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John Barbirolli Sir John Giovanni Battista Barbirolli, CH (December 2, 1899 - July 29, 1970), was a British conductor and cellist. Barbirolli was particularly associated with The Hallé, Manchester, which he conducted for nearly three decades. He was also music director of the New York Philharmonic and the Houston Symphony, and conducted many other orchestras including the London Symphony Orchestra, the London Philharmonic Orchestra, the Berlin Philharmonic, and the Vienna Philharmonic. He was particularly associated with the music of English composers such as Edward Elgar and Ralph Vaughan Williams. He also developed a strong reputation as a conductor of the music of Gustav Mahler. Early years 1899-1937Barbirolli was a Londoner, from a musical family. His father and uncle were violinists in London theatre orchestras, notably the Leicester Square Empire, though they had also played at La Scala, Milan, under Arturo Toscanini. Thus the young John was destined to be a string player, a specialist in British music, and to have a love of Italian opera. Barbirolli won a scholarship to study at Trinity College of Music, and later studied at the Royal Academy of Music where the Sir John Barbirolli Collection of photographs and memorabilia is now archived. As a young cellist he made some acoustic records, played in the London Symphony Orchestra (LSO), notably at the first performance of Edward Elgar's Cello Concerto, and was soon after the soloist in the second performance of the work. In the 1920s he turned to conducting and formed a chamber orchestra which recorded new works for the National Gramophonic Society, notably Elgar's Introduction and Allegro, which may have been responsible for His Master's Voice avoiding the work until after Elgar's death. Between 1929 and 1933 he conducted opera at Covent Garden. From 1933 to 1936 he conducted the Scottish Orchestra in Glasgow. Barbirolli became known for his ability to secure effective performances at short notice, and in the 1930s made many recordings with the LSO and London Philharmonic, accompanying concerti with leading soloists such as Fritz Kreisler, Jascha Heifetz and Arthur Rubinstein, most of which remain classics today.
Notes from Wikipedia: http://en.wikipedia.org/wiki/Barbirolli Debussy Achille-Claude Debussy (pronounced [aʃil klod dəbysi]) (August 22, 1862 – March 25, 1918) was a French composer. Along with Maurice Ravel, he is considered one of the most prominent figures working within the field of Impressionist music, though he himself intensely disliked the term when applied to his compositions. Debussy was not only among the most important of all French composers but also was a central figure in all European music at the turn of the twentieth century. Debussy's music virtually defines the transition from late-Romantic music to twentieth century modernist music. In French literary circles, the style of this period was known as Symbolism, a movement that directly inspired Debussy both as a composer and as an active cultural participant. Early life and studies
Claude Debussy was born in St. Germain-en-Laye in 1862, the eldest of five children. His father owned a china shop and his mother was a seamstress. Debussy began piano lessons when he was seven years old with an elderly Italian named Cerutti; his lessons were paid for by his aunt. In 1871, the shy awkward boy gained the attention of Mme. de Fleurville, the mother-in-law of the poet Paul Verlaine, who had been a pupil of Chopin. His talents soon became evident, and, at age eleven, Debussy entered the Paris Conservatoire. During Debussy's twelve years at the Paris Conservatoire, beginning in 1872, he studied composition with Ernest Guiraud, harmony with Emile Durand, piano with Antoine-Francois Marmontel, organ with César Franck, and solfeggio with Albert Lavignac, as well as other significant figures of the era. From the start, though clearly talented, Debussy was also argumentative and experimental, and he challenged the rigid teaching of the Academy, favoring instead dissonances and intervals, which were frowned upon at the time. From 1880 to 1882, he was employed by the patron of Tchaikovsky, Nadezhda von Meck, giving music lessons to her children.