Eloquence Classics

“This is now the preferred version … The recording makes us all the more aware of our loss in this conductor’s premature death.” High Fidelity, February 1959 (Argenta – Falla: Nights in the Gardens of Spain)

“The Rodrigo guitar concerto is practically unknown in the United States, a situation that this beautiful recording should remedy.” High Fidelity, June 1955 (Argenta – Rodrigo: Concierto de Aranjuez)

“The late Ataúlfo Argenta clearly proves himself a peer of Monteux and Ansermet as an interpreter of Debussy … This release I unqualifiedly acclaim as one of – if not the – most completely successful examples of luminous and auditorium-authentic stereo sound currently available in disc form … Argenta himself could have no more impressive memorial.” High Fidelity, March 1959 (Argenta – Debussy: Images)

“For sheer exuberance and technical expertise, these performances are highly recommended.” High Fidelity, March 1959 (Katchen/Argenta – Liszt: Piano Concertos)

“One of the most satisfying of all recorded readings … His sensibility and sense of proportion and drama are everywhere evident … in stereo sound of matching sensibility and clarity.” High Fidelity, March 1959 (Argenta – Tchaikovsky: Symphony No. 4)

“Argenta conducts a lively performance with the Orquesta Nacional de España, and the singers – especially the women – are good.” High Fidelity, February 1958 (Argenta – Granados: Goyescas)

“I have nothing but the highest praise. Argenta infuses the music with ample warmth and dramatic fervour, and the engineering values are equally high.” High Fidelity, May 1956 (Argenta – Liszt: A Faust Symphony, Les Préludes)

“Argenta’s death last January appears more and more to have been a major loss to music … That he was a conductor who played Spanish music with brilliance and understanding is obvious in this disc … Falla’s little half-human, half-puppet opera gets a stylish presentation with sharpness and clarity of line again combined with subtlety and imagination in colouring.” High Fidelity, August 1958 (Argenta – Falla: El retablo de Maese Pedro)

“Superlative performances … The flashy, sensuous, exciting music receives the type of performance and recording it obviously calls for.” High Fidelity, September 1954 (Argenta – Albéniz: Iberia)

“A Spanish Carmina Burana, full of exciting, colourful, and very obvious effects … Performances and recordings are extremely good.” High Fidelity, September 1959 (Argenta – Ohana: Llanto por Ignacio Sanchez Mejias)

“The Schubert, with its ‘French’ French horn vibrato … is typical of the vitality this conductor could bring to his performances … the orchestra plays well enough that it really seems to be made up of ‘100 soloists.’” Fanfare, November 2002 (Argenta – Schubert: Symphony No. 9)

“Argenta, who is represented on Decca chiefly in works of Spanish influence or origin, conducts a reading that reveals fully his rare talent. It is too bad that Decca did not have him record more non-Spanish repertoire. His musicianship and his way with the Paris Conservatoire Orchestra are outstanding. The Parisian ensemble has not played this well for more famous conductors! Throughout the recording there is excellent discipline.” Stereo Review, November 1958 (Argenta – Berlioz: Symphonie fantastique)

“Argenta gives us his finest performance on records here … a penetrating and exciting reading. I have seldom heard a more perfectly disciplined interpretation, but not once is there even a hint of mechanical dryness in phrasing or of tone. In one sense the reading is reminiscent of Toscanini’s, except that Argenta never gives the impression of over-tautness.” Stereo Review, November 1958 (Argenta – Debussy: Images)

“Throughout, Argenta’s authoritative hand is evident and the poem is movingly voiced by narrator Molho … An archaic quality, reminiscent of medieval chants, pervades the music, and it is faithfully captured in the vocal inflections of the soloist and chorus.” Stereo Review, August 1959 (Argenta – Ohana: Llanto por Ignacio Sanchez Mejias)

“Argenta’s view of the music is warm, leisurely and colourful in a way that is winningly un-insistent … Ibéria comes off here as I have rarely heard it, and the only explanation I can find for the conductor’s success with it is the sense of relaxation that pervades the playing over the entire disc.” Stereo Review, May 1968 (Argenta – Debussy: Images)

“A delightful set: sonorous, keen, gay and well recorded.” Gramophone, January 1946 (Jordá – Falla: Nights in the Gardens of Spain)

“Two records which should not be missed … playing and recording are superb.” Gramophone, March 1952 (Jordá – Albeniz/ Falla/Turina and Chabrier/Dukas/Glinka)

“Jordá’s weighty and deliberate opening of the Miller’s farruca sends a shiver of pleasurable anticipation down the spine.” Gramophone, April 1996 (Jordá – Falla: El amor brujo)

“This tender preface will please everyone, recorded so delicately and with such good taste.” Gramophone, February 1947 (Jordá – Debussy: La Damoiselle élue)

“Here is the Russian ikon-painting – joy in colour … many orchestral combinations come out quite thrillingly.” Gramophone, June 1947 (Jordá – Rimsky-Korsakov: Russian Easter Festival Overture)

“Jordá, a dependable conductor, gives a performance to match, nicely warm in his lyrical moments.” High Fidelity, October 1954 (Jordá – Tchaikovsky: Francesca da Rimini)

“Mr. Curzon’s playing is poetic in the Falla … Enrique Jordá does a fine job.” High Fidelity, September 1956 (Jordá – Falla: Nights in the Gardens of Spain)

“Jordá produces some tasty effects, making the orchestra play with unusual style, aplomb and finesse.” Gramophone, June 1948 (Jordá – Falla/Mussorgsky)

“Beautifully smooth work, and subtle musicianship in the treatment … this one would be very difficult to beat.” Gramophone, July 1948 (Jordá – Liszt: Les Préludes)

“A keen, deft recording, in excellent Haydn-heart, with good use of the wind.” Gramophone, January 1949 (Jordá – Haydn: Symphony No. 88)