Paul Paray The Mercury Masters Vol 2 (22CD)
Label
Eloquence Mercury
Catalogue No.
4843318
Barcode
00028948433186
Format
22-CD
About
TRACK LISTING / ARTISTS

CD 1
FELIX MENDELSSOHN (1809–1847)
A Midsummer Night’s Dream – Incidental Music, Op. 61, MWV M1
Symphony No. 5 in D minor, Op. 107, MWV N15 ‘Reformation’

CD 2
FLORENT SCHMITT (1870–1958)
La Tragédie de Salomé, Op. 50

RICHARD STRAUSS (1864–1949)
Dance of the Seven Veils (Salome)

ÉDOUARD LALO (1823–1892)
Namouna: Suite No. 1

CD 3
OUVERTURES FRANÇAISES
HECTOR BERLIOZ (1803–1869)
Overture: Le Carnaval romain, Op. 9

ÉDOUARD LALO (1823–1892)
Overture: Le Roi d’Ys

GEORGES BIZET (1838–1875)
Overture: La Patrie

HECTOR BERLIOZ (1803–1869)
Overture: Le Corsaire, Op. 21

CD 4
ROBERT SCHUMANN (1810–1856)
Symphony No. 1 in B flat major, Op. 38 ‘Spring’
Overture: Manfred, Op. 115

CD 5
BOUQUET DE PARAY
GIOACHINO ROSSINI (1792–1868)
Overture: William Tell

CAMILLE SAINT-SAËNS (1835–1921)
Danse macabre, Op. 4

CARL MARIA VON WEBER (1786–1826)
Arranged by Hector Berlioz (1803–1869)
Aufforderung zum Tanze, Op. 65
Invitation to the Dance

FRANZ LISZT (1811–1886)
Mephisto Waltz No. 1, S. 110

CD 6         
JEAN SIBELIUS (1865–1957)
Symphony No. 2 in D major, Op. 43

CD 7
LUDWIG VAN BEETHOVEN (1770–1827)
Symphony No. 2 in D major, Op. 36
Symphony No. 1 in C major, Op. 21

CD 8
VIVE LA MARCHE !
HECTOR BERLIOZ (1803–1869)
Marche hongroise (La Damnation de Faust, Op. 24)

CHARLES GOUNOD (1818–1893)
Marche funèbre d’une marionette

CAMILLE SAINT-SAËNS (1835–1921)
Marche héroïque in E flat major, Op. 34

ROUGET DE LISLE (1760–1836)
La Marseillaise

EMMANUEL CHABRIER (1841–1894)
Joyeuse marche

CAMILLE SAINT-SAËNS (1835–1921)
Marche militaire française (Suite algérienne in C major, Op. 60)

HECTOR BERLIOZ (1803–1869)
Marche troyenne (Les Troyens)

GIACOMO MEYERBEER (1791–1864)
Coronation March (Le Prophète)

CD 9
EMMANUEL CHABRIER (1841–1894)

España – Rhapsody for Orchestra
Suite Pastorale
Fête polonaise (Le Roi malgré lui)
Overture: Gwendoline
Danse slave (Le Roi malgré lui)

CD 10       
CLAUDE DEBUSSY (1822–1890)
Prélude à l’après-midi d’un faune, L.86

MAURICE RAVEL (1875–1937)
Valses nobles et sentimentales, M.61
Le Tombeau de Couperin, M.68

CLAUDE DEBUSSY (1822–1890)
Petite Suite (orch. Büsser)

CD 11       
JACQUES OFFENBACH (1819–1880)
Overture: La belle Hélène
Overture: Orphée aux enfers
Les Contes d’Hoffmann – Suite

DANIEL AUBER (1782–1871)
Overture: Le Cheval de bronze
Overture: Fra Diavolo
Overture: Masaniello

CD 12
RICHARD WAGNER (1813–1883)
Overture: Der fliegende Holländer
Die Meistersinger von Nürnberg: Suite
Wotan’s Farewell and Magic Fire Music (Die Walküre)
Overture: Rienzi

CD 13
FRENCH OVERTURES
FERDINAND HÉROLD (1791–1833)
Overture: Zampa

DANIEL-FRANÇOIS AUBER (1782–1871)
Overture: Les Diamants de la couronne

AMBROISE THOMAS (1811–1896)
Overture: Mignon
Overture: Raymond

FRANÇOIS-ADRIEN BOIELDIEU (1775–1834)
Overture: La Dame blanche

ADOLPHE ADAM (1803–1856)
Overture: Si j’étais roi                                                                                                                                                         

CD 14
HECTOR BERLIOZ (1803–1869)
Symphonie fantastique, Op. 14

CD 15
ANTONÍN DVOŘÁK (1841–1904)
Symphony No. 9 in E minor, Op. 9‘From the New World’

CD 16       
FRANZ VON SUPPÉ (1819–1895)
Overture: Die schöne Galathée
Overture: Pique Dame
Overture: Leichte Kavallerie
Overture: Dichter und Bauer
Overture: Ein Morgen, ein Mittag und ein Abend in Wien
Overture: Boccaccio, oder Der Prinz von Palermo

CD 17
CLAUDE DEBUSSY (1822–1890)
Nocturnes, L.91

MAURICE RAVEL (1822–1890)
Daphnis et Chloé – Suite No. 2, M.57b
Wayne State University Women’s Glee Club Choir · Malcolm Johns, director (Debussy)

CD 18       
CÉSAR FRANCK (1822–1890)
Symphony in D minor, FWV 48

CD 19       
MAURICE RAVEL (1875–1937)
Rapsodie espagnole, M.54
Alborada del gracioso, M.43
Pavane pour une infante défunte, M.19
La Valse, M.72

JACQUES IBERT (1890–1962)
Escales

CD 20
BALLET – HIGHLIGHTS FROM FRENCH OPERA
CHARLES GOUNOD (1818–1893)
Faust – ballet music

CAMILLE SAINT-SAËNS (1835–1921)
Bacchanale (Samson et Dalila)

GEORGES BIZET (1838–1875)
Danse bohème (Carmen Suite No. 2)

HECTOR BERLIOZ (1803–1869)
Chasse royale et orage – Pantomime (Les Troyens)

JULES MASSENET (1842–1912)
Overture: Phèdre

AMBROISE THOMAS (1822–1896)
Gavotte (Mignon)

DETROIT SYMPHONY ORCHESTRA
PAUL PARAY

CD 21
The Naked Carmen
Electric Rock Opera
Written, arranged and produced by John Corigliano & David A. Hess
Adapted from Bizet’s Carmen

John Corigliano, synthesizer
Anita Darian, kazoo
John Atkins, piano
David Hess, Melba Moore, George Turner, Robert White, William Walker, vocals
Mary Bruce And Her Starbuds Pig Iron
Detroit Symphony Orchestra / Paul Paray

CD 22
MAURICE RAVEL (1875–1937)
Piano Concerto in G major, M.83
Piano Concerto for the Left Hand in D major, M.82
Monique Haas, piano
Orchestre National de France / Paul Paray

Recording information

CD 1
Recording Director: Wilma Cozart Fine
Musical Supervisor: Harold Lawrence
Chief Engineer and Musical Supervisor: C. Robert Fine
Associate Engineer: Robert Eberenz
Recording Location: Old Orchestra Hall, Detroit, USA, 21 March 1958
Recorded on 3-track half-inch tape, using one Schoeps M201 microphone (centre) and two Neumann KM-56 microphones (L–R)
Original Mercury Living Presence Release: SR 90174: April 1959
P 1959 Universal International Music B.V.
STEREO

CD 2
Recording Director: Wilma Cozart Fine
Musical Supervisor: Harold Lawrence
Chief Engineer and Musical Supervisor: C. Robert Fine
Associate Engineer: Robert Eberenz
Recording Location: Old Orchestra Hall, Detroit, USA, 23 March 1958 (Schmitt, R. Strauss), 23–24 March 1958 (Lalo)
Recorded on 3-track half-inch tape, using one Schoeps M201 microphone (centre) and two Neumann KM-56 microphones (L–R)
Original Mercury Living Presence Release: SR 90177: 1959
P 1959 Universal International Music B.V.
STEREO

CD 3
Recording Director: Wilma Cozart Fine
Musical Supervisor: Harold Lawrence
Chief Engineer and Technical Supervisor: C. Robert Fine
Associate Engineer: Robert Eberenz
Recording Location: Old Orchestra Hall, Detroit, USA, 24 March (Bizet, Berlioz), 22 March 1958 (Lalo)
Recorded on 3-track half-inch tape, using one Schoeps M201 microphone (centre) and two Neumann KM-56 microphones (L–R)
Original Mercury Living Presence Release: SR 90191: 1959
P 1959 Universal International Music B.V.
STEREO

CD 4
Recording Director: Wilma Cozart Fine
Musical Supervisor: Harold Lawrence
Chief Engineer and Musical Supervisor: C. Robert Fine
Associate Engineer: Robert Eberenz
Recording Location: Old Orchestra Hall, Detroit, USA, 22 May 1958
Recorded on 3-track half-inch tape, using one Schoeps M201 microphone (centre) and two Neumann KM-56 microphones (L–R)
Original Mercury Living Presence Release: SR 90198: 1959
P 1959 Universal International Music B.V.
STEREO

CD 5
Recording Director: Wilma Cozart Fine
Musical Supervisor: Harold Lawrence
Chief Engineer and Musical Supervisor: C. Robert Fine
Associate Engineer: Robert Eberenz
Recording Location: Henry and Edsel Ford Auditorium, Detroit, USA, 16 January 1959
Recorded on 3-track half-inch tape, using three Schoeps M201 microphones
Original Mercury Living Presence Release: SR 90203: 1959
P 1959 Universal International Music B.V.
STEREO

CD 6
Recording Director: Wilma Cozart Fine
Musical Supervisor: Harold Lawrence
Chief Engineer and Musical Supervisor: C. Robert Fine
Associate Engineer: Robert Eberenz
Recording Location: Henry and Edsel Ford Auditorium, Detroit, USA, 17 January 1959
Recorded on 3-track half-inch tape, using three Schoeps M201 microphones
Original Mercury Living Presence Release: SR 90204: 1959
P 1959 Universal International Music B.V.
STEREO

CD 7
Recording Director: Wilma Cozart Fine
Musical Supervisor: Harold Lawrence
Chief Engineer and Musical Supervisor: C. Robert Fine
Associate Engineer: Robert Eberenz
Recording Location: Henry and Edsel Ford Auditorium, Detroit, USA, 18 January 1959
Recorded on 3-track half-inch tape, using three Schoeps M201 microphones
Original Mercury Living Presence Release: SR 90205: 1959
P 1959 Universal International Music B.V.
STEREO

CD 8
Recording Director: Wilma Cozart Fine
Musical Supervisor: Harold Lawrence
Chief Engineer and Musical Supervisor: C. Robert Fine
Associate Engineer: Robert Eberenz
Recording Location: Old Orchestra Hall, Detroit, USA, 3-5 April 1960
Recorded on 3-track half-inch tape, using three Schoeps M201 microphones
Original Mercury Living Presence Release: SR 90211: 1960
P 1960 Universal International Music B.V.
STEREO

CD 9
Recording Director: Wilma Cozart Fine
Musical Supervisor: Harold Lawrence
Chief Engineer and Musical Supervisor: C. Robert Fine
Associate Engineer: Robert Eberenz
Recording Location: Cass Technical High School, Detroit, USA, 18 November 1960
Recorded on 3-track half-inch tape, using three Schoeps M201 microphones
Original Mercury Living Presence Release: SR 90212: 1961
P 1961 Universal International Music B.V.
STEREO

CD 10
Recording Director: Wilma Cozart Fine
Musical Supervisor: Harold Lawrence (Ravel); David Hall (Debussy)
Chief Engineer and Musical Supervisor: C. Robert Fine
Associate Engineer: Robert Eberenz
Recording Location: Old Orchestra Hall, Detroit, USA, 3 April 1959 (Debussy, Ravel: Valses Nobles et sentimentales), 5 April 1959 (Ravel: Le Tombeau de Couperin), 3–4 December 1955 (Debussy)
Recorded on 3-track half-inch tape, using three Schoeps M201 microphones (Ravel: Le Tombeau de Couperin, Valses Nobles et Sentimentales, Debussy: Petite Suite) and one Schoeps M201 microphone (centre) and two Neumann U-47 microphones (L–R) (Debussy: Prélude à l’après-midi d’un faune)
Original Mercury Living Presence Release: SR 90213: 1960
P 1960 Universal International Music B.V.
STEREO

CD 11
Recording Director: Wilma Cozart Fine
Musical Supervisor: Harold Lawrence
Chief Engineer and Musical Supervisor: C. Robert Fine
Associate Engineer: Robert Eberenz
Recording Location: Old Orchestra Hall, Detroit, USA, 4 April (Auber), 3–5 April 1959 (Offenbach)
Recorded on 3-track half-inch tape, using three Schoeps M201 microphones
Original Mercury Living Presence Release: SR 90215: 1960
P 1960 Universal International Music B.V.
STEREO