[1] Despite his patron's closeness with Tchaikovsky, the Russian master appears to have had little or no effect on Debussy. More influential was Debussy's close friendship with Madame Vasnier, a singer he met when he began working as an accompanist to earn some money. She gave Debussy emotional and professional support and influenced his first songs, settings of poems by Verlaine. As the winner of the Prix de Rome with his composition L'Enfant prodigue, he received a scholarship to the Académie des Beaux-Arts, which included a four-year residence at the Villa Medici, the French Academy in Rome, to further his studies (1885-1887). According to letters to Madame Vasnier, perhaps in part designed to gain her sympathy, he found the artistic atmosphere stifling, the company boorish, the food bad, and the monastic quarters "abominable".[2] Neither did he delight in the pleasures of the "Eternal City", finding the Italian opera of Donizetti and Verdi not to his taste. Debussy often was depressed and unable to compose, but he was inspired by Franz Liszt, whose command of the keyboard he found admirable. In June 1885, Debussy wrote of his desire to follow his own way:
Debussy finally composed four pieces that were sent to the Academy: the symphonic ode Zuleima, after Heinrich Heine; the orchestral piece Printemps; the cantata La damoiselle élue (1887-1888), which was criticized by the Academy as "bizarre"; and the Fantaisie for piano and orchestra. The third piece was the first in which stylistic features of Debussy's later style emerged. The fourth piece was heavily based on César Franck's music and withdrawn by Debussy himself. Overall, the Academy chided him for "courting the unusual" and hoped for something better from the gifted student. Even though Debussy showed touches of Massenet in his efforts, Jules Massenet himself concluded, "He is an enigma."[4] In his visits to Bayreuth in 1888-9, Debussy was exposed to Wagnerian opera, which had a lasting impact on his work. Richard Wagner had died in 1883 and the cult of Wagnerism was still in full swing. Debussy, like many young musicians of the time, responded positively to Wagner's sensuousness, mastery of form, and striking harmonies, but ultimately Wagner's extroverted emotionalism was not to be Debussy's way either. Wagner's influence is evident in La damoiselle élue and the 1889 piece Cinq poèmes de Baudelaire. Other songs of the period, notably the settings of Verlaine—Ariettes oubliées, Trois mélodies, and Fêtes galantesare all in a more capricious style. Around this time, Debussy met Erik Satie who proved a kindred spirit in his experimental approach to composition and to naming his pieces. During this period, both musicians were bohemians enjoying the same cafe society and struggling to stay afloat financially. During 1889, at the Exposition Universelle in Paris, Debussy heard Javanese gamelan music. Although direct citations of gamelan scales, melodies, rhythms, or ensemble textures have not been located in any of Debussy's own compositions, the equal-tempered pentatonic scale appears in his music of this time and afterward. Early works
Beginning in the 1890s, Debussy developed his own musical language largely independent of Wagner's style, colored in part from the dreamy, sometimes morbid romanticism of the Symbolist Movement. Debussy became a frequent participant at Stéphane Mallarmé Symbolist gatherings, where Wagnerism dominated the discussion. In contrast to the enormous works of Wagner and other late-romantic composers, however, around this time Debussy chose to write in smaller, more accessible forms. The Suite bergamasque (1890) recalls rococo decorousness with a modern cynicism and puzzlement. This suite contains one of Debussy's most popular pieces, Clair de Lune. Debussy's String Quartet in G minor (1893) paved the way for his later, more daring harmonic exploration. In this work he utilized the Phrygian mode as well as less standard scales, such as the whole-tone, which creates a sense of floating, ethereal harmony. Debussy was beginning to employ a single, continuous theme and break away from the traditional A-B-A form, with its restatements and amplifications, which had been a mainstay of classical music since Haydn. Influenced by Mallarmé, Debussy wrote one of his most famous works, the revolutionary Prélude à l'après-midi d'un faune, truly original in form and execution. In contrast to the large orchestras so favoured by late-romanticism, Debussy wrote this piece for a smaller ensemble, emphasizing instrumental colour and timbre. Despite Mallarmé himself, and colleague and friend Paul Dukas having been impressed by the piece, it was