Manuel Rosenthal;   Marcel Mule      (2-EMI 85240)
Item# C0492
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Product Description

Manuel Rosenthal;   Marcel Mule      (2-EMI 85240)
C0492. MANUEL ROSENTHAL Cond. Paris Phil.:  Les Rarissimes de Manuel Rosenthal, incl. Poème païen d’après Virgile (Loeffler), Raymonda – Suite de ballet (Glazounov) & Poème de l’extase (Scriabin); w.Marcel Mule (Saxophone): Concertino da camera (Ibert) & Rapsodie pour saxophone (Debussy). (E.U.) 2-EMI 85240, recorded 1952. Final copy! - 724358524024


“Rosenthal’s conducting career began in 1934, when he became a percussionist and assistant conductor of the Orchestre National de France, to Désiré-Emile Inghelbrecht. Rosenthal's musical career was interrupted by WWII, when he became a prisoner of war in 1940. Upon his liberation in 1944, he returned to the Orchestre National de France to become their principal conductor, a post he would hold until 1947. In his final year with the orchestra he brought them to join Sir Thomas Beecham and the Royal Philharmonic in a concert that filled the Harringay Arena with 13,500 listeners. His other later posts included music director of the Seattle Symphony from 1948-1951 and music director of the Orchestre Symphonique de Liège from 1964-1967. Rosenthal also served as professor of conducting at the Paris Conservatoire from 1962 to 1974.

Rosenthal composed works in all classical forms, including operas, operettas, ballets, 13 works for orchestra, choral works with orchestra and a capella, works for solo voice and orchestra, chamber music, music for voice and piano, and solo piano music. His reputation was sealed in France with JEANNE d'ARC, first performed in 1936, although this was followed by a production of the light-hearted one-act operetta LA POULE NOIRE of 1937. However, his best-known work as a composer was the 1938 ballet GAÎTÉ PARISIENNE, which he arranged based on the music of Jacques Offenbach. The commission by Léonide Massine was originally meant for Roger Désormière, but for lack of time, Désormière asked Rosenthal, a friend, to undertake the arrangement. Rosenthal was initially reluctant, but fulfilled the commission. Massine then rejected the score, but after arbitration by Igor Stravinsky, finally accepted the work and choreographed the ballet, which was a major success.”

- Zillah D. Akron