C1375. PIERRE MONTEUX Cond. Paris S.O.: Le Sacre du Printemps (Stravinsky); La Valse; Ma Mère l’Oye – Petit poucet (both Ravel); Interlude Dramatique (Coppola); w.Yehudi Menuhin & Georges Enescu: Double Concerto in d (Bach). (France) Dante LYS 374, recorded 1929-32. Very Long out-of-print, Final Copy! - 3421710413749
“One of the titans of 20th century music, PIerre Monteux was a much-loved conductor whose career went from Paris to Boston to San Francisco to London, and whose influence continues today through the many musicians who studied conducting with him in his retirement in Maine.
Pierre Monteux had one of the longest musical careers in memory, exceeded perhaps only by Pablo Casals and Leopold Stokowski. He retained a youthful appearance (and a full head of black hair!) well into old age, and he was well loved by colleagues and audiences alike.
He started violin studies at the age of six and then entered the Paris Conservatoire at the age of 9. He made his conducting début in Paris at the age of 12. He was a co-winner of the first prize for violin in 1896, with the great violinist Jacques Thibaud. He served as principal violist in the Opéra-Comique and was also assistant conductor and concertmaster of the Concerts Colonne. In 1894 he joined the Quatuor Geloso as a violist and was privileged to participate in the performance of a Brahms quartet in the composer's presence. In 1908 he became conductor of the Orchestre du Casino in Dieppe and in 1911 founded a series called the Concerts Berlioz. In the same year, he began a historic association when he was hired by Diaghilev to conduct his Ballets Russes. He led the premieres of Ravel's DAPHNIS ET CHLOÉ, Debussy's JEUX, and Stravinsky's PETRUSHKA and RITE OF SPRING, the last of which caused a notorious audience riot.
In 1914, when war broke out, he was called to military service. He received a discharge in 1916 and travelled to the United States, where he obtained a conducting post at the Metropolitan Opera that lasted until 1919. At that point he was engaged to conduct the Boston Symphony Orchestra. Taking up the post in 1920, he walked into a labor dispute, with his musicians on strike; by the time the strike was settled, the concertmaster and 30 other musicians had left. Monteux had to rebuild the orchestra - a difficult task, but an opportunity for Monteux to mold the orchestra according to his own taste; ever since then, the Boston Symphony Orchestra has been known for its French sound and its expertise in French and Russian repertoire. He remained in Boston through 1924, gaining a reputation as a supporter of modern music. He brought to America not only Stravinsky and the French composers, but such others as Respighi, Vaughan Williams, and Honegger.
In 1924 he began a ten year association with the Amsterdam Concertgebouw. He was a good fit with the orchestra's other conductor, Willem Mengelberg, who had a Romantic-era style, and who specialized in traditional repertoire and Dutch composers. In addition, Monteux founded the Orchestre Symphonique de Paris in 1929, and the École Monteux, a coaching school for young conductors in 1932.
In 1936 he returned to the United States as conductor of the San Francisco Symphony Orchestra, staying in that position through the 1952 season. During World War II he obtained American citizenship and transferred his École Monteux to his new hometown of Hancock, Maine, where Erich Kunzel, Neville Marriner, and André Previn were among his students. He guest conducted and recorded extensively, and in 1961, at the age of eighty-six, accepted the musical directorship of the London Symphony Orchestra.
RCA Victor recorded him extensively in stereo, not only in Debussy, Ravel, Milhaud, Stravinsky, and the like, but also in Beethoven and Brahms; Monteux was especially noted for his performances of these composers' music, to which he brought an unusual charm and lyrical quality. He strove for transparency of sound, precision, light and springy rhythms, and that elegance that seems particularly associated with French music."
- Joseph Stevenson, allmusic.com
“Yehudi Menuhin, Baron Menuhin, OM, KBE was an American-born violinist, violist, and conductor who spent most of his performing career in the United Kingdom. He was a student of Louis Persinger, Georges Enescu, and Adolf Busch.
Yehudi Menuhin performed for allied soldiers during World War II, and went with the composer Benjamin Britten to perform for the inmates of Bergen-Belsen concentration camp, after its liberation in April 1945. He went back to Germany in 1947 to perform music under the conductor Wilhelm Furtwängler as an act of reconciliation, becoming the first Jewish musician to go back to Germany after the Holocaust. After building early success on richly romantic and tonally opulent performances, he experienced considerable physical and artistic difficulties caused by overwork during World War II and unfocused early training. Careful practice and study combined with meditation and yoga helped him overcome many of these problems, and he continued to perform to an advanced age, becoming known for profound interpretations of an austere quality.