controversial at its premiere. Prélude subsequently placed Debussy into the spotlight as one of the leading composers of the era. Middle worksThe three Nocturnes (1899), include characteristic studies in veiled harmony and texture as demonstrated in Nuages; exuberance in Fêtes; and whole-tones in Sirènes. Contrasting sharply with Wagnerian opera, Debussy's Pelléas et Mélisande premiered in 1901, after ten years of work. It would be his only complete opera. Based on the play by Maurice Maeterlinck, the opera proved to be an immediate success and immensely influential to younger French composers, including Maurice Ravel. These works brought a fluidity of rhythm and colour quite new to Western music. La Mer (1903-1905) essays a more symphonic form, with a finale that works themes from the first movement, although the middle movement, Jeux de vagues, which proceeds much less directly and with more variety of colour. Again, the reviews were sharply divided. Some critics thought the treatment less subtle and less mysterious than previous works and a step backward. Pierre Lalo complained "I neither hear, nor see, nor feel the sea". Others extolled its "power and charm", its "extraordinary verve and brilliant fantasy", and its strong colors and definite lines. During this period Debussy wrote much for the piano. The set of pieces entitled Pour le piano (1901) utilises rich harmonies and textures which would later prove important in jazz music. His first volume of Images pour piano (1904–1905) combine harmonic innovation with poetic suggestion: Reflets dans l'eau is a musical description of rippling water; Hommage à Rameau, the second piece, is slow and yearningly nostalgic. It takes as its inspiration a melody of Jean-Philippe Rameau's, Castor et Pollux. The evocative Estampes for piano (1903) give impressions of exotic locations. Debussy came into contact with Javanese gamelan music during the 1889 Paris Exposition Universelle. Pagodes is the directly inspired result, aiming for an evocation of the pentatonic structures employed by the Javanese music. Debussy wrote his famous Children's Corner Suite (1909) for his beloved daughter, Claude-Emma, whom he nicknamed Chou-chou. The suite recalls classicism—the opening piece Doctor Gradus ad Parnassum refers to Muzio Clementi's collection of instructional piano compositions Gradus ad Parnassum, as well as a new wave of American cakewalk music. In the popular final piece of the suite, Golliwog's Cakewalk, Debussy also pokes fun at Richard Wagner by mimicking the opening bars of Wagner's prelude to Tristan and Isolde. The first book of Preludes (1910), twelve in total, proved to be his most successful work for piano. The Preludes are frequently compared to those of Chopin. Debussy's preludes are replete with rich, unusual and daring harmonies. They include the popular La Fille aux Cheveux de Lin (The Girl with the Flaxen Hair) and La Cathédrale Engloutie (The Submerged Cathedral). Debussy wanted people to respond intuitively to these pieces and so he placed the titles at the end of each one in the hope that listeners would not make stereotype images as they listened. Larger scaled works included his orchestral piece Iberia (1907), began as a work for two pianos, a triptych medley of Spanish allusions and fleeting impressions and also the music for Gabriele d'Annunzio's mystery play Le martyre de St. Sébastien (1911). A lush and dramatic work, written in only two months, it is remarkable in sustaining a late antique modal atmosphere that otherwise was touched only in relatively short piano pieces. During this period, as Debussy gained more popularity, he was engaged as a conductor throughout Europe, most often performing Pelléas, La Mer, Iberia, and Prélude à l'après-midi d'un faune. He was also an occasional music critic to supplement his conducting fees and piano lessons. Debussy avoided analytical dissection and attempts to force images from music, "Let us at all costs preserve this magic peculiar to music, since of all the arts it is most susceptible to magic." He could be caustic and witty, sometimes sloppy and ill-informed. Debussy was for the most part enthusiastic about Richard Strauss and Igor Stravinsky, worshipful of Chopin, Johann Sebastian Bach and Mozart, and found both Liszt and Beethoven geniuses who sometimes lacked "taste". Schubert and Mendelssohn fared much worse, the latter he described as a "facile and elegant notary". He also admired the works of