Yvonne Loriod , Vol. III - Fantasie #4 in c, K.475;  Piano Sonatas, K.330, K.331, K332 & K.333 (all Mozart)  (St Laurent Studio YSL T-1339)
Item# P1438
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Yvonne Loriod , Vol. III - Fantasie #4 in c, K.475;  Piano Sonatas, K.330, K.331, K332 & K.333 (all Mozart)  (St Laurent Studio YSL T-1339)
P1438. YVONNE LORIOD: Fantasie #4 in c, K.475; Piano Sonatas, K.330, K.331, K332 & K.333 (all Mozart). (Canada) St Laurent Studio YSL T-1339, recorded Sept. - Nov., 1951, Paris. Transfers by Yves St Laurent.


“Although Yvonne Loriod played Mozart often, including a cycle of 22 of his piano concertos in Paris within five weeks in 1964 with the Lamoureux Orchestra, conducted by Pierre Boulez, Bruno Maderna, and Louis Martin, her reputation was made in contemporary music, much of which was almost or entirely unplayed by others - one suspects as much for technical as for aesthetic reasons. Her American debut was the world-premiere performance of Messiaen's Turangalila Symphonie with Leonard Bernstein and the Boston Symphony Orchestra in 1949. Her phenomenal memory enabled her to learn Bartok's Second Piano Concerto in eight days ready for the first performance at Théatre des Champs-Élyées in Paris on 15th November 1945 with Orchestre National conducted by Manuel Rosenthal."

- Malcolm Ball

“Yvonne Loriod, the French pianist’s musical exactitude and intensity inspired numerous masterpieces by her husband, the composer Olivier Messiaen.

There may be no parallel in musical history to the performer-composer relationship that Ms. Loriod and Messiaen maintained across half a century. It gave rise not only to two immense Messiaen solo works - VINGT REGARDS SUR L’ENFANT-JÉSUS (20 Glances at the Child Jesus) and CATALOGUE D’OISEAUX (Bird Catalog) - but also to shorter pieces and quasi concertos, ranging in scale from the huge Turangalia Symphony to Oiseaux Exotiques (Exotic Birds), for piano with a tight group of wind instruments and percussion.

The presence of birds in so many of these works was no accident. For Messiaen, birdsong provided intimation of the music of heaven, unclouded by human egotism. He and Ms. Loriod would often go off in search of these natural singers, with Messiaen notating their melodies in the field and later incorporating them into his music.

In Ms. Loriod he found a musician who could provide avian qualities of agility and spectacle. "I have", he once said, "an extraordinary, marvelous, inspired interpreter whose brilliant technique and playing - in turn powerful, light, moving and colored - suit my works exactly."

It delighted him that her name was homophonous with that of a singing bird: the loriot, or golden oriole, which duly has its place in CATALOGUE D’OISEAUX.

"If Messiaen did not have a Loriod, a pianist wife like her, Messiaen probably would not be Messiaen" said Mr. Muraro, who is a specialist in the composer’s music.

Her teachers were Isidor Philipp, Lazare Lévy, Marcel Ciampi, as well as Messiaen and Milhaud. During her time at the conservatoire she had won seven premier prix."

- Paul Griffiths, THE NEW YORK TIMES, 18 May, 2010