked Long to give its first performance and to be its dedicatee. His inscription on her score is typical of his tongue-in-cheek-wit: \"Je dépose à vos pieds chère et sublime amie cette oeuvre que vous ferez vivre par vos mains admirables\" (I leave at your feet, dear and sublime friend, this work, which you will bring alive with your admirable hands). Still in the heat of the success of Ravel's G major Concerto, Long accepted wholeheartedly. The première took place on November 25, 1934, with the Orchestre Pasdeloup under the direction of Albert Wolff. The November issue of Le Monde musicalacknowledged the event with some reserve:\u003cbr\u003e\u003cbr\u003e\u003ci\u003eThe concert of Sunday, [November] 25, was a beautiful festival of French contemporary music. It opened with the Saudades do Brasil by Darius Milhaud, strongly perfumed with smells of the Brazilian forest, and continued with the first audition of a new Concerto for piano by the same author, dedicated in 1933 to Marguerite Long. Of rather small dimension, it gives the piano a place of honor. It is the piano which leads, plays with the themes, discreetly emphasized by the orchestra soloists. ... It pales, of course, next to the prodigious Concerto by Ravel, which, under Long's magic fingers met another triumph, but it is a valuable asset to the modern pianist's repertoire.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eA second performance took place on January 19, 1935 at the Salle Rameau with Long as soloist. The program consisted of music by French composers, each conducting his own work: Milhaud, Ibert, Gaubert, Siohan, and Honegger. In 1938 [sic] the Milhaud Concerto was recorded by Columbia, this time under the direction of the composer. Two pieces for piano, \"Paysandu\" (from Saudades do Brasil) and \"Alfama\" (from l'Automne), complete the record. \"\u003cbr\u003e\u003cbr\u003e\u003cb\u003eCecilia Dunoyer, \"Marguerite Long: a life in French music, 1874-1966\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":54932152582483,"sku":"oes1789300715799","price":12.25,"currency_code":"USD","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":54932152615251,"sku":"fud1789300715800","price":8.68,"currency_code":"USD","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":54932152648019,"sku":"bwt1789300715801","price":9.44,"currency_code":"USD","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":54932152680787,"sku":"ijb1789300715802","price":7.2,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/1833\/9155\/files\/m-long-plays-ravel-milhaud-debussy-1929-52---pasc285_1.jpg?v=1789300723","url":"https:\/\/vendnora.com\/products\/m-long-plays-ravel-milhaud-debussy-1929-52-pasc285","provider":"luckagni","version":"1.0","type":"link"}