Yvonne Lefebure, Vol. VII   (2-St Laurent Studio YSL T-1191)
Item# P1402
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Product Description

Yvonne Lefebure, Vol. VII   (2-St Laurent Studio YSL T-1191)
P1402. YVONNE LEFÉBURE: Partita in B-flat major, BWV 825 (Bach); Bagatelles, Op.119 (Beethoven); Mikrokosmos - Six Dances in Bulgarian Rhythm (Bartók) & Davidsbündlertänze (Schumann). Another inspired and stimulating program with Yvonne Lefébure & Rémy Stricker. (Canada) 2-St Laurent Studio YSL T-1191, Broadcast Performance, 1971, Paris. Transfers by Yves St Laurent.

CRITIC REVIEWS:

“Yvonne Lefébure (1904-86) was a pupil of, among others, Widor, Dukas and Cortot, and in turn she taught such young players as Dinu Lipatti, Samson François, Janina Fialkowska and Imogen Cooper. Though she performed throughout Europe and America, it was as a teacher that she was best known. Nerves, it seems, prevented her from having a more high-profile concert career….formidable, vivacious and coquettish by turns, and her ability to pack as many words into 10 seconds as she could notes on the piano, rendered in a relentless delivery that had not taken account of the invention of the microphone.”

- Jeremy Nicholas, GRAMOPHONE, May, 2006





“…unlike the traditional Germanic left-brained approach, hers is from the heart. She manages to draw you in totally to the music with such amazing passion and energy. She attracted an international class to her studios at the École Normale de Musique, Paris Conservatoire and Conservatoire Européen, and in masterclasses at her own festival in Saint-Germain-en-Laye.”

- Graham Fitch, 15 Aug., 2014





“Yvonne Lefébure was one of the premier French pianists and teachers of the 20th century. A prodigy, she studied with Maurice Emmanuel (with whose family she remained close throughout her life) and Charles-Marie Widor at the Paris Conservatoire. She has also studied with Marguerite Long, first at a private school called the Conservatoire Femina-Musica (which provided Nadia Boulanger with her first official teaching post) and then in Long's preparatory class at the Conservatoire (1ère médaille). Alfred Cortot is said to have had the greatest influence over her playing. Her primary studies with Cortot were in his advanced Conservatoire class, which she entered in 1911 and from which she graduated with a 1er Prix in 1912. She also had some private lessons with Cortot, particularly in the years 1919-1939 when she was one of his principal teachers at the École Normale. There were still more ancillary studies. Yvonne Lefébure was a remarkably well-rounded and cultured musician, whose formation was far more comprehensive than the bulk of French pianists of her era: After earning her first prize in piano, she pursued other subjects, winning prizes in harmony, accompaniment, counterpoint and fugue.

Yvonne Lefébure maintained a lifelong concert schedule and was a favorite of conductors such as Igor Markevitch, Sir Adrian Boult, Wilhelm Furtwängler, and in particular Pablo Casals, who regularly employed her in his Prades and Perpignan festivals of the 1950s and 1960s. These conductors liked her no-nonsense approach, which was tempered with a high emotional sensitivity and an artistic flair. As Lefébure could balance all of these disparate elements with a sense of strong self-discipline, yet flexibility, it made her an ideal choice in concerto literature.

But Yvonne Lefébure's work on the concert platform paled in comparison to her activities as a piano teacher. She held two major, long-term engagements as an instructor: first as the École Normale de Musique in Paris and later at the Paris Conservatoire, where she taught until 1969. She continued in private lessons up until her death in 1986. While the names Samson François and Dinu Lipatti are often brought up as prize pupils benefiting from Lefébure's training, the full roster of her students reads like a who's who of late 20th century concert artists.

Unfortunately, Yvonne Lefébure only seldom recorded. Particularly exceptional is her recording with Pablo Casals from Perpignan of Mozart's Piano Concerto in D minor, K. 466. Made in 1951, it remained unreleased until after her death in 1986, as Columbia was unable to find an appropriate ‘coupling’ to go with it at the time it was made. Lefébure's later recordings, from the last ten years of her life, up until her death in 1986, were made for the French label Solstice, and her recording of the piano works of Ravel was awarded the coveted Grand Prix du Disque of the Académie Charles Cros.”

- Z. D. Akron