Charles-Valentin Alkan. Late works Debussy's harmonies and chord progressions frequently exploit dissonances without any formal resolution. Unlike in his earlier work, he no longer hides discords in lush harmonies. The forms are far more irregular and fragmented. These chords who seemingly had no resolution were described by Debussy himself as "floating chords", and were used to set tone and mood in many of his works. The whole tone scale dominates much of Debussy's late music. His two last volumes of works for the piano, the Études (1915) interprets similar varieties of style and texture purely as pianistic exercises and includes pieces that develop irregular form to an extreme as well as others influenced by the young Igor Stravinsky (a presence too in the suite En blanc et noir for two pianos, 1915). The rarefaction of these works is a feature of the last set of songs, the Trois poèmes de Mallarmé (1913), and of the Sonata for flute, viola and harp (1915), though the sonata and its companions also recapture the inquisitive Verlainian classicism. With the sonatas of 1915–1917, there is a sudden shift in the style. These works recall Debussy's earlier music, in part, but also look forward, with leaner, simpler structures. Despite the thinner textures of the violin sonata (1917) there remains an undeniable richness in the chords themselves. This shift parallels the movement commonly known as neo-classicism which became popular after Debussy's death. Debussy planned a set of six sonatas, but this plan was cut short by his death in 1918 so that he only completed three (cello, flute-viola-harp and violin sonatas). The last orchestral work by Debussy, the ballet Jeux (1912) written for Serge Diaghilev's Ballets Russes, contains some of his strangest harmonies and textures in a form that moves freely over its own field of motivic connection. At first Jeux was overshadowed by Igor Stravinsky's The Rite of Spring, composed in the same year as Jeux and premiered only two weeks later by the same ballet company. Decades later, composers such as Pierre Boulez and Jean Barraqué pointed out parallels to Anton Webern's serialism in this work. Other late stage works, including the ballets Khamma (1912) and La boîte à joujoux (1913) were left with the orchestration incomplete, and were later completed by Charles Koechlin and André Caplet, who also helped Debussy with the orchestration of Gigues (from Images pour orchestre) and Le martyre de St. Sébastien. The second set of Preludes for piano (1913) features Debussy at his most avant-garde, sometimes utilising dissonant harmonies to evoke moods and images, especially in the mysterious Canope; the title refers to a burial urn which stood on Debussy's working desk and evokes a distant past. The pianist Claudio Arrau considered the piece to be one of Debussy's greatest preludes: "It's miraculous that he created, in so few notes, this kind of depth." Although Pelléas was Debussy's only completed opera, he began several opera projects which remained unfinished, his fading concentration, increasing procrastination, and failing health perhaps the reasons. He had finished some partial musical sketches and some unpublished libretti for operas based on Shakespeare's As You Like It, Poe's The Fall of the House of Usher, and Joseph Bedier's La Legende de Tristan. Further plans, such as an American tour, more ballet scores, and revisions of Chopin and Bach works for re-publication, were all cut short by the onset of World War I and a serious turn in his health, which required morphine injections for pain. An operation in 1915 only temporarily checked the condition.
Notes from Wikipedia: http://en.wikipedia.org/wiki/Claude_Debussy
This Recording - Technical assessment Original surface quality: High levels of surface noise, especially sides two and three. Some swish evident on side one. Other notes: This was a tough one, and unusually a set of discs which was re-pressed (with a new coupling) quite probably to deal with the poor quality of the original. Thus far only the original pressing has been available for transfer, yet despite these comments I am pleased with the results achieved here. The slightly murky sound, at times, somehow seems more acceptable in a recording of this particular kind of music! Note that this piece is more usually played with a solo harp rather than piano - it is unclear why the NGS chose this particular arrangement for what was surely the first recording of it.
