Édouard LALO (1823-1892)
Overture - Le Roi d'Ys
Symphonie Espagnole Op.21 (1875) [33:09]
Concerto Russe Op.29 (1879) [32:46]
Suisse Romande Orchestra/Ernest Ansermet (Le Roi)
Isaac Stern (violin), Philadelphia Orchestra/Eugene Ormandy
Gérard Poulet (violin), Czech Radio Symphony Orchestra/Vladimir
rec. Victoria Hall, Geneva, Switzerland, May 1960 (Le Roi) Philadelphia,
10 October 1956 (Symphonie) Prague, 5-6 January 1994 (Russe)
PRAGA DIGITALS PRD/DSD 350 094
This is a mixture of recordings from three different
eras of technology, gathered together for the very good reason that
all the music is by Édouard Lalo. Since so little of his music
is available there are worse reasons.
The poorly translated and/or edited insert has a lot of interesting
content and is worth reading, indeed is required reading to bring one
up to speed on a man who can be firmly categorised with Richard Strauss'
famous phrase about himself, a 'first class second-rate composer'. Lalo
wrote a substantial amount for the violin supported as he was by the
great virtuoso Pablo Sarasate, and two of these works were for him.
As it happens Sarasate firmly rejected the Concerto Russe but
was fond of the Symphonie Espagnole. This is probably the reason
the latter gained more exposure and a permanent place in the violin
The overture to Lalo's briefly successful opera Le Roi d'Ys was
recorded by Decca in the golden days of the early 1960s when everything
the Suisse Romande and Ansermet performed was received with enthusiasm
by public and critics alike. This item was part of an LP of French Overtures
released by Decca in early 1961 and subsequently reissued on Ace of
Diamonds. The digital re-mastering has come up well apart from a bit
of fizziness in the upper strings and one can hear the pleasant acoustic
of the Victoria Hall around a lively and attractive performance. The
overture itself is an enjoyable piece, by turns lyrical and dramatic.
I wonder why pieces such as this no longer appear in our concert halls.
This overture seems to have gone the way of so many short pieces by
such as Suppé, Chabrier and Saint-Saëns which used to be
popular in programmes of yesteryear.
The Symphonie Espagnole was recorded by Isaac Stern and the Philadelphia
as early as 1956 and issued on Columbia in the USA as a mono LP. The
stereo recording couldn't have been issued at that time which makes
this interesting technically. It sounds quite realistic so probably
derives from a genuine early experimental stereo master. The engineers
seem to have been a bit scared of quiet passages because they boost
the sound noticeably at times and overall it is a bit rough compared
to the sound Decca achieved just four years later in Geneva. In the
1950s and 1960s Stern was a top player and made dozens of superb recordings
across a huge repertoire. He is thoroughly at home here and gives as
good a performance as it is possible to imagine. Even Sarasate would
have been impressed. Stern has a fast vibrato and plays with muscular
and passionate enthusiasm. The famous finale is a class act indeed.
The final piece, the Concerto Russe is much less well known.
Here we have a recording which I guess derives from a Supraphon digital
master. It is certainly a much more modern sound and reflects the way
Czech engineers maintained very high standards of realism in their recordings
long after the mainstream had gone for a doctored studio sound. The
sound has clarity and impact, and zero background noise - with the rider
that my ageing ears might be filtering some hiss. Poulet is an excellent
violinist and is well supported by the always reliable Czech Radio Orchestra.
The concerto opens well but quickly loses direction and we are reduced
to attractive violinistic display with the orchestra chuntering along
amiably. Despite occasional moments of imagination and some attractive
Russian folk melodies the work never comes to much more than this. It
is lively and tuneful and includes some exciting high passagework for
the soloist but I found it essentially unmemorable. The fact that Sarasate
firmly rejected the work gives support to my reaction.
Two out of the three works are worth your attention and the third is
pleasant enough. Muted enthusiasm.