1930 CLAIRE CROIZA MILHAUD Orestie d Eschyle LOUIS DE VOCHT Antwerp Cecilia Choi

$

20

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A series of great Violin, Piano and Orchestra records on rare labels, from 1902 Monarch to 1940 War Germany recordings.

Great Flemish composer and conductor who especially recorded the early works of Honegger, here in his own

Claire Croiza gives an unbelievable preformance not singing, but reciting, shouting as the choral leader on side 3 - the only other record with a similar impact is Tilla Durieux with the dream scene from Elektra

L'orestie d'Eschyle
[extraits]

Description matérielle : 2 disques : 78 t ; 30 cm
Édition : S.l. : s.n. , [1930]
Compositeur : Darius Milhaud (1892-1974)
Chant : J. Van Hertbruggen, Van Steenbergen
Direction d'orchestre : Louis De Vocht (1887-1977)
Mezzo-soprano : Claire Croiza (1882-1946)
Orchestre : Orchestre des nouveaux Concerts d'Anvers
Chœur mixte : Chorale Caecilia. Anvers

 3x12" 78rpm  

 Condition: EXCELLENT MINUS, plays E EXCEPTIONALLY QUIET faintest crackle, on 3/4 faintest hint of fuzz on the shouting passages

STILL A GREAT COPY

Claire Croiza (14 September 1882 – 27 May 1946) was a French mezzo-soprano and an influential teacher of singers.

Career
Claire Croiza (née Conelly, or O'Connolly) was born in Paris, the daughter of an expatriate American father and an Italian mother, and as a child she excelled at piano and singing. She was taught singing privately at first and then went to the Polish tenor Jean de Reszke for further study. She made her opera début in Nancy in 1905 in Messaline by Isidore de Lara. In 1906 she made her first appearance at La Monnaie in Brussels, as Dalila in Samson et Dalila, beginning a long association with that theatre which included the roles of Dido (Berlioz), Clytemnestra (Elektra), Erda, Carmen, Léonor (La favorite), Charlotte (Werther) and the title role in Fauré's opera Pénélope. In 1910 she performed as Alays in the world premiere of Cesare Galeotti’s La Dorise and created the title role in the world premiere of Pierre de Bréville's Éros vainqueur at La Monnaie. It was again as Dalila that she made her Paris Opera début in 1908.

Although she first established herