C1343. Jean Martinon & Serge Baudo Cond. Orchestre National de l'O.R.T.F: Psaume XLVII (Schmitt) (w.Andréa Guiot & Gaston Litaize); Psaume LXXX (Roussel) (w.John Mitchinson). (France) EMI 64368, recorded 1969-72. Long out-of-print, Final Copy! - 077776436821
“In the words of one of his biographers, conductor Jean Martinon's performances ‘were distinguished by a concern for translucent orchestral textures, and sustained by a subtle sense of rhythm and phrasing’. Occasionally, ‘he stressed a poetic inflection at the expense of literal accuracy’.
Martinon's first instrument was the violin; he studied at the Lyons Conservatory (1924-1925), then transferred to the Paris Conservatory, where he won first prize in violin upon his graduation in 1928. He subsequently studied composition, with Albert Roussel, and conducting, with Charles Münch and Roger Desormière. Until the outbreak of World War II, Martinon was primarily a composer. His early substantial works include a Symphoniette for piano, percussion, and strings (1935); Symphony #1 (1936); Concerto giocoso for violin and orchestra (1937); and a wind quintet (1938). At the start of the war he was drafted into the French army. Taken prisoner in 1940, he passed the next two years in a Nazi labor camp. There, he wrote’ Stalag IX’ (Musique d'exil), an orchestral piece incorporating elements of jazz; during his internment, he also composed several religious works, including ’Absolve’, ‘Domine’ for male chorus and orchestra, and ‘Psalm 136’ (Chant des captifs), the latter receiving a composition prize from the city of Paris in 1946.
Upon his release from the Nazi camp, Martinon became conductor of the Bordeaux Symphony Orchestra (from 1943 to 1945) and assistant conductor of the Paris Conservatory Orchestra (from 1944 to 1946), then associate conductor of the London Philharmonic (from 1947 to 1949). He toured as a guest conductor as well, although his U.S. début did not come until 1957, with the Boston Symphony giving the American premiere of his Symphony #2. Although he devoted as much time as he could to composing in the early postwar years -- producing a string quartet (1946), an ‘Irish’ Symphony (1948), the ballet ‘Ambohimang’a (1946), and the opera HÉCUBE (1949-1954) -- he was increasingly occupied with conducting, working with the Concerts Lamoureux (from 1951 to 1957), the Israel Philharmonic (from 1957 to 1959), and Düsseldorf Symphony Orchestra (from 1960 to 1966). Martinon resumed his career as a composer around 1960, writing his Violin Concerto #2 (1960) for Henryk Szeryng, his Cello Concerto (1964) for Pierre Fournier, and his Symphony #4 (‘Altitudes’), composed in 1965, for the 75th anniversary of the Chicago Symphony. He acknowledged Prokofiev and Bartók as strong influences on his scores, which meld Expressionism with French Neoclassicism. Martinon continued composing into the 1970s, but he seldom recorded any of his own music, with the notable exceptions of the Second Symphony, ‘Hymne à la vie’ (ORTF, for Barclay Inedits) and Fourth Symphony, ‘Altitudes"’ (Chicago SO, for RCA).
In 1963, he succeeded Fritz Reiner as head of the Chicago Symphony. Martinon's tenure there was difficult. In five seasons, he conducted 60 works by modern European and American composers, and made a number of outstanding LPs for RCA, mostly of bracing twentieth century repertory in audiophile sound. Chicago's conservative music lovers soon sent him packing.
Martinon jumped at the chance to take over the French National Radio Orchestra in 1968; working with this ensemble, he recorded almost the entire standard French repertory for Erato and EMI. His earlier Erato efforts that focused on such secondary but nevertheless interesting figures as Roussel, Pierné, and Dukas, whereas EMI assigned him integral sets of the Saint-Saëns symphonies and the orchestral works of Debussy and Ravel, among other projects. In 1974, he was appointed principal conductor of the Residentie Orkest in The Hague, but he died before that relationship could bear much fruit.”
- James Reel, allmusic.com
“Serge Baudo was conductor of the Orchestra of Radio Nice from 1959 to 1962. He then served as permanent conductor at the Paris Opéra from 1962 to 1965. Baudo also worked on the music of two Jacques-Yves Cousteau films: in 1964 he composed and conducted the music of WORLD WITHOUT SUN and in 1976 he conducted some Maurice Ravel musical pieces for VOYAGE TO THE EDGE OF THE WORLD (a Cousteau film about a four months expedition in Antarctica). He conducted the world premiere in Marseille of the opera ANDREA DEL SARTO by Jean-Yves Daniel-Lesur in January 1969. In July 1970, he conducted the premiere of Henri Dutilleux's TOUT UN MONDE LOINTAIN... with Mstislav Rostropovich and the Orchestre de Paris at the Festival d'Aix-en-Provence. Baudo became music director of the Orchestre philharmonique Rhône-Alpes, later the Orchestre National de Lyon, in 1971, and served in this post until 1987. During his time in Lyon, he founded the Berlioz Festival, in 1979. Baudo was principal conductor of the Orchestra della Svizzera Italiana from 1997 to 2000, and of the Prague Symphony Orchestra from 2001 to 2006. His other work with Czech orchestras includes a set of recordings of the complete symphonies of Arthur Honegger with the Czech Philharmonic.”