texts to the Chansons can be
found at:
http://www.recmusic.org/lieder/assemble_texts.html?SongCycleId=248
which site will then direct you to an
English translation.
With the death of Toscanini
and the evaporation of his intimidating
presence, Ravel’s Bolero can now be
performed as the composer intended,
that is, without notable tempo acceleration,
and here is the composer’s musical statement
on the subject. The recording is in
muffled, but quite listenable, tastefully
restored 1937 monophonic sound. It is
entirely convincing and can serve as
a model for conducting students and
musicologists. Fortunately we now have
many fine newer recordings of this work
which would bring a smile to the face
of the composer and a frown to the face
of Toscanini, and we are the better
for it. Fifty years ago the issue of
this disk would have caused a stir.
Perhaps it was re-issued fifty years
ago in barely penetrable, barely tolerable
sonic guise, unable to convince in that
form.
Madeline Grey (1887-1950)
was an American singer from California
famous for her Broadway successes. Madeleine
Grey (1896-1976) (née Madeleine
Nathalie Grumberg) was born in Villaines-la-Juhel,
Mayenne, France, and gave her début
concert with the Orchestre Pasdeloup
in Paris in 1919, travelled widely including
the U.S., and was well known for her
performances of Ravel songs. Based on
information in Wikipedia, I believe
this is the Ms Grey who sings on this
recording, although Wikipedia gives
the date as 1932, not 1928. The Chansons
Madécasses are beautifully
sung in a profoundly committed, and
listenably recorded performance directed
by the composer. Although Jesseye Norman
is generally the best at anything she
decides to do, particularly a very dramatic
song like Madécasses #2,
these historic performances still hold
their own in comparison to the very
high standard set by Norman’s EMI recordings.
The Prokofiev work
is very familiar from many later recordings.
This performance, probably recorded
in full range on an acetate disk, since
played many times, is exceptional and
the sound is surprisingly good for the
time and place, but features grating
high frequencies and screechy strings.
While the composer gives us a vivid
portrayal of his musical vision, it
is a vision not unfamiliar to us from
newer better-sounding recordings.
Paul Shoemaker
Moscow Philharmonic Orchestra/Sergei Prokofiev
PHILIPS 420 778-2 [58.23]
