Pierre Monteux Complete Decca Recordings

My introduction to Monteux as a teenager, was via his Beethoven 9th with the LSO and then I was hooked by his conducting, as I was by Furtwangler. Both conductors were beloved by their orchestras, so then this review is a labour of love for a man I admire greatly. (REVIEWS BELOW)Another RCA Sony classics box set made of tough cardboard. A small box that you can grip with one hand. Plum red in colour, one side has pictures of CD sleeves and underneath the music that has been remastered from the original Analogue discs and tapes, from 1941-1960. The lid covers nearly the entire box, for there is a tray in which the second box sits. The sleeves are the originals, except CD 1-10 which are the colour of the 78 covers, with the red disc label in the middle. From CD 11 onwards the original sleeves with details of the music, with small writing on the back about the music, or composer. The spines of the sleeves have the composer, music, orchestra and CD number. On the CD disc which looks like a LP, there is a label, either plum red, or light plum which means it is stereo, or red which indicates it is Living stereo.Now to the tricky bit, sound. For 18 works have been newly remastered from the original analogue discs and tapes using 24-bit/96 kHz technology. Thus, the sound for 1941 onwards is excellent. Next to the reviews where this has happened I shall place remastered, so you know. However, there are six CDs with Living Stereo on the front of the sleeve and they have been remastered. What about the others? I am assured by the booklet that b-sharp remastered them. The Booklet is hard covered with many pictures of Monteux, a essay 'Monteux remembered' by John Canarina. Although if you buy the box, listen to the bonus disc first, with Monteux speaking to a interviewer for 30 minutes. The charm and decency of the man comes through. Here is living history, not some dry words on the page. More in the booklet, track listing, with the track number, music, soloist and a picture of the cover. Then the discography with the composers in alphbetical order; when recorded and page number. I find this very useful.Monteux modelled his conducting technique upon that of Nikisch, the Hungarian conductor, whom he watched while playing in the Orchestra. Toscanini considered that Monteux had the best baton technique he had ever seen. Furtwangler considered Nikisch his only role model, who was a mentor to fellow Hungarian Fritz Reiner and an inspiration for Ferenc Fricsay. So who was Artur Nikisch? He conducted the Berlin Philharmonic and gave the conductor status, for he thought that conducting music was subjective, one was not a mere timebeater. Also, you were an orchestra educator. Thus, Reiner taught Bernstein, who mentored Tilson-Thomas. Furtwangler was an inspiration to Abbado, Thielemann and Barenboim. However, in 1932 Monteux taught conducting at his school in Paris, which moved to the South of France, then to Maine, USA in 1942 when he became an American citizen. His pupils were Markevitch, Marriner, Previn, Maazel, Ozawa and Monteux mentored David Zinman. Thus, Nikisch lives on in the orchestras and pupils of today.There is a lot of history contained in this one Man, and therefore this box set. Pierre Monteux (1875-1964) went to the Conservatoire de Paris to study the Violin and Viola. His fellow students were Enescu, Kreisler and he had a long friendship with Alfred Cortot. While still studying he played in the orchestra of the Follies Bergere. He told Gershwin his rhythmic sense was formed while playing popular dance music there. He attended the World premiere of Franck's Symphony in 1896. He played with Faure who was at the piano in his second piano quartet. Brahms in a private performance of his quartet told a friend of Monteux, " it takes a Frenchmen to play my work properly, the Germans play the work to heavily." That is why Monteux's Brahms is often light. He played in the orchestra for a decade and did conduct occasionally. In 1895 he conducted Saint-Saens oratorio La lyre et