Samson Francois, Vol. II;  Louis Martin    (St Laurent Studio YSL T-916)
Item# P1324
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Samson Francois, Vol. II;  Louis Martin    (St Laurent Studio YSL T-916)
P1324. SAMSON FRANÇOIS: Chopin & Prokofiev (the latter's Sonata #7 in B-flat) - Live Performance, 11 June, 1959 Strasbourg; w.Louis Martin Cond. Orchestre Municipal de Strasbourg: Piano Concerto for the Left Hand (Ravel); Piano Concerto #3 in E (Bartok) - Live Performance, 21 June, 1961. (Canada) St Laurent Studio YSL T-916.


"A pupil of Alfred Cortot, but standing apart from others who also studied with the French master, Samson François was a pianist of exceptional persuasiveness in live performance, but only intermittently as arresting in the recording studio. Nonetheless, he left on disc several samples of work approaching his best concert form, albeit with some evidence of the eccentricities critics complained about. His interests were wider than his recorded legacy might suggest; even at his most idiosyncratic, he offered moments of wry humor and rare magic. In addition to studies in Paris with Yvonne Lefebure and the esteemed Marguerite Long, François was a student of Alfred Cortot at L'Ecole Normale de Musique, the school Cortot co-founded with Auguste Mangeot. Before François had reached the age of 20, he won the Long-Thibaud Competition and thereafter embarked on a career, one of international scale once WWII had ended. Even during the war, Jacques Thibaud brought François to the attention of Walter Legge, the English recording producer turned wartime concert organizer; François was soon flown to England for an extended tour of factories and camps. Concentrating on the Romantic piano literature, and especially the French repertory, he was acclaimed for his performances of Liszt, Schumann, and Chopin, as well as Fauré, Debussy, and Ravel. His Prokofiev, too, was impressive. French critics and audiences were especially receptive to his virtuosic approach. François found an appreciative audience in London as well, and enjoyed a largely positive reputation there during his mature years. François' early death denied the world a chance to hear how the pianist might have developed had he lived longer, but his recordings preserve sufficient work of high interest to assure him a place as a major artist."

- Erik Eriksson,