Second Spin: Giulini's early Russian and French album (Columbia SAX 2279)

 

Columbia SAX 2279

Stravinsky: Firebird Suite

Bizet: Jeux D'Enfants

Ravel: Mother Goose Suite

Philharmonia Orchestra

Carlo Maria Giulini, conductor

Recorded October 2, 1955 and October 6 and 7, 1956, Abbey Road; October 1, 2, 3, 9, and 10, 1956, Kingsway Hall

Matrix numbers: YAX 79-17 / 80-7

It's been over 10 years since I first took a look at this early Columbia SAX recording from Carlo Maria Giulini and the Philharmonia Orchestra. Many of my initial impressions from 2013 remain the same in 2024:  this album has a very warm, magical, tubey sound, and there are several instances of high impact dynamics. Now that I've finally found a convenient way to properly record vinyl playback on my laptop, I'd like to share some recorded excerpts with you so you can make your listening impressions. While I did replace my initial copy with one in better condition (and with the exact same matrix numbers), this pressing does still have those moments of congestion in some of the orchestral climaxes that I mentioned in my initial review (eg, at the end of the Firebird Suite). To be honest, though, I'm drawn in enough to the music that it doesn't bother me much anymore. Interestingly, the reviewer below had some similar observations, so I don't think it represents groove wear. On the whole, though, I think the reviewer liked the recording less than I do. 

Excerpt from the Firebird Suite, Introduction:

Excerpt from the Firebird Suite, Danse infernale du roi Kashchei (beginning):

Excerpt from the Firebird Suite, Danse infernale du roi Kashchei (ending):

Excerpt from Jeux D'Enfants:

Excerpt from the Mother Goose Suite, Pavane de la Belle au Bois dormant: Petit Poucet:

Excerpt from the Mother Goose Suite, Laideronette, Impératrice des Pagodes:

The Stereo Record Guide, Vol. 1 (1960) gave this recording a qualified

two stars *(*):  "Giulini gives personal readings bringing out the drama in the Firebird score but no great refinement of detail. He is not helped by the recording which lacks transparency. The Ronde des princesses is overphrased which holds up the simple flow of the music.

The Children's Games Suite has some good moments, a crisp March and a delightfully wispy Berceuse but somehow the colour of Bizet's scoring does not sparkle as it should. The Ravel is played well enough, but has none of the iridescence which we are used to in Ansermet's performances. Unfortunately the recording becomes very shrill towards the end and the quality breaks up in the final climax."

In researching the recording dates, I found it interesting that this album was recorded at two different locations in two segments separated by about one year, the Bizet in 1955 at Abbey Road studios and the Stravinsky and Ravel in 1956 at Kingsway Hall. 

The Philharmonia at Abbey Road studios, 1947 (courtesy of Alamy)

Kingsway Hall

Please feel welcome to share your thoughts about this recording below in the comments. As always, happy listening!