CD 12
Recording Director: Wilma Cozart Fine
Musical Supervisor: Harold Lawrence
Chief Engineer and Musical Supervisor: C. Robert Fine
Associate Engineer: Robert Eberenz
Recording Location: Cass Technical High School, Detroit, USA, 20 February 1960
Recorded on 3-track half-inch tape, using three Schoeps M201 microphones
Original Mercury Living Presence Release: SR 90232: 1962
P 1962 Universal International Music B.V.
STEREO

CD 13
Recording Director: Wilma Cozart Fine
Musical Supervisor: Harold Lawrence
Chief Engineer and Musical Supervisor: C. Robert Fine
Associate Engineer: Robert Eberenz
Recording Location: Cass Technical High School, Detroit, USA, 19 November 1960
Original Mercury Living Presence Release: SR 90247: 1962
P 1962 Universal International Music B.V.
STEREO
Recorded on 3-track half-inch tape, using three Schoeps M201 microphones

CD 14
Recording Director: Wilma Cozart Fine
Musical Supervisor: Harold Lawrence
Chief Engineer and Musical Supervisor: C. Robert Fine
Associate Engineer: Robert Eberenz
Recording Location: Cass Technical High School, Detroit, USA, 28 November 1959
Recorded on 3-track half-inch tape, using three Schoeps M201 microphones
Original Mercury Living Presence Release: SR 90254: 1960
P 1960 Universal International Music B.V.
STEREO

CD 15
Recording Director: Wilma Cozart Fine
Musical Supervisor: Harold Lawrence
Chief Engineer and Musical Supervisor: C. Robert Fine
Associate Engineer: Robert Eberenz
Recording Location: Cass Technical High School, Detroit, USA, 19 February 1960
Recorded on 3-track half-inch tape, using three Schoeps M201 microphones
Original Mercury Living Presence Release: SR 90262: 1960
P 1960 Universal International Music B.V.
STEREO

CD 16
Recording Director: Wilma Cozart Fine
Musical Supervisor: Harold Lawrence
Chief Engineer and Musical Supervisor: C. Robert Fine
Associate Engineer: Robert Eberenz
Recording Location: Cass Technical High School, Detroit, USA, 29 November 1959
Recorded on 3-track half-inch tape, using three Schoeps M201 microphones
Original Mercury Living Presence Release: SR 90269: 1960
P 1960 Universal International Music B.V.
STEREO

CD 17
Recording Director: Wilma Cozart Fine
Musical Supervisor: Harold Lawrence
Chief Engineer and Musical Supervisor: C. Robert Fine
Associate Engineer: Robert Eberenz
Recording Location: Cass Technical High School, Detroit, USA, 11 March 1961
Recorded on 3-track half-inch tape, using three Schoeps M201 microphones
Original Mercury Living Presence Release: SR 90281: 1962
P 1962 Universal International Music B.V.
STEREO

CD 18
Recording Director: Wilma Cozart Fine
Musical Supervisor: Harold Lawrence
Chief Engineer and Musical Supervisor: C. Robert Fine
Associate Engineer: Robert Eberenz
Recording Location: Cass Technical High School, Detroit, USA, 27 November 1959
Recorded on 3-track half-inch tape, using three Schoeps M201 microphones
Original Mercury Living Presence Release: SR 90285: 1961
P 1961 Universal International Music B.V.
STEREO

CD 19
Recording Director: Wilma Cozart Fine
Musical Supervisor: Harold Lawrence
Chief Engineer and Musical Supervisor: C. Robert Fine
Associate Engineer: Robert Eberenz
Recording Location: Cass Technical High School, Detroit, USA, 18 March 1962
Recorded on 3-track 35mm magnetic film and 3-track half-inch magnetic tape, using three Schoeps M201 microphones
Original Mercury Living Presence Release: SR 90313: 1963
P 1963 Universal International Music B.V.
STEREO

CD 20
Recording Director: Wilma Cozart Fine
Musical Supervisor: Harold Lawrence
Chief Engineer and Musical Supervisor: C. Robert Fine
Associate Engineer: Robert Eberenz
Recording Location: Cass Technical High School, Detroit, USA, 17 March 1962
Recorded on 3-track 35mm magnetic film and 3-track half-inch magnetic tape, using three Schoeps M201 microphones
Original Mercury Living Presence Release: SR 90318: 1962
P 1962 Universal International Music B.V.
STEREO

CD 21
Producers: David Hess, John Corigliano
Producer (Vocals For Melba Moore): Jim Fragale
A & R Director: Joseph R. Bott
Production Supervisor: M. Scott Mampe
Production Coordination: Melissa Bryan
Recording Supervisor: Eduard van Niel
Recording Engineers: Neal Ceppos, Bob Fava
Mixing Engineer: Neal Ceppos
Original Mercury Release: SRM 1-604: 1970
P 1970 Universal International Music B.V.

