French Orchestral Works
View record and artist detailsRecord and Artist Details
Composer or Director: Albert (Charles Paul Marie) Roussel, Darius Milhaud, Claude Debussy
Label: Chandos
Magazine Review Date: 12/1992
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: ABTD1594
Tracks:
Composition | Artist Credit |
---|---|
Symphony No. 4 |
Albert (Charles Paul Marie) Roussel, Composer
Albert (Charles Paul Marie) Roussel, Composer Detroit Symphony Orchestra Neeme Järvi, Conductor |
Sinfonietta |
Albert (Charles Paul Marie) Roussel, Composer
Albert (Charles Paul Marie) Roussel, Composer Detroit Symphony Orchestra Neeme Järvi, Conductor |
(La) Mer |
Claude Debussy, Composer
Claude Debussy, Composer Detroit Symphony Orchestra Neeme Järvi, Conductor |
Suite provençale |
Darius Milhaud, Composer
Darius Milhaud, Composer Detroit Symphony Orchestra Neeme Järvi, Conductor |
Composer or Director: Albert (Charles Paul Marie) Roussel, Darius Milhaud, Claude Debussy
Label: Chandos
Magazine Review Date: 12/1992
Media Format: CD or Download
Media Runtime: 68
Mastering:
DDD
Catalogue Number: CHAN9072
Tracks:
Composition | Artist Credit |
---|---|
Symphony No. 4 |
Albert (Charles Paul Marie) Roussel, Composer
Albert (Charles Paul Marie) Roussel, Composer Detroit Symphony Orchestra Neeme Järvi, Conductor |
Sinfonietta |
Albert (Charles Paul Marie) Roussel, Composer
Albert (Charles Paul Marie) Roussel, Composer Detroit Symphony Orchestra Neeme Järvi, Conductor |
(La) Mer |
Claude Debussy, Composer
Claude Debussy, Composer Detroit Symphony Orchestra Neeme Järvi, Conductor |
Suite provençale |
Darius Milhaud, Composer
Darius Milhaud, Composer Detroit Symphony Orchestra Neeme Järvi, Conductor |
Author: John Steane
Again in the Roussel Fourth Symphony I wondered why the second movement lento molto was faster than the first movement's introduction, marked only lento. The second movement here is a mere seven minutes long; Karajan (EMI, 1/51—nla) took over ten minutes, both Munch (Erato) and Ansermet (Decca) over nine and a half. But if Jarvi lacks some of their gravity, the movement is certainly beautifully 'sung'; a purposeful and strongly contoured unbroken curve from beginning to end.
The sound is arguably too distant for Roussel's more classical concerns—it may be an advantage for Debussy's motives to take shape gradually in the listener's consciousness, but Roussel's, I think, need clearer projection from the start. Important low woodwind solos in the introduction don't really make an impression, and the (equally important) rising figure on violins needs greater emphasis. It is easier to 'learn' this piece from the old Ansermet and Munch recordings with their closer, clearer sound, though both their orchestras may offend those looking for the ultimate in refined tone. Dutoit (also Erato) remains the safest recommendation for a modern recording of this Symphony.
Roussel's eight-minute Sinfonietta for strings is not ideally suited to a large string body recorded in an ample acoustic—the Detroit strings lack nothing in agility, but its gestures are inflated; its accents, rhythms and a certain astringency of address, compared to I Musici (Philips), are blunted. And I don't sense any special affection for Milhaud's Suite provencale (a loving, and lovable tribute to Milhaud's musical ancestors and place of birth). This performance is little more than an efficient run-through, with tempos arbitrarily chosen—mostly too slow, for example, the Vif section (here, anything but) that ends the second piece. No match for the recent Plasson (DG) either for spirit or style (or detail). Munch (RCA) is often even further than Jarvi from the score's indications of pace, but there is more warmth and character in its presentation.'
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