P0007. YOURA GULLER, w. Inghelbrecht Cond. NRDF Orch.: Piano Concerto #4 in G (Beethoven), Live Performance, 15 May 1958; Piano Concerto #2 in f (Chopin), Live Performance, 21 June, 1959. (France) Tahra TAH 719. Final Sealed Copy! - 3504129071912
“Guller was born in Marseille as Rose-Georgette Guller, of Russian-Romanian heritage. She began her studies at the age of five. She performed in recitals and at the age of nine enrolled at the Paris Conservatory, where she worked with Isidor Philipp. In the 1930s, on the occasion of a concert tour planned for just 10 days, she stayed in China for eight years, returning to France on the verge of the Second World War and the invasion of German troops. As a Jew, she was forced to restrict her activities and to hide. After the war in the 1950s she performed only occasionally due to illness. She made her New York debut in 1971. Youra Guller's career wavered continually between failure and glory. Her life was a tapestry of heady success, nervous breakdowns, sumptuous receptions, drug addiction. Twenty-five years after her death, she has acquired an almost mythical status. Her known recordings are three rare LPs.
Youra Guller died in Geneva at 85.”
“Désiré-Emile Inghelbrecht was one of the most prominent French conductors of the first half of the twentieth century and a leading champion of the work of composer Claude Debussy. His family was musical: His father was a viola player in the Opéra de Paris and his mother was a pianist and violinist. They taught him the violin early on and enrolled him in the Paris Conservatory's courses on solfège and harmony under Taudou. For whatever reason, after several years there, he was expelled on the ground of ‘musical ineptitude’.
This did not prevent him from getting a musical job, for he joined an orchestra as a violinist. He learned the art of conducting from observation and self-study and débuted as a conductor in 1908 at the Théâtre des Arts. He became friends with Debussy, who asked him to prepare the choruses for the première of LE MARTYR DE ST. SÉBASTIEN in 1911. After this, he became director of music at the Théâtre des Champs Élysées in 1913. In that position, he conducted the first French-language production of Mussorgsky's BORIS GODUNOV.
He remained closely associated with theater music throughout his conducting career. Two major exceptions came in 1928 to 1932 when he led the Pas de Loup Concerts and after 1934, the year in which he founded the Orchestra National de la Radiodiffusion Française. This orchestra, whose name is sometimes given as the French Radio Orchestra or the O.R.F. (later O.R.T.F. Orchestra), is one of Paris' leading orchestras and the country's premier broadcast orchestra. He had two terms as its musical director, 1934 - 1944 and 1951 - 1958. His theatrical appointments included the Ballets Suédois (or Swedish Ballet, a French group despite its name) (1920 - 1923), the Opéra-Comique (1924 - 1925, 1932 - 1933), the Algiers Opéra (1929 - 1930), and the Paris Opéra (1945 - 1950). Throughout his life, he was regarded as the primary champion of Debussy's opera PÉLLEAS ET MÉLISANDE and his recording of it is recognized as an authentic representation of the style of its original performances. He was also a prolific composer in a style similar to those of Debussy or late Fauré, with subtle, clear orchestration. His best-known composition is LE NURSERY (1905 - 1911), a five-volume piano suite that he also orchestrated.”
- Joseph Stevenson, allmusic.com
"Tahra is a tiny classical music record company based in rural France. It's run by Myriam Scherchen, daughter of Hermann Scherchen, who co-ran the music label Tahra, which released officially authorized historical recordings of conductors such as Scherchen, Furtwängler, Mengelberg and others, generally drawn from primary recorded sources. Tahra ceased business after the death of the co-principal of the label, René Trémine. And despite its small size, the label has won some of the classical music industry's most prestigious awards, outgunning many of the big multinational conglomerates that dominate classical music today. Tahra's records are historical recordings, often taken from 78s or tapes of decades-old radio broadcasts."
- Julian Crandall Hollick, NPR Music, 28 Aug., 2005