National Gramophonic Society recordings - a technical perspective
The vast majority of the original discs came from Gramophone magazine's own near-mint collection, carefully preserved in the EMI vaults at Hayes and largely unplayed for many decades. Where a choice of discs was present, naturally the very best sides were chosen for transfer, which took place at Pristine Audio over the spring, summer and autumn of 2006. Discs were carefully cleaned and a choice of custom-made stylii were available to achieve the optimum replay possible. Transfers were made at 24-bit resolution and then archived in 32-bit sound. Some initial restorations were carried out at the time of transfer, but all of the recordings presented here have been newly XR-remastered, starting in February 2008, directly from those high-quality transfers. Without the benefits of modern audio restoration technologies, it is safe to say that a good number of the Society's output would be beyond the listening tolerance of all but the most devoted and dedicated music-lover. Of the 165 numbered discs it is not until we reach discs 103-4 (the Malipiero String Quartet No. 2) that something truly remarkable happens sonically, a result of switching allegiances to the Columbia Record Company for recording and pressing duties. Prior to this the results are variable in the extreme - and the problems don't really stop after disc 104 either - we are still talking about the early days of electrical recording, and it seems clear from this history of the Society that money was tight. But for the 1920's listener, these matters would surely have been secondary to being able to hear any of these works at all, as the National Gramophonic Society's remit was to record music that had been ignored by the other record companies. The challenge for the 21st Century therefore is to render these recordings in such a way as to be faithful to the musicians as well as sparing the listener too much pain. I've tried to strike a careful balance between noise reduction and the dangers of over-processing and deadening the sound which, in some cases, may leave some of the blemishes more obvious than you might be used to hearing - if this is the case in any particular recording, I can only respond with "well you should have heard it before I started work on it!" There are many fine recording here, and I hope you will enjoy them as much as I have. Andrew Rose, March 2008
The National Gramophonic Society The National Gramophonic Society (NGS) was founded in 1923 by the novelist Compton Mackenzie to promote music which was ignored by major music companies. The Society was established for the recording and publication by subscription of classical music, principally chamber music, which was of limited circulation. Prominent on the committee for the selection of material was Walter Willson Cobbett, who was joined by Spencer Dyke (leader of a string quartet), W. R. Anderson, Alec Robinson, Peter Latham and Compton MacKenzie. Cobbett (b 1847), a chamber-music specialist, had founded the Cobbett Competition in 1905 for a short form of String Quartet composition or 'Phantasy', and for other short chamber works, prizes won variously by William Yeates Hurlestone (1876-1906, pianist) (1905), Frank Bridge (1908), John Ireland (1909), J. Cliffe Forrester (1916), H. Waldo Warner (viola of the London Quartet) (1916), York Bowen (1918) and Cecil Armstrong Gibbs (1919). In 1921 he was offering further awards to Royal Academy and Royal College of Music graduates, and commissioned many new chamber works from English composers. The National Gramophonic Society was therefore an expression of this impetus to the development of the taste for modern chamber music. The records, issued on 12-inch 78rpm (or in some cases 80rpm) discs with distinctive yellow labels, included the first-ever recordings of familiar works such as the C major quintet of Schubert and Brahms's clarinet quintet, along with pieces (then relatively little known) by Henry Purcell, Vivaldi and Mozart. The organization also helped several living composers such as Ralph Vaughan Williams, Arnold Bax, Peter Warlock (first recording of The Curlew), Eugene Goossens, Arnold Schönberg (original chamber version of Verklärte Nacht) and Sir Edward Elgar to gain greater recognition for their works. The repertoire consisted largely of chamber music, featuring the Spencer Dyke Quartet and the International String Quartet, but included some works for small orchestra and a few vocal items. Musicians who took part included John Barbirolli (as both cellist and conductor), the clarinettists Charles Draper and Frederick Thurston, the oboeist Leon Goossens, the violinist Adila Fachiri, and the pianists Donald Francis Tovey, Harold Craxton, Kathleen Long and Ethel Bartlett. The NGS ceased operations in 1931. Notes from Wikipedia: http://en.wikipedia.org/wiki/National_Gramophonic_Society
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