la Harp, after the composer declined and decided to play the organ. Monteux was elected by the orchestra to conduct. From 1907 he conducted regularly, and became well known when conducting for the Diaghilev ballet Russes between 1911 and 1914. In 1913 he conducted the Premiere of the Rite of Spring in Paris and a riot broke out. He said "I did not understand one note, but later Stravinsky explained it to me". "It was my duty to play modern music, not just a premiere of a work, but play it many more times." Monteux premiered Ravel's Daphnis et Chloe. He knew Debussy very well who showed him his work often and played his piano pieces to him. Monteux said "Debussy composed very slowly until he got it right." He was friendly with Ravel, Massenet, Stravinsky, D'Indy, whose work he championed, like Beecham with Delius. At the premiere of the concert version of the Rite of Spring which he conducted, Saint-Saens told Monteux's mother, that the work is "crazy, crazy". He conducted French opera at the Met from 1917-1919 with such singers as Caruso, Farrar and Martinelli. From 1924 -1934 he conducted the Concertgebouw orchestra with Mengeburg; they got along well. In the USA he conducted the San Francisco Symphony orchestra from 1936-1952. He was an honoured guest conductor of the Boston Symphony from 1951 until his death in 1964. I must add that as a soldier in the First world war, he fought during the battle of Verdun.All with the San Francisco Symphony Orchestra:RAVEL: (1941) La Valse. The dance takes on fleeter tempi with Monteux. RIMSKY -KORSAKOV. Le Coq d'or. Cortege de noces. REMASTERED. D'INDY. Symphonie pour orchestre et piano sur un chant montagnard francais. Is splendidly paced and comes up sounding fresh. Piano- Max Schapiro, he is very good. FRANCK: Symphony in D Minor. I think this version is on a par with the stereo version, often considered Monteux's finest recording. REMASTERED. FRANCK: (1941) Piece heroique Arrangement. Its chromatic links with the symphony are more obvious in the orchestral format.(1942) DEBUSSY: Images pour Orchestre. No 1 Gigues. No 3 Rondes de printemps. REMASTERED. D' INDY. Symphony No 2. This is a marvellous performance. RIMSKY-KORSAKOV: The Tale of Tsar Saltan: March. REMASTERED. LALO: Le Roi d'Ys Overture. (1945) LALO: Symphonie espagnole pour violon et orchestre. BRUCH: Concerto for violin and Orchestra No 1. Menuhin -Violin. The piece is emotionally played by Menuhin and Monteux adds to this by bringing out the beauty of the Adagio. REMASTERED. BERLIOZ: Overture Benvenuto Cellini. REMASTERED. Les Troyens a Cathage: Prelude. Monteux gets close to the core of these pieces. I wonder what the conductor would have made of Les Troyens? But Monteux hated bring known as just a conductor who conducts French music, he was an all rounder. D' INDY: Istar. BERLIOZ: Symphonie fantastique. One of the finest ever recorded. The last two movements generate great excitement. The tempi is swift, each note is where it should be, for everything is just right.d'INDY: Fervaal. Introduction to Act 1. RIMSKY- KORSAKOV: Sadko. BRAHMS: Rhapsody for Contralto and Orchestra. Marion Anderson. STRAVINSKY: Le Sacre du printemps. Very rhythmic and captures the spirit of the music with its swift tempi. Better then the 1951 version. It will have you jumping out of your seat and dancing. REMASTERED. BRAHMS Symphony No 2. It is unerringly and has great warmth and energy. RIMSKY-KORSAKOV: Le Coq d'or: Introduction et Cortege de Noces. REMASTERED. MILHAUD: Suite symphonie No 2. REMASTERED. CHAUSSON: Poeme. GRUENBERG: Concerto for Violin and Orchestra. Violin- Heifetz. IBERT: (1946) Escales. RIMSKY-KORSAKOV. "Antar" symphony No 2. RAVEL: Valses nobles et sentimentales. Captivating delicacy. Daphnis et Chloe- suite No 1. Nocturne. interlude. Danse guerriere. This music was made for Monteux who conducted the premiere. DEBUSSY: Pour le Piano: Sarabande. arr Ravel. Masterly and elegant. R. STRAUSS: Ein Heldenleben. Does not capture the Richard Strauss sound. CHABRIER: Le Roi malgre lui: Fete polonaise. SCRIABIN: Le