CD 22
Recording Producer: Hans Weber
Recording Engineer: Helmut Najda
Balance Engineer: Heinz Wildhagen
Editor: Guenther Dieckmann
Recording Location: Radio France, Paris, France, April 1965
Original Release: 138 988
P 1965 Deutsche Grammophon GmbH, Berlin
STEREO

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Reviews

“Brilliantly and opulently set forth by Paray [La tragédie de Salome] … With his affinity for French music of all periods, Paray enhances the Suite No. 1 with an exhilarating reading.” High Fidelity, April 1959 (Schmitt/Lalo)

“[Between Paray and Szell] it’s a contest of perfection between two great conductors and orchestras, and technically it ends in a draw. But interpretatively, Paray wins hands down … Where Paray really glows is in the Reformation Symphony, of which he gives an unhurried and noble account.” High Fidelity, August 1959 (Mendelssohn)

“Paray gives a sensible, fairly straightforward reading, yet one that has plenty of Schumannesque glow.” High Fidelity, October 1959 (Schumann, Symphony No 1)

“The performance which gave me outstanding pleasure was that of the Siegfried Idyll, because it is kept moving and never sentimentalised.” Gramophone, October 1959 (Wagner)

“Paray’s readings are full of strength and dramatic intensity, yet every note is clear, crisp, and correct … This should be a whopper in stereo.” High Fidelity, March 1960 (“Bouquet de Paray”)

“Paray surely doesn’t disappoint us here … The Detroit orchestra proves once again that it ranks among the best. Its playing is expert in every department, and every section is revealed in lifelike fashion by Mercury’s engineers.” High Fidelity, May 1960 (Sibelius)

“I’ve certainly never heard Chabrier’s Marche Joyeuse … played with more brilliance. There is also included a Marseillaise guaranteed to whip any Frenchman into an ecstasy of patriotic fervour.” High Fidelity, June 1960 (“Vive le marche!”)

“Paray gets playing of great style and virtuosity; and, the most essential thing in a performance of light music, his players sound as if they are really enjoying a session away from sterner things.” Gramophone, October 1960 (Lalo)

[Valses nobles et sentimentales is] a performance chock full of style and utterly convincing … L’Après-midi is almost as good in its very different way… there is so much to delight on this record.” Gramophone, November 1960 (Debussy/Ravel)

“An electrifying sonic experience.” High Fidelity, June 1961 (Suppé)

“Paray has always been a romantic at heart, and he plays this music with affection but without exaggeration.” Gramophone, October 1961 (Wagner)

“Each work included is represented by its finest recorded performance to date. Paray obviously is engaged here in a labour of love rather than duty … the exuberant dances from Le roi malgré lui never sounded more proudly high-stepping and glittering.” High Fidelity, January 1962 (Chabrier)

“Paray’s stronger treatment tends to clear away the cobwebs and reveal the music in a fresher, brighter light … the stereo version, vibrant and realistic in its expansiveness and separation, goes to the very top of my list.” High Fidelity, February 1962 (Franck)

“An excellent version … The virtuosity of this ensemble is rightly renowned throughout the world, as well as the spirit and the homogeneity that the great French conductor instilled in them. We will find here his eminent qualities in the service of a wise conception of the obsessions of Berlioz.” Revue des deux mondes, June 1963 (Symphonie fantastique)

“In his reading [of La valse] every passage, every voice is crystal-clear; at the same time the bigger climaxes come with crashing effect. It all adds up to one of the most lucid and most exciting performances of this work I have ever heard.” High Fidelity, July 1963 (Ravel/Ibert)

“Done with Paray’s characteristic verve and precision, enhanced throughout by superb recording and warm acoustical ambiences. The dynamic and frequency ranges are quite extraordinary.” High Fidelity, September 1963 (“Ballet Highlights”)

“Paray and the DSO are at their vital best here, and the blazing recordings of their taut, rousing performances sound just as impressive today as when they first appeared.” High Fidelity, March 1964 (“Heroic Overtures”)