1928 MARIUS FRANCOIS GAILLARD Piano Debussy La Soireee Dans Grenade/ Reflets d78

$

20

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Great French pianist MARIUS FRANCOIS GAILLARD in his famous and controversial 1928/30  Debussy recordings, who later became a successful composer for the French Cinema

Marius-François Gaillard was born on October 13, 1900 in Paris, He died on July 23, 1973 in Évecquemont, Yvelines, France.

Composer: DEBUSSY, Work: Reflets dans l'eau ; La soirée dans Grenade , Performer: Marius-François Gaillard, piano, Date: 1928 Label: Odéon
Composer: DEBUSSY

12" 78 rpm record

Condition: Excellent scuffs, fine scratch end of Reflets, tiny dimple start of reflets plays quiet w light swish

WHEN RENÉ DUMESNIL PUBLISHED La musique en France entre les deux guerres in 1946, Marius-François Gaillard (fig-i) had achieved considerable recognition as a composer and pianist as well as conductor, and was included in Dumesnil's list of notable young French composers together with Dutilleux, Jehan Alain, Daniel-Lesur, Elsa Barrarne and others.1 Yet, today Gaillard is largely forgotten. Relegated to little more than a footnote to French music of the interwar years, he is remembered (if at all) for conducting the Paris premiere of Varese 's Intégrales (revised version) at the Salle Gaveau on 23 April 1929 (fig.2). The customary notes acknowledging this historic performance generally omit any mention of Gaillard 's friendship with Varese, or the orchestra and concert series he founded to promote new music of the age. Another area of Gaillard 's historic contribution to French musical life of the interwar years is also little known: in 1920 he became the first pianist to perform the (then) complete piano works of Debussy. Through his success as a pianist and conductor, Gaillard wielded increasing influence during the years up to and including the Second World War, at the same time establishing himself as a composer noted for originality and innovation.

So how did a figure of such ability and versatility who promised so much fade into obscurity? Did Gaillard diversify his musical attentions too widely? Was he the victim of some controversy that tarnished his reputation irrevocably, or did his musical activities during the German Occupation of Paris suggest an uncomfortable political alignment that resulted in subsequent professional alienation?

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