Poem de L'extase. Symphony No 4.REMASTERED. GOUNOD: Faust: Ballet music. Because Monteux as a young man, played in a orchestra that played dance tunes, his sense of rhythm is better then most conductors. The music has a smile and always sounds right. MENDELSSOHN: Ruy Blas Overture. REMASTERED. RAVEL: Alborado del gracioso. Captures Ravel's music perfectly. BERLIOZ: Overture Benvenuto Cellini. La Damnation de Faust. Hungarian March. Monteux brings forth the swagger of this piece. RIMSKY- KORSAKOV:(1950) Scheherazade. All one wants from this music, swift tempi, energy and beauty. Still San Francisco Symphony orchestra. A number of pieces by the Boston Symphony Orch and RCA Victor symphony Orchestra.BEETHOVEN Symphony No 2. Sparkling and swift tempi. Monteux could be the grand father of the authentic instruments school. REMASTERED. FRANCK: Symphony in D minor. A mixture of the 1941 and 1961 version. Which means this is a different approach to the symphony by Monteux. BERLIOZ: (1951) Symphony Fantastique. The 1945 version is the best, but this version is close behind, and even by today's standards no one can touch him in this piece. STRAVINSKY: The Rite of Spring. Boston symphony orchestra. Marvellously played with swift tempi and remarkably fine, yet I prefer the 1945 version. BRAHMS: Symphony No 2 in major.San Francisco Symphony orchestra. The work has great energy and warmth. CHAUSSON: Symphony in B-flat op 20. A refreshing reading. BRAHMS:(1952) Alto Rhapsody. RCA Victor Symphony orchestra Cond Fritz Reiner. REMASTERED. MAHLER: Kindertotenlieder. San Francisco Symphony Orchestra. Cond Monteux. Marion Anderson- Contralto. Two conductors inspired by Nikisch, conducting a fine singer. Two different conductors in a Monteux set, is because Sony wanted to use the original cover. DEBUSSY: Images Pour Orchestre. 1. Gigues. Has a strong atmosphere 2. Iberia. So has Iberia. BRAHMS: Schicksalslied op 54. chorus and orchestra. J.S BACH: Passacaglia and Fugue in c minor BWV 582. Weihnachtsoratorium BWV 248. No 10 Sinfonia. Christmas Oratorio. REMASTERED. BEETHOVEN: The ruins of Athens. BEETHOVEN: Symphony No 4. The swift movements are very swift. Monteux seems to get right inside the music and bring its essence to us, the listener. SCHUMANN: Symphony No 4. Here it seems as though Monteux has become Schumann as he is composing the music.BOSTON Symphony Orchestra.SCRIABIN:(1953) Le Poeme de L'extase. (Symphony No 4). LIZST: Les Preludes. Boston Symphony Orchestra. Les Preludes has tremendous panache and gusto. MOZART:(1954) Concerto for Piano and orchestra No 12 in A major K 414. Concerto for piano and orchestra no 18 in B-flat major K 456. Piano Lilli Kraus. Boston Symphony Orchestra. Monteux brings all the gentleness and Mozartian melodies to the fore. Kraus is an excellent pianist. A gem. CHAUSSON: Poeme de l'amour et de la mer. RCA Victor Symphony orchestra. Monteux is at his best. BERLIOZ: Romeo et Juliet: Premiers transports que nul n'oublie. HAHN: Si mes vers avaient des alles. Gladys Swarthout- Mezzo is good in this piece. DEBUSSY: Mandoline. DUPARC:. Chanson triste. HILLEMACHER: Separation. CLERGUE: Carmen. POULENC: Banalities. No 2 Hotel. No 4. Voyage a Paris. Les Chemins del amour. Swarthout is excellent in the smaller works and her voice suits them. At times Swarthout reminds me of Maggie Teyte in her later years singing these songs. Piano- George Troville. BEETHOVEN: Symphony No 8. He brings all his love for Beethoven symphonies in this work. Quick tempi-his trademark. J. S. BACH. Passacaglia and Fugue in C minor. DELIBES: Sylvia Ballet Suite. Coppelia-Ballet Suite. Boston Symphony Orchestra. Monteux knew how to bring alive such warhorses as these two ballets suites. One has to hear it, for words can do no justice to his conducting. This is the problem with music, it is hard to describe.DEBUSSY: (1956) La Mer. Nocturnes. Boston Symphony orchestra. Here are great performances of Debussy's works, brought about by his swift tempi, rhythmic sense and his marvellous technique that can inspire a orchestra to give of their best. But the spark that ignites this, is his warm personality. It is thought to be among the finest on disc. VERDI: La Traviata.