P1397. VLADO PERLEMUTER, w.Serge Baudo Cond. RTF S.O.: 'Emperor' Concerto #5 in E-flat (Beethoven), Live Performance, 7 March, 1959; GUY FALLOT, w.Vlado Perlemuter (Pf.): 'Pierrot is angry at the moon' Cello Sonata (Debussy), Broadcast Performance, 1968, Geneva. [The Debussy Sonata is a great pièce de résistance!] (Canada) St Laurent Studio YSL T-1029. Transfers by Yves St Laurent.
“If Vlado Perlemuter, the revered French pianist who studied with Ravel and Fauré and was an acclaimed interpreter of their works, never attained widespread public renown, it may have been because of a certain self-effacing quality in his pianism. But he was enormously respected by musicians and his many admirers, who found his playing a model of refinement and elegance.
In a 1993 review in THE NEW YORK TIMES of a two-disc recording of Ravel's complete works, Bernard Holland praised Mr. Perlemuter for his 'unadorned simplicity, his refusal to milk phrases for momentary effect, in short, his insistence on letting the Classical Ravel speak for himself'. Though a courtly figure on the concert stage, Mr. Perlemuter had commanding presence and played with an alluring palette of colorings.
Vlado Perlemuter studied privately with the Polish-German pianist Moritz Moszkowski. At 13 he entered the Paris Conservatory where he worked with the legendary pianist Alfred Cortot and also studied with Fauré. In 1919, at 15, he won the Conservatory's prestigious Premier Prix. During the 1920s Mr. Perlemuter took lessons privately with Ravel and become one of the first pianists to perform Ravel's complete works. His personal copies of the Ravel scores were covered with instructions written in this master's hand.
Mr. Perlemuter's career thrived until World War II when, as a Jew, he was forced to flee to Switzerland. In an interview with The Associated Press, Adrian Farmer, the music director of Nimbus Records, which produced a series of his recordings in the 1980s and early '90s, said that Mr. Perlemuter's having to leave his homeland during the war was ’the great embitterment of his life'. Mr. Perlemuter was especially distressed, Mr. Farmer added, that Cortot, with whom he was very close, remained in France.
Mr. Perlemuter resumed his career in 1950. His 1955 recording of the complete Ravel piano works became a landmark. Recording them in later years for Nimbus, Mr. Perlemuter played whole stretches of the repertory nonstop, Mr. Farmer said. The recordings were released with almost no touch-ups or editing.
Mr. Perlemuter's other albums from this period include distinguished accounts of works by Fauré, Bach, Debussy, Schumann, Beethoven, Mozart and Chopin. His Chopin playing was particularly admired for its rhythmic subtlety, beautiful details and French-tinged colorings.
From 1951 to 1976, Mr. Perlemuter was a leading professor at the Paris Conservatory. He also gave noted master classes in Britain, Canada and Japan, and served frequently on competition juries."
- Anthony Tommasini, THE NEW YORK TIMES, 7 Sept., 2002
“French cellist Guy Fallot (1927-2018) was born in Nancy of parents who were amateur musicians. He started piano lessons with his mother, a close friend of Guy Ropartz, hence the name Guy chosen for her son. At the age of only nine he was admitted to the Lausanne Conservatoire and by then he'd switched to the cello. He must have made rapid progress as he took the virtuosity prize aged fourteen. A year later, he won the first prize at the Geneva Sonata Competition with his pianist sister, Monique. He then went on to study at the Paris Conservatoire with Paul Bazelaire, clinching first prize in his class. Aside from an international career, interrupted for a while due to a hand problem, he taught at the Geneva and Lausanne conservatoires.
To those who are admirers it will help deepen their respect for this intense cellist and great musician, who earned the sobriquet ‘Napoleon of the cello’.
- Stephen Greenbank, MusicWebInternational
"Serge Baudo studied at the Paris Conservatoire, where he won first prize for harmony, chamber music, percussion and conducting; here his conducting teacher was Louis Fourestier. Between 1949 and 1957 Baudo played the timpani with the Lamoureux, Paris Conservatoire and Paris Opéra Orchestras, under conductors such as Charles Munch, Bruno Walter and Hans Knappertsbusch. He made his conducting debut in 1950, appearing frequently in this role in Paris. Between 1962 and 1965 he was the resident conductor at the Paris Opéra. Baudo's international career commenced in 1962 when, at Herbert von Karajan's invitation, he followed Karajan as the conductor of Debussy's PELLEAS ET MELISANDE at La Scala, Milan.
In 1967 the music director of the newly formed Orchestre de Paris, Charles Munch, invited Baudo to become the first conductor of the orchestra, where he stayed until 1970. Between 1969 and 1971 he served as director of music at the Lyons Opéra. In the latter year he made his debut at the Metropolitan Opera, New York and returned there for the next three seasons. In addition to his permanent appointments Baudo has conducted widely as a guest, throughout Europe and Russia, the Far East and Canada. He was appointed chief conductor of the Prague Symphony Orchestra in 2001, and also serves as the permanent guest conductor of the Yomiuri Nippon Symphony Orchestra. One of the finest French conductors of his generation, he is a Chevalier of the Légion d'honneur and a member of the Ordre National du Maitre and of the Ordre des Arts et des Lettres"
- David Patmore, A-Z of Conductors