C0166. PHILIPPE GAUBERT Cond. Paris Conservatoire Orch. & Orchsetre des Concerts Straram: Lalo, Chabrier, Delibes, Ravel, Fauré, Dukas & Berlioz. (France) Malibran 141, recorded 1929-37. Final Sealed Copy! - 3760003771419
“After the end of the war Gaubert’s career rapidly took off: in 1919 he was appointed to succeed Messager at the head of the Paris Conservatoire Orchestra, remaining in this post until 1938, and in addition he became professor of flute at the Conservatoire. The following year, 1920, he became first conductor at the Paris Opéra, and four years later in 1924, chief conductor, holding this position until 1939. From 1923 onwards Gaubert ceased to play the flute professionally in favour of conducting, although he maintained his flute professorship at the Conservatoire until 1931, when he switched to become professor of conducting. Following the outbreak of World War II, in1940 he became chief conductor at the Opéra once more, but this was a position he was to hold for only a short while since in 1941 he died unexpectedly following a cerebral haemorrhage.
With both the Paris Conservatoire Orchestra and the Paris Opéra, Gaubert was a tireless champion of contemporary French music and composers. He conducted many works by composers such as Debussy, Ravel, Dukas and Florent Schmitt, as well as the first performances of PADMÂVATÎ (1923) and BACCHUS ET ARIANE (1931) by Roussel, OEDIPE (1936) by Enescu, and numerous scores by Fauré, Pierné, Ibert, and Sauguet. He also led the first performances in Paris of many significant scores by non-French composers, such as Richard Strauss’ DER ROSENKAVALIER and ELEKTRA and Puccini’s TURANDOT, and in 1934 and 1935 he presented the first modern performances in France of Monteverdi’s ORFEO with the Paris Conservatoire Orchestra. He [also] composed prolifically.
Gaubert was active as a recording conductor between 1927 and 1938. Initially he and the Paris Conservatoire Orchestra recorded for the Columbia label, during 1927 and 1928….The outstanding recordings of this period were those made with the pianist Marguerite Long of Fauré’s Ballade and Chopin’s Piano Concerto #2, which won the Grand Prix du Disque of 1930.
In that year the Paris Conservatoire Orchestra changed recording companies, moving to the Compagnie Française du Gramophone, the French affiliate of the English Gramophone Company, and of which the Italian conductor Piero Coppola was musical director. Gaubert was an exclusive artist of the Columbia label, and went on to record a scintillating reading of the Second Suite from Ravel’s ballet score DAPHNIS ET CHLOÉ with the Straram Orchestra, a powerful account of the Overture to Lalo’s opera LE ROI D’YS, and excerpts from Delibes’ ballet COPPÉLIA, which well displayed his strengths in terms of style. Towards the end of his career, and after the formation of EMI and the absorption of the Columbia marque, Gaubert once more recorded with the Paris Conservatoire Orchestra, notably in two of his own compositions, LES CHANTS DE LA MER and LES INSCRIPTIONS POUR LES PORTES DE LA VILLE, as well as the Hungarian March from Berlioz’s LA DAMNATION DE FAUST. Gaubert’s conducting was notable for its rhythmic precision, vivid colours (albeit slightly clouded by the recording process of the period), refined timbres and musical sensitivity. His mastery lives on in the work of his pupils, such as the conductor Jean Fournet.”
- David Patmore, Naxos' A–Z of Conductors