( DOUBLE CD SLEEVES) Rome opera House Orchestra. Rosanna Cartieri, Valletti, Warren. Cartieri's voice is probably more suited to Aida, but she tries her best. Valletti and Warren are good. Monteux liked opera and conducted it, but he thought there were too many outside influences in a opera house. As there is no libretto, I suggest you obtain from Amazon UK, 'The book of 101 opera libretto's' (ed) J.M MacMurray. 1996. Black Dog and Leventhal. New York. TCHAIKOVSKY: Symphony No 6. Boston Symphony Orchestra. The finale is heart felt and passionate. TCHAIKOVSKY:(1958) Symphony No 5. Boston Symphony Orchestra. This version is direct, full blooded and exciting, one of the best available still today. Symphony No 4.(1960) The momentum is sustained from first to last. Boston Symphony Orchestra. KHACHATURIAN:(1958) Concerto for Violin and Orchestra. SAINT-SAENS: Havanaise in E major. Boston Symphony Orchestra. Leonid Kogan- Violin. Kogan gives a sparkling and sultry account of the Havanaise. BRAHMS:(1959) Concerto for Violin and Orchestra in D minor. Szeryng Violin. London Symphony Orchestra. This is the right tempo for the work and both soloist and conductor bring the emotion of the music to the fore. STRAVINSKY:(1960) Petrushka. GLUCK: Orfeo ed Euridice.(DOUBLE CD SLEEVES) Rise Stevens, Orfeo Mezzo. Lisa Della Casa. Eurdice. Roberta Peters. Amore. Orchestra e Coro del teatro dell'Opera di Roma. Well sung and conducted. Stevens with her deep voice is good as Orfeo. R. STRAUSS: Tod und Verklarung. RICHARD WAGNER: Siegfried Idyll. San Francisco Symphony Orchestra. Monteux has caught that Straussian line beautifully which is hard to do. This version ranks with the very best. He certainly made the Siegfried Idyll his own. FRANCK:(1961) Symphony in D Minor. Chicago Symphony Orchestra. Thought to be Monteux's finest recording. BONUS: Pierre Monteux- the 80th birthday interview with Edward Kelly at town house, New York.I hope you enjoy this 40 CD Monteux RCA Box set as much as I did.REFERENCES: Gramophone November 1994. Lebrecht, N. The Maestro Myth. 1997. Pocket Book. Penguin Classical Guide 1996. Wikipedia. The Interview by Edward Kelly with Pierre Monteux.

This is a luxuriously produced set. It looks and feels substantial as well as having musical riches. I decided to run through it chronologically so I have only just reached the first of the operas included - even so the standard of sound is superb. The very first recording of Ravel's La valse has sound, from 1941, which is full and detailed. The quality of RCA's Living Stereo recordings is well known. Another of the fine early recordings is the Beethoven Fourth Symphony which has coruscating energy and fun. Presumably you buy this album because it is Pierre Monteux - you will not be disappointed here. The interpretations have individuality, but not personal wilfulness, they always strive to be at the service of the music. Having said that Monteux is a conductor who happened to be French, an all-rounder rather than a French specialist, the Debussy recordings are fantastic - his La mer has such energy and sparkle.Minus points - the original jacket shibboleth leads to some very short CDs - though many of the earlier recordings first issued without particular covers are well packed. Also you will need a magnifying glass to read the sleeve notes, which themselves have their own antique flavour.This is a superb set which has already given me many hours of musical enjoyment - and I have only reached CD 27.

This is a lovely box set. I already have some of Monteux's recordings and this completes my collection perfectly. Decca's sound quality plus the maestros' impeccable interpretations make this one of my all time favourite purchases.

Excellent collection - the only thing I miss is at least one (if more than one) of the recordings I used to have 50 years ago of Monteux's Mendelssohn - "Incidental Music to 'A Midsummer Night's Dream'".

