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."
gThe first performance of Debussyfs PELLEAS ET MELISANDE in 1902 made a major impact upon Inghelbrecht and he was to be associated with the music of that composer throughout his life. Jacques Rouche engaged Inghelbrecht as conductor at the Theatre des Arts in 1908, where he directed the first performance of Florent Schmittfs LA TRAGEDIE DE SALOME, and in 1911 he was chorusmaster for the stage première of Debussyfs mystery-play with dance, LE MARTYRE DE SAINT SEBASTIEN; he later conducted with distinction its revival as a concert piece in 1912. In order to give Paris a first-class choir, Inghelbrecht founded the Association Chorale Professionelle in 1912 and in the same year was appointed director of music at the newly constructed Theatre des Champs-Elysees, where he conducted the theatrefs opening season productions. These included Berliozfs BENVENUTO CELLINI, Mussorgskyfs BORIS GODUNOV, and Dukasf LA PERI.
After World War I, in 1919 Inghelbrecht founded the Concerts Pleyel with the objective of performing the music of the seventeenth and eighteenth centuries. He toured Europe with the Ballets Suedois between 1920 and 1923, conducting the first performances of LES MARIES DE LA TOUR EIFFEL by Les Six, and Milhaudfs LfHOMME ET SON DESIR (both in 1921) and on his return to France became chief conductor at the Opera-Comique, Paris (1924–1925). He then held a succession of posts - second conductor at the Concerts Pasdeloup (1928–1932), chief conductor of the Algerian Opera (1929–1930), and once again chief conductor at the Opera-Comique (1932–1933) - before embarking upon his major achievement: the formation in 1934 of the top radio orchestra in France, the Orchestre National de Radio France, of which he was chief conductor until the liberation of France at the end of World War II. He continued to conduct this orchestra until the end of his life, including on tour to England in 1953, even during the years (1945–1950) when he was chief conductor at the Paris Opera.
Inghelbrecht knew Debussy well, and specialised in the performance of his music throughout his career. He recorded works by Debussy both before and after World War II, on 78rpm and long-playing records, keeping alive a style of interpretation which he sedulously maintained to the end of his life. His performances of Debussyfs music were direct and precise, and without any hint of eimpressionismf. His own compositions, especially those written when he was young, clearly showed the influence of Debussy. Among the most well-known of his works are LA NURSERY, composed between 1905 and 1932, the ballet EL GRECO of 1920, and the REQUIEM of 1941. He also wrote several books on different aspects of conducting.h
- David Patmore, A–Z of Conductors
"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, Ren� 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