In 1952, Menuhin met and befriended the influential yogi B.K.S. Iyengar. Menuhin arranged for Iyengar to teach abroad in London, Switzerland, Paris and elsewhere. This was the first time that many Westerners had been exposed to yoga. In 1962 he established the Yehudi Menuhin School in Surrey. He also established the music program at the Nueva School in Hillsborough, California sometime around then. In 1965 he received an honorary knighthood.
During the 1980s he made jazz recordings with Stephane Grappelli and of Eastern music with the great sitarist Ravi Shankar. In 1985 he was awarded British citizenship and had his honorary knighthood upgraded to a full one. In 1993 he was created a life peer as Baron Menuhin, of Stoke D'Abernon in the County of Surrey. Lord Menuhin died in Berlin following a brief illness, from complications of bronchitis.
Menuhin credited the German-Jewish philosopher Constantin Brunner with providing him with ‘a theoretical framework within which I could fit the events and experiences of life’ (CONVERSATIONS WITH MENUHIN, pp.32-34).
Arguably the most famous of Menhuin's violins is the ‘Lord Wilton’ Guarneri del Gesù violin made in 1742.”
- The Violin Site
“George Enescu is still considered the greatest of all Romanian composers. While he is widely known for just one famous opus, he was in reality a very imaginative, highly skilled composer of music possessing great depth and subtlety, as well as being one of the great concert violinists of his time. For appearances in the West he adapted his name to a form that would prompt the French to pronounce it correctly: Georges Enesco.
He was given a violin and lessons at the age of four, progressing very rapidly and beginning to compose a year later. Legend has it his first teacher was a Romany fiddler. He entered the conservatory of the Gesellschaft der Musikfreunde in Vienna in 1888 where his primary violin teacher was Joseph Hellmesberger, Sr., one of his teachers and the director of the Vienna Conservatory, who hosted Enescu at his home, a place where the child prodigy met his idol, Johannes Brahms. He took piano from Ernst Ludwig and harmony, theory, and composition from Robert Fuchs. He made his violin début in 1889 in Slanic, Moravia. He remained in the Conservatory until 1894, regarded as a fully formed virtuoso at the age of 13. On 6 February 1898, at the age of only 16, George Enescu presented in Paris his first mature work, ‘Poema Română’, played by the Colonne Orchestra (at the time, one of the most prestigious in the world) and conducted by Édouard Colonne.
Nevertheless, he went on to the Paris Conservatory for more violin studies, and took harmony, theory, and composition from Dubois, Gédalge, Massenet, and Fauré. This mixture of late Romantic German and French training helped give his music its distinctive quality. That same year he started conducting the Romanian Philharmonic Society in Bucharest.
Enescu quickly established one of the most important solo and chamber music careers of the time. His recital partner was the great French pianist Alfred Cortot, and he formed a piano trio with Louis Fournier and Alfredo Casella in 1902, and in 1904 the Enescu Quartet. He joined the faculties of the École Normal and the American Conservatory in Paris. Pablo Casals described Enescu as ‘the greatest musical phenomenon since Mozart’ and ‘one of the greatest geniuses of modern music’. Vincent d'Indy claimed that if Beethoven's works were destroyed, they could be all reconstructed from memory by George Enescu. Alfred Cortot, one of the greatest pianists of all time, once said that Enescu, though primarily a violinist, had better piano technique than his own.
In the meantime, he took an active part in building a classical concert life in his native Romania. He formed a Philharmonic Orchestra in the town of Iasi, and a Composers' Society. He wrote his most famous works, the two ‘Romanian Rhapsodies’, Op. 11, for the Philharmonic. He also worked closely with the Conservatories in Bucharest and Iasi. In 1912 he funded a ‘George Enescu Prize’ in composition, and played the world premieres of the winning works.
He made his first appearances in the United States in 1923, as violinist and guest conductor with the Philadelphia Orchestra. The brilliant young American prodigy, Yehudi Menuhin, became his most famous pupil. Others were Gitlis, Grumiaux, and Ferras. Through the 1930s he continued work as a violinist, conductor, teacher, musicologist, and organizer, while as a composer he toiled on his powerful opera OEDIPUS. 1936 he was one of the candidates considered to replace Arturo Toscanini as permanent conductor of the New York Philharmonic.
When World War II broke out, he happened to be at his country estate in Romania and was more or less stuck there for the duration. After the war ended, he went to New York, from which he watched a Soviet-backed government take over his country. He remained in New York, increasingly incapacitated by arthritis. He gave a farewell concert with Menuhin in 1950, then returned to Paris. He suffered a stroke in 1954, and as a result of it, he spent ten months almost entirely paralyzed.”
- Joseph Stevenson, allmusic.com