excellent

----------- PROBLEM DISCOVERED ----------------------------65 Days after posting this review, I discovered a serious problem with the Monteux box.Not fatal, but not good.Three of the four D'Indy compositions are transferred at the wrong speed and are pitched flat (only the Istar Variations on CD 4 in the new box is pitched correctly).The problem dates back to the 1994 Monteux Edition on RCA.Volume 9 had three works of D'Indy.The original 1994 pressing (1994a) was mastered at the wrong speed (matrix number on the inner ring of the disc = 3/94).RCA detected the problem and issued a corrected version (1994b) (matrix number on the inner ring = 10/94).Sony has both matrixes in their vault, and unfortunately chose the wrong one for the 2014 box.These works are spread among three discs in the new collection.CD 1 has Symphony on a French Mountain Air:1994a (in 2014 box) = 25:01 (11:07, 6:17, 7:37) pitched flat - My stopwatch timings1994b (corrected) === 23:39 (10:30, 5:56, 7:13) correct pitchCD2 has Symphony 2:1994a (in 2014 box) = 42:12 (11:45, 11:36, 5:16, 13:35) pitched flat1994b (corrected) === 40:44 (11:07, 10:57, 4:59, 12:51) correct pitch (B flat)CD 5 has the Fervaal Prelude:1994a (in 2014 box) = 5:00 pitched flat1994b (corrected) === 4:43 correct pitchSony has no plans to remaster CDs 1, 2 and 5.Still a five star box, but this is extremely frustrating:" When creating this set, we were obviously not aware that our predecessors at BMG/RCA released CD No. 09026618882 in two differently pitched versions.The current Pierre Monteux edition apparently uses the lower pitched European version of Vol. 9, no. 09026618882 of the 1994 Monteux Edition,as source for CDs nos. 1, 2 and 5 in the current set.A higher pitched version of CD 09026618882 was made available in the US and is still available through[...]In that context there are no plans to reissue CDs nos. 1, 2, and 5 of the current Monteux set.With all best wishes,Sony Classical International "Both versions of the original 1994 CD are on the market with the same Amazon Stock index number: Vincent d'Indy: Symphony on a French Mountain Air; Symphony No. 2; Fervaal PreludeThe back inlay card of the faulty version (3/94) lists a total timing of 42:31 for Symphony 2.The back inlay card of the corrected version (10/94) lists a total timing of 40:12 for Symphony 2.Or you can purchase a guaranteed correctly-pitched reissue of the 1994 CD from Archive Music:[...]-----------------------------------------------------------------------My original review:"Let me state here that Monteux, almost alone among conductors, never cheapened The Rite or looked for his own glory in it, and that he continued to play it all his life with the greatest fidelity."- composer, quoted in Robert Craft, 'Conversations with Igor Stravinsky' (1959)Pierre Monteux was present at the birth of more Twentieth Century Classics than any other musician.He played in the orchestra at the premieres of:- Debussy: `Pelleas et Melisande' (1902)- Stravinsky: `Firebird' ballet (1910).He conducted the premieres of:- Stravinsky:`Petrushka' (1911)- Ravel: `Daphnis et Chloe' (1912)- Ravel: Valses nobles et sentimentales (1912)- Debussy: `Jeux' (1913)- Stravinsky: `Sacre du printemps' (1913) - scene of a famous riot- Stravinsky: `Les rossignol' (1914)- Ravel: `Tzigane' (1924).- Poulenc: Concerto champetre (1929)- Prokofiev: Symphony 3 (1929)But his favorite "modern" composer was Johannes Brahms.In 1895, the 20 year-old Pierre Monteux met the 63 year-old composer and took part in a private recital of his chamber music.-- Also recommended by the World's Foremost Authority on the Music of Johannes Brahms.I am a sucker for Nineteenth Century Conductors who hung around long enough to make modern stereo recordings.Pierre Monteux was born in 1875 and died in 1964, so he qualifies, along with Bruno Walter, Thomas Beecham, Leopold Stokowski and Otto Klemperer.Monteux participated in one of RCA's earliest stereo experiments: The 1953 Delibes Coppelia Suite - in this box.He was based in America from 1916 to 1924 (Metropolitan Opera and Boston Symphony), and returned in 1935 to direct the San Francisco Symphony.All his San Francisco recordings are in this box.22 CDs, recorded 1941 to 1952.Mono, except for two works recorded during a 1960 return visit to the city.After leaving San Francisco, Monteux retired to his wife's family's home in Maine, but continued to give concerts and make recordings as a guest conductor, mostly with the Boston Symphony.