PIERRE MONTEUX the Israel Philharmonic Orchestra
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PIERRE MONTEUX The Israel Philharmonic Orchestra Beethoven: Symphony no.4 Elgar: Enigma Variations Ravel: Daphnis & Chloe suite no.2 Ludwig van Beethoven (1770-1827) Symphony no.4 in B flat major, op.60 1. І. Adagio - Allegro vivace 12:27 2. ІІ. Adagio 8:45 3. ІІІ. Allegro vivace 5:50 4. ІV. Allegro ma non troppo 6:34 Edward Elgar (1857-1934) PIERRE MONTEUX Variations on an Original Theme (‘Enigma’), op.36 The Israel Philharmonic Orchestra 5. І. Theme 1:13 6. ІІ. C.A.E (the composer’s wife) 1:32 Beethoven - Symphony no.4 7. ІІІ. H.D.S.-P (Hew David Steuart-Powell) 0:46 8. ІV. R.B.T (Richard Baxter Townshend) 1:17 Elgar - Enigma Variations 9. V. W.M.B (William Meath Baker) 0:27 Ravel - Daphnis et Chloé - suite no.2 10. VІ. R.P.A (Richard Penrose Arnold) 1:47 11. VІІ. Ysobel (Isabel Fitton) 1:11 12. VІІІ. Troyte (Troyte Griffith) 0:59 Recorded at the Mann Auditorium, 13. ІX. W.N (Winifred Norbury) 1:40 Tel-Aviv 7.3.1964 14. X. Nimrod (A.J. Jaeger) 3:10 15. XІ. Intermezzo: Dorabella (Dora Penny) 2:43 16. XІІ. G.R.S (George Robertson Sinclair) 0:56 17. XІІІ. B.G.N (Basil G. Nevinson) 2:02 18. XІV. Romanza: *** (Lady Mary Lygon) 2:20 19. XV. Finale: E.D.U. (the composer) 4:39 Maurice Ravel (1875-1937) Ravel - Daphnis et Chloé - suite no.2 20. І. Lever du jour 5:44 21. ІІ. Pantomime 6:08 22. ІІІ Danse générale 3:42 2 “Patience make the conductor“ Ha’aretz 7.March.1964 Grandpa Pierre Monteux sits on the podium in the cultural center wearing a check woolen shirt. The baton is in his hand, the score before him. For an hour, I sat in the back row of the dark hall and during that hour, he rehearsed no more than three of the 14 pieces known as the “Enigma Variations”, pieces “sketched” by the famous English composer, Sir Edward Elgar, as a tribute to his friends. As is his way, Monteux does not berate his orchestra, nor lecture them, when he is not happy with a particular phrase, but sings the phrase to them. One such phrase, lasting no more than three seconds, he sang no less that seven times, but when all was said and done, he achieved what he wanted. If you go to his first concert this evening in Tel Aviv you will note that he has changed the seating plan for the orchestra and reverted to that which was popular at the start of the 20th century, when he was conducting the debut pieces of Debussy, Stravinsky and Ravel: the first violins are seated to his left and the second violins to his right, which is what he is used to. (The violinists claim that this seating arrangement is awkward and that they do not hear each other). When I heard him recently he conducted with sparing but very clear movements as if to retain his strength. Today, at rehearsal, his movement is flamboyant and confident (perhaps because he is 3 seated, although at the concert he will be standing). “Wonderful man” says a voice behind me “What a confident hand!” I turn around to see conductor Georg Singer who has come to learn from a lauded colleague. By the way, it’s time to put an end to the myth about the weak wind instruments of the Philharmonic, once and for all. In one of Elgar’s Variations the trombones, trumpets and tubas come together to produce a piercing and strong sound which is a delight to the ears! Maybe Sir Edward was trying to commemorate a military hero in that section? Speaking about the Maestro, one of the orchestra members says: “When we get one who goes mad on the podium, one who shouts and waves his arms all over the place because he lacks confidence, we just laugh at him. With Monteux, you can see that patience maketh the conductor” 4 PIERRE MONTEUX (1875-1964) Pierre Monteux had one of the longest musical careers in memory, exceeded perhaps only by Pablo Casals and Leopold Stokowski. He retained a youthful appearance (and a full head of black hair!) well into old age, and he was well loved by colleagues and audiences alike. He began violin studies at the age of six and then entered the Paris Conservatoire at the age of 9. He made his conducting debut in Paris at the age of 12. He was a co-winner of the first prize for violin in 1896, with the great violinist Jacques Thibaud. He served as principal violist in the Opera-Comique, and was also assistant conductor and concertmaster of the Concerts Colonne. In 1894 he joined the Quatuor Geloso as a violist and was priviledged to participate in the performance of a Brahms quartet in the composer’s presence. In 1908 he became conductor of the Orchestre du Casino in Dieppe and in 1911 founded a series called the Concerts Berlioz. In the same year, he began a 5 historic association when he was hired by Diaghilev to conduct his Ballets Russes. He led the premieres of Ravel’s Daphnis et Chloé, Debussy’s Jeux, and Stravinsky’s Petrushka and Rite of Spring, the last of which caused a notorious audience riot. In 1914, when war broke out, he was called to military service. He received a discharge in 1916 and travelled to the United States, where he obtained a conducting post at the Metropolitan Opera that lasted until 1919. At that point he was engaged to conduct the Boston Symphony Orchestra. Taking up the post in 1920, he walked into a labor dispute, with his musicians on strike; by the time the strike was settled, the concertmaster and 30 other musicians had left. Monteux had to rebuild the orchestra - a difficult task, but an opportunity for Monteux to mold the orchestra according to his own taste; ever since then, the Boston Symphony Orchestra has been known for its French sound and its expertise in French and Russian repertoire. He remained in Boston through 1924, gaining a reputation as a supporter of modern music. He brought to America not only Stravinsky and the French composers, but such others as Respighi, Vaughan Williams, and Honegger. In 1924 he began a ten year association with the Amsterdam Concertgebouw. He was a good fit with the orchestra’s other conductor, Willem Mengelberg, who had a Romantic- era style, and who specialized in traditional repertoire and Dutch composers. In addition, Monteux founded the 6 Orchestre Symphonique de Paris in 1929, and the Ecole Monteux, a coaching school for young conductors in 1932. In 1936 he returned to the United States as conductor of the San Francisco Symphony Orchestra, staying in that position through the 1952 season. During World War II he obtained American citizenship and transferred his Ecole Monteux to his new hometown of Hancock, Maine, where Erich Kunzel, Neville Marriner, and André Previn were among his students. He guest conducted and recorded extensively, and in 1961, at the age of eighty-six, accepted the musical directorship of the London Symphony Orchestra. RCA Victor recorded him extensively in stereo, not only in Debussy, Ravel, Milhaud, Stravinsky, and the like, but also in Beethoven and Brahms; Monteux was especially noted for his performances of these composers’ music, to which he brought an unusual charm and lyrical quality. He strove for transparency of sound, precision, light and springy rhythms, and that elegance that seems particularly associated with French music. 7 Recording editor: Fickler Producer: Yaron Karshai Mastering: Yisrael David Graphic design: Nicolle Guttmann Editing: Ronald Cole Many thanks to Avi Shoshani 2011 Helicon Ltd © 2011 Helicon Ltd.