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Lazare-Lévy & Victor Staub

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Lazare-Lévy & Victor Staub THE FRENCH PIANO SCHOOL LAZARE-LÉVY VICTOR STAUB The complete studio recordings CONTENTS TRACK LISTING page 3 ENGLISH page 6 FRANÇAIS page 22 2 COMPACT DISC 1 Victor Staub (77.29) 1. LOUIS-CLAUDE DAQUIN Le coucou (Pièces de clavecin, 3ème suite) ............................ (1.20) Recorded in June 1927; matrix Ki 1264-1 (Odéon 166043) 2. MENDELSSOHN Song without words in C major Op 67 No 4 ‘Spinning Song’ ............. (1.40) Recorded in June 1927; matrix Ki 1264-1 (Odéon 166043) 3. CHOPIN Waltz in F major Op 34 No 3 ......................................................... (2.48) Recorded in June 1927; matrix Ki 1274-2 (Odéon 166044) 4. CHOPIN Waltz in G flat major Op 70 No 1 .................................................... (2.16) Recorded in June 1927; matrix Ki 1273-2 (Odéon 166044) SCHUMANN Fantasiestücke Op 12 5. No 1, Des Abends .................................................................................. (2.22) Recorded on 25 January 1929; matrix Ki 2167-1 (Odéon 166173) 6. No 2, Aufschwung .................................................................................. (2.25) Recorded on 25 January 1929; matrix Ki 2166-2 (Odéon 166172) 7. No 4, Grillen ........................................................................................ (2.37) Recorded on 25 January 1929; matrix Ki 2168-2 (Odéon 166173) 8. SCHUMANN/LISZT Frühlingsnacht S568 ..................................................... (2.30) Recorded in June 1927; matrix Ki 1286-2 (Odéon 166045) 9. MOSZKOWSKI Valse d’amour (Liebeswalzer) Op 57 No 5 ................................. (2.45) Recorded on 25 January 1929; matrix Ki 2165-2 (Odéon 166172) 10. SINDING Rustle of Spring Op 32 No 3 ......................................................... (2.15) Recorded on 25 January 1929; matrix Ki 2164-2 (Odéon 166171) 11. DEBUSSY Golliwogg’s Cake-Walk (Children’s Corner, No 6) ................................. (2.52) Recorded in June 1927; matrix Ki 1288-1 (Odéon 166048) 12. DEBUSSY Minstrels (Préludes, Book 1, No 12) .................................................. (2.09) Recorded in June 1927; matrix Ki 1287-2 (Odéon 166048) 13. RAVEL Rigaudon (Le tombeau de Couperin, No 4) ............................................... (2.39) Recorded in June 1927; matrix Ki 1275-1 (Odéon 166045) 14. RHENÉ-BATON Fileuses près Carantec No 5 of En Bretagne, Op 13 ......................... (2.14) Recorded on 25 January 1929; matrix Ki 2163-2 (Odéon 166171) 15. STAUB Sous-bois Op 6 .......................................................................... (2.48) Recorded in June 1927; matrix Ki 1263-1 (Odéon 166043) 3 Lazare-Lévy 16. MOZART Fantasia in C minor K475 .......................................................... (8.59) Recorded on 18 February 1931; matrices 2G 290-1, 291-1 (HMV France DB4808) 17. CHABRIER Sous-bois (Pièces pittoresques No 4) ................................................ (4.18) Recorded on 18 May 1937; matrix 2LA 1813-1 (HMV DB5039) 18. CHABRIER Idylle (Pièces pittoresques No 6) ..................................................... (3.40) Recorded on 18 May 1937; matrix 2LA 1814-1 (HMV DB5039) 19. DEBUSSY Masques .............................................................................. (4.22) Recorded on 17 October 1929; matrix CS 4354-2 (HMV W1059) 20. DUKAS La plainte, au loin, du faune (from Tombeau de Claude Debussy) ................... (3.59) Recorded on 18 February 1931; matrix 2G 289-1 (HMV L909) 21. ROUSSEL Sicilienne (No 2 from Suite pour piano, Op 14) ........................................ (4.17) Recorded on 8 July 1931; matrix 2G 288-2 (HMV L909) 22.- LAZARE-LÉVY Préludes 1, 2 & 5 from Vingt préludes ................................... (4.37) 24. Recorded on 17 October 1929; matrix CS 4356-2 (HMV W1059) 25. LAZARE-LÉVY Va l s e s ............................................................................ (7.27) Recorded on 7 November 1950; matrices M 155, 156 (Victor Japan SD54 in set JAS136) COMPACT DISC 2 (74.18) 1. F COUPERIN Les Lis naissans (Pièces de clavecin, Book 3, 13e Ordre No 1) ................... (1.35) Recorded on 7 November 1950; matrix M 153 (Victor Japan SD53 in set JAS136) 2. F COUPERIN Les rozeaux (Pièces de clavecin, Book 3, 13e Ordre No 2) ......................... (2.43) Recorded on 7 November 1950; matrix M 153 (Victor Japan SD53 in set JAS136) 3. SCHUBERT Impromptu in A flat major Op 142 No 2, D935/2 ................................ (4.32) Recorded on 7 November 1950; matrix M 154 (Victor Japan SD53 in set JAS136) 4. SCHUMANN Des Abends (No 1 from Fantasiestücke, Op 12) .................................... (2.40) Recorded on 7 November 1950; matrix M 158 (Victor Japan SD55 in set JAS136) 5. SCHUMANN Traumes Wirren (No 7 from Fantasiestücke, Op 12) .............................. (2.21) Recorded on 7 November 1950; matrix M 158 (Victor Japan SD55 in set JAS136) 6. CHOPIN Mazurka in C sharp minor Op 6 No 2 .............................................. (1.40) Recorded on 7 November 1950; matrix M 157 (Victor Japan SD55 in set JAS136) 7. CHOPIN Mazurka in A flat major Op 50 No 2 ................................................ (2.27) Recorded on 7 November 1950; matrix CS M 157 (Victor Japan SD55 in set JAS136) 4 Lazare-Lévy 8. F COUPERIN Les rozeaux (Pièces de clavecin, Book 3, 13e Ordre No 2) ......................... (3.09) 1 Recorded on 14 December 1951, Tel-Aviv; matrix L90U 2121-1 (Crown 59-14034, 7" 33 /3 rpm) 9. LOUIS-CLAUDE DAQUIN Le coucou (Pièces de clavecin, 3ème suite) ............................ (2.02) 1 Recorded on 14 December 1951, Tel-Aviv; matrix L90U 2121-1 (Crown 59-14034, 7" 33 /3 rpm) 10. DEBUSSY La cathédrale engloutie (Préludes, Book 1, No 10) ............................... (5.23) 1 Recorded on 14 December 1951, Tel-Aviv; matrix L90U 2122-1 (Crown 59-14034, 7" 33 /3 rpm) MOZART Sonata No 10 in C major K330 11. Allegro moderato .................................................................................. (5.38) 12. Andante cantabile ................................................................................. (6.11) 13. Allegretto ........................................................................................... (4.41) Recorded in 1952; (Ducretet Thomson LP8518) MOZART Sonata No 11 in A major ‘Alla Turca’ K331 14. Tema con variazioni: Andante grazioso ........................................................... (6.26) 15. Menuetto & trio .................................................................................... (6.04) 16. Alla Turca .......................................................................................... (3.03) Recorded in 1952; (Ducretet Thomson LP8518) MOZART Sonata No 8 in A minor K310 17. Allegro maestoso ................................................................................... (3.51) 18. Andante cantabile con espressione ............................................................... (7.10) 19. Presto .............................................................................................. (2.33) Recorded on 7 October 1955; (Pathé DTX196) 5 The French Piano School An introduction CHARLES TIMBRELL OR SOME 150 YEARS a distinctively Diémer and Philipp were the pre-eminent French piano style was nourished at the teachers at the beginning of the twentieth FParis Conservatoire. During the first half century. Diémer must have allowed individu ality, of the nineteenth century Paris was the centre for his students included such very different of pianistic activity in Europe, with performers, pianists as Alfred Cortot, Yves Nat, Robert piano-makers, composers and publishers vying Casa desus, Lazare-Lévy, Édouard Risler, for the attention of a music-loving public. It Marius-François Gaillard and Victor Staub. didn’t take too long for the state-run Con - Philipp’s students also showed stylistic variety, servatoire to become ingrown, with its faculty with Paul Loyonnet, Jeanne-Marie Darré, made up mostly of distinguished graduates Monique de La Bruchollerie and Guiomar Novaes whose students would in turn become the next sounding very different. And we must not forget generation of teachers. At first, foreign students Aline van Barentzen, the first American to win were not allowed, and even Liszt was turned a first prize at the Conservatoire. She represents down. The repertoire was quite narrow, and all an entirely different line, having been a pupil of students competing for prizes at the end of the Charles-Valentin Alkan’s student Élie Delaborde. year had to play the same required piece. A But van Barentzen later studied in Vienna with premium was placed on fast, clean and brilliant Theodore Leschetizky and in Berlin with Ernst finger work (‘le jeu perlé’) and on a trans parent von Dohnányi, and she may have been following and unforced sound that was never marred by a trend for French-trained pianists to do post- excessive pedal, with variety of tone produced graduate study elsewhere. Risler, for example, ideally by the fingers and wrists rather than the worked with three of Liszt’s students, arms or shoulders. Early recordings by Camille Bruchollerie studied with Emil von Sauer, Darré Saint-Saëns, Francis Planté, Louis Diémer, worked briefly with Istvan Thomán, and Isidor Philipp and Marguerite Long are classic Loyonnet studied with Martinus Sieveking. examples of this style. Inevitably the old French school became But the piano school did not operate in diluted by the 1950s, due to the dissemination complete isolation. Links with composers and of other performing styles through recordings, pianists both at home and
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