--------------- PART ONE: SAN FRANCISCO SYMPHONYBach: Christmas Oratorio - Sinfonia (1949)Bach: Passacaglia and Fugue in C Minor, orch. Respighi (1949)Beethoven: Symphonies 2, 4, 8 (1949-1952)Beethoven: Overture "Die Ruinen von Athen" (1949)Berlioz: Symphonie fantastique (1945, 1951)Berlioz: Benvenuto Cellini - Overture (1945, 1947, 1952)Berlioz: La damnation de Faust - Rákóczy March (1951)Berlioz: Les troyens: Act II - Overture (1945)Brahms: Symphony No. 2 in D Major, Op. 73 (1945, 1951)Brahms: Alto Rhapsody, Op. 53 with Marian Anderson (1945)Brahms: Song of Destiny "Schicksalslied", Op. 54 (1949)Bruch: Violin Concerto 1 in G Minor, Op. 26 with Yehudi Menuhin (1945)Chabrier: Fete-polonaise from "Le roi malgré lui" (1947)Chausson: Symphony, Op. 20 in B flat (1950)Chausson: Poème, Op. 25 with Jascha Heifetz (1945)Debussy: 3 Images pour orchestre (1951)Debussy: Image pour orchestre No. 1, Gigues (1942)Debussy: Image pour orchestre No. 3, Rondes de printemps (1942)Debussy: Sarabande (1946)Franck: Symphony in D Minor (1941, 1950)Franck: Pièce héroique, orch. O'Connell (1941)Gounod: Faust: Ballet Music (1947)Gruenberg: Violin Concerto, Op. 47 with Jascha Heifetz (1945)Ibert: Escales (1946)d'Indy: Symphonie sur un chant montagnard francais with Maxim Shapiro piano (1941)d'Indy: Symphony 2 (1942)d'Indy: Fervaal Prelude, Op. 40 (1945)d'Indy: Istar - Symphonic Variations, Op. 42 (1945)Lalo: Symphonie espagnole, Op. 21 with Yehudi Menuhin (1945)Lalo: Le roi d'Ys - Overture (1942)Mahler: Kindertotenlieder with Marian Anderson (1950)Mendelssohn: Overture "Ruy Blas" (1947)Milhaud: Suite symphonique No. 2 "Protée" (1945)Ravel: Alborado del gracioso (1947)Ravel: La valse (1941)Ravel: Valses nobles et sentimentales (1946)Ravel: Daphnis et Chloé: Suite No. 1 (1946)Rimsky-Korsakov: Symphony 2 "Antar" (1946)Rimsky-Korsakov: Le coq d'or - Introduction and Cortege (1945)Rimsky-Korsakov: Le coq d'or - Cortege only (1941)Rimsky-Korsakov: Sadko, Op. 5 (1945)Rimsky-Korsakov: Scheherazade (1942)Rimsky-Korsakov: Tsar Sultan - March (1942)Schumann: Symphony No. 4 in D minor, op. 120 (1952)Scriabin: Symphony No. 4, op. 54 "Le poème de l'extase" (1947)Strauss: Ein Heldenleben, Op. 40 (1947)Strauss: Tod und Verklärung, Op. 24 (1960) -- STEREOStravinsky: `Sacre du printemps' (1945)Wagner: Siegfried Idyll (1960) -- STEREO--------------- PART TWO: AMERICAN RECORDINGS, 1952 - 1963BOSTON SYMPHONY:Debussy: La mer (1954) -- mono and experimental stereoDebussy: Nocturnes (1955) -- stereoDelibes: Coppélia: Suite (1953) -- mono and experimental stereoDelibes: Sylvia: Suite (1953) -- monoKhatchaturian: Violin Concerto with Leonid Kogan (1958) -- stereoLiszt: Les preludes (1952) -- monoMozart: Piano Concerti k.414, k.456 with Lili Kraus (1953) -- monoSaint-Saens: Havanaise with Leonid Kogan (1958) -- stereoScriabin: Symphony No. 4 "Le poème de l'extase" (1952) -- monoStravinsky: Petrushka (1959) -- stereoStravinsky: `Sacre du printemps' (1951) -- monoTchaikovsky: Symphonies 4, 5 and 6 (1955-1959) -- stereo--- CHICAGO SYMPHONY:Franck: Symphony in D Minor (1961) -- stereo--- RCA VICTOR SYMPHONY, New York:Chausson: Poème de l'amour et de la mer with Gladys Swarthout (1952) -- mono--- BONUS CD: 80th Birthday Interview (1955)- All but one of Monteux's American recordings are in this box.His final American recording, Hummel's Trumpet Concerto with Armando Ghitalla and members of the Boston Symphony (1963 stereo) is available on Armando Ghitalla -Trumpet [IMPORT]--------------- PART THREE: EUROPEAN RECORDINGS, 1956 - 1964LONDON SYMPHONY:Brahms: Violin Concerto in D, Op. 77 with Henryk Szeryng (1959) -- stereoBetween 1956 and 1964, Monteux made a large number