Sold Date: October 25, 2024
Start Date: September 25, 2024
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Description

Caution

This product is a preorder item.

Release date  :  Nov. 24, 2024

Genre: Religious music

André Cluytens, conductor

Orchestre de la Musique de Paris

Los Angeles Angeles (S)

Fischer-Dieskau (Br)

Label: Warner Classics (formerly EMI)

Specifications: Analog record, 180g weight vinyl

Thick paper single, A-type jacket

Part Number: ESLW-10008

This is the most highly acclaimed album in the series of recordings by Cluytens and the Orchestre de la Conservatoire de Paris.

For Japanese music fans who love Faure's “Requiem,” this album is regarded as one of the best masterpieces of the “Requiem” along with ERATO's Michel Corbo disc (recorded in 1972), and since its release in 1963, it has been a classic album that has never disappeared from the catalog, Following our Super Audio CD Hybrid Series (ESSE-90055, released in 2011), this precious recording of the beautiful and ancient sounds of the Orchestre de la Conservatoire de Paris, which disbanded in 1967, has been remastered by Esoteric Mastering for analog recording.

The Ultimate in Chic and Elegance: Cluytens, the Embodiment of French Music

André Cluytens (1905-1967) was born in Antwerp, Belgium, but through his extensive performing and recording activities in France, he was a renowned conductor known as one of the leading interpreters of French music in the 20th century. Immediately after World War II, he and Munsch worked together to revive the French music world, becoming conductor of the Paris Opera, music director of the Opéra-Comique in Paris, and in 1949, he succeeded Munsch, who moved to the Boston Symphony Orchestra, as principal conductor of the Orchestre de la Musique de Paris, where his elegant, refined, and chic performances became popular. His success with the Vienna Philharmonic Orchestra on a tour of the United States in 1955 brought him international attention, and in 1958 he was invited to the Bayreuth Festival, where he became a world-class conductor. For Japanese music fans, his tour of Japan with the Orchestre de la Musique de Paris in April and May of 1964 was particularly impressive, and it was at this time that they first came into contact with the essence and sophistication of French music.

The ancient sounds of the Orchestre de la Musique de Paris left on recordings

After the war, Cluytens began recording mainly complete operas for EMI (Pathé) in France, and also recorded with the Orchestre National de Radio France, the Berlin Philharmonic, the Vienna Philharmonic, and the Philharmonia Orchestra, in a wide range of repertoire, but above all, a series of stereo recordings with the Orchestre de la Conservatoire de Paris, a hand-picked orchestra, is a precious record of the beautiful and elegant sound of this traditional orchestra founded in 1828. The unexpected death of Cluytens in 1967 led to the dissolution of the Orchestre de la Musique de Paris and its rebirth as the Orchestre de Paris with a more modern sound and identity. Fauré's “Requiem,” recorded in 1962, is the most acclaimed of these recordings, and since its release in 1963, it has remained a classic performance that has never disappeared from the catalog. Especially for Japanese music fans who love Fauré “Requiem”, it is regarded as one of the best masterpieces of “Requiem” along with ERATO's Corvo disc (recorded in 1972).

Analog recordings in the best condition conceivable today.

This is the second recording of Fauré's Requiem, following the monaural version he made with the Orchestre National de Radio France in October 1950. The two soloists are also magnificent: the purity of Los Angeles in “Pied Jesu” and the flawless singing of F. Dieskau, who shows the brilliance of his peak years. The music was performed by the great singer F. Dieskau. Old fans will also miss the fact that Henriette Puig-Roger, who had close ties to Japan as a pedagogue, plays the organ, and the recording was made not at Salle Wagram, where EMI often made orchestral recordings in Paris, but at the historic St. Roch church, completed in 1754, north of the Tuileries Park in the 1st district of Paris. The recording venue is the historic St. Roch's Church, completed in 1754, north of the Tuileries Park in the 1st arrondissement of Paris, rather than Salle Wagram, where EMI's Paris orchestral recordings are often made, and the richness and depth of the sound are enhanced.

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