of stereo recordings with the London Symphony, Vienna Philharmonic, Amsterdam Concertgebouw and Paris Conservatoire Orchestras.Recorded by Decca, Philips and Westminster.Some Decca titles were released in North America by RCA, but the rights to all but the Brahms Violin Concerto are now owned by Universal, which owes the public a big box of Monteux's European recordings (it would be approximately 20 CDs).The 1961 'Daphnis et Chloe' with the London Symphony is especially recommended.Some Decca titles have recently been issued on Australian Eloquence. *--------------- PART FOUR: OPERA, 1955 - 1957Gluck: `Orfeo et Eurydice' with Stevens, Della Casa and Rome Opera (1957 stereo)Verdi: `La Traviata' with Carteri, Valletti, Warren and Rome Opera (1956 mono)But Monteux's best-known opera recording was a joint EMI/RCA project:Massenet's `Manon' with Victoria de los Angeles, recorded in Paris (1955 mono).All rights have reverted to EMI.Currently available on: ManonAfter World War II, Monteux regularly appeared at New York's Metropolitan Opera, where he was typecast as a French specialist (Rudolf Bing wouldn't let him conduct Verdi or Wagner).A 1955 Met broadcast of Offenbach's `Tales of Hoffmann' is in Sony's Metropolitan Opera Live series: Offenbach: Les Contes d'Hoffmann (Metropolitan Opera) (mono)SOUND QUALITY and PACKAGING:Back in 1994, RCA/BMG issued a 15 CD Pierre Monteux Edition boxed set.That accounts for about two-thirds of the material in this new box (the old box was not an original jacket production so individual CD timings were longer), and about half the remasterings.Sonically, the earliest of the wartime San Francisco recordings are nothing special, but the situation had improved by 1945 (the 1945 Rite of Spring on CD 5 is astonishing).RCA concentrated most of their engineering talent in Boston and New York.This is reflected in the superior sound of Monteux's 1951-1954 mono recordings, made in those two cities.Monteux's 1955-1961 Boston and Chicago stereo recordings (Debussy, Franck, Khachaturian, Saint-Saens, Stravinsky and Tchaikovsky) were among the highlights of RCA's "Living Stereo" LP catalog, and are still of demonstration quality.The London Symphony recording of the Brahms Concerto with Szeryng was actually produced by Decca Records in 1959.Excellent "ffrr" stereo sound.Attention Audiophiles: the 1950 Berlioz Symphonie fantastique, 1950 Franck D Minor Symphony, 1951 Brahms Symphony 2, 1952 Schumann Symphony 4, 1953 Mozart Piano Concerti, 1958 Brahms Violin Concerto and 1959 Tchaikovsky Symphony 4 are XRCD remasterings by Hiromichi Takiguchi of Sony Japan (they previously sold for $30/disc in North America).Hard to believe that the finale of the Symphonie fantastique was recorded 65 years ago.Spectacular."Original Jacket" mini-LP format beginning with CD 11 (the 1950 LP reissue of the 1942 Scheherezade).Original cover art with program notes on the back.CDSs 1-10 are 78rpm recordings that were never issued on LP: Plainish jackets with contents printed on the back.Everything comes packaged in an attractive rigid cardboard box.110 page booklet with full discographic information, an index to the recordings, and essay by Monteux biographer John Canarina.Unfortunately no texts or translations for the operas.Inevitable with these bargain boxes, but still sad.Also, for some reason, the 2-CD opera sets get no program notes, just 3 blank pages.Plot summaries for the Brahms, Chausson and Mahler vocal works are reproduced with the original program notes.POINTS OF INTEREST- Delibes: Prelude et Mazurka from Coppelia (CD 26) is RCA's earliest surviving stereo recording - December 2, 1953.- Debussy: La Mer was recorded in stereo on July 19, 1954 but CD 27 presents the entire work in mono as it was issued on LP, aside from a 4:23 fragment in stereo.Explanation in the booklet: "The entire recording was made in stereo and was edited for release, but the edited tape got lost, with the result that, even though the stereo master of Nocturnes did survive, the coupling was originally issued in mono. The surviving stereo take from La Mer shows the extreme clarity that the two-microphone pickup techniques provided at that time."The edited tape "got lost".Good grief.- Brahms: Alto Rhapsody with Marian Anderson (CD 18), recorded 1950, is conducted by Fritz Reiner.Monteux conducted the singer's first recording of the work (CD 5), recorded in 1945.- Chausson: 'Poème de l'amour et de la mer' with Gladys Swarthout (CD 24), recorded 1952, is conducted by Monteux, but the coupled French song recital is accompanied by pianist George Troville.- Stravinsky: 'Sacre du printemps' Two RCA recordings of 'The Rite of Spring' are included:The 1951 Boston Symphony version (CD 15) is usually regarded as the best of Monteux's four commercial recordings.The 1945 San Francisco version (CD 5) clearly is played by a lesser orchestra, but the sense of strain has its own rewards -In the opening solo the Boston bassoonist, playing in his highest register, makes a beautiful sound;the San Francisco player sounds like he is about to have a stroke (not inappropriate).This is the first CD release of the March 10, 1945 recording of The Rite of Spring(it was only in RCA's catalog for six years before being replaced by the Boston version).It's the most brutal of Monteux's four recordings.I wonder if the date of the recording had anything to do with it?Impressive achievement.Now my preferred 'Sacre du printemps'.- Richard Strauss: Death and Transfiguration (CD 38), recorded 1960.During World War I, shortly after his arrival in neutral America,Pierre Monteux created a mini-scandal in the New York press when he refused to conduct the music of Richard Strauss on the grounds that he was an enemy composer (Monteux had no objection to conducting the work of dead Germans).In December, 1944 Monteux received word that his favorite brother Henri had perished in a Nazi concentration camp.In Henri's memory, he programmed the still-living Richard Strauss' Death and Transfiguration at the next concert."It shall be my message and my prayer for my brother".* The Italian branch of Decca-Universal has just issued a 20 CD set of Monteux's Decca recordings = Pirre Monteux - Decca RecordingsUnfortunately it was carelessly assembled.It omitted some important recordings,and it used the less desirable 1990's re-masterings of Beethoven.My review of this box also includes a checklist of the available Monteux recordings on Eloquence - One 6-disc set + 14 individual CDs.

tutto ok

Inutile de disséquer ce boitier, on attendait depuis longtemps une réédition complète des enregistrements Decca et Philips de Pierre Monteux et la voici. Les grincheux remarqueront qu'il y manque l'ouverture Leonore III de Beethoven qui n'a été, à ce jour, proposée qu'au japon. Les mêmes grincheux regretteront surement que cette réédition soit présentée de manière quelque peu spartiate et ne bénéficie pas, sinon du luxe, du moins de la qualité de la réédition RCA du même Pierre Monteux. Les toujours même grincheux déploreront également que les pochettes de LP retenues pour recevoir ces CD n'aient pas toutes été choisies avec pertinence et bon goût mais enfin, voici Pierre dans toute sa gloire à la tête des orchestres du Concertgebouw, Philharmonique de Vienne et Symphoniques de Londres : Une grande parie du testament d'un des grands maîtres du XXème siècle. Chaudement recommandé.PS. Je suis, bien sûr, un grincheux.

die fünf Beethoven cd s sind 2015 für australian eloquence neu und sehr gut remastered worden. cd s 7 8 9 13 16 17 23 24 wurden von ben wiseman für diese Edition neu remastered und klingen sehr gut der rest scheint die australian eloquence masters zu nutzen klingt für meine ohren in dieser Überspielung aber einen hauch runder. insgesammt ist der klang der vor ca. drei jahren erschienenen italienischen Decca box haushoch über legen. schön daß man die original cover (leider ohne Rückseite wie bei sony vorhanden) verwendet hat

モントゥーの主要なレパートリーが収録されており、古いステレオ録音が主なのだが、音が詰まったり籠ったりすることがないのは素晴らしい。彼の力量が如実にわかる良企画。その解釈等は好き嫌いも含め個々の聞き手の判断に任せるが、じっくり聞いてみるだけの価値はある。

So much to enjoy. Great repertoire from a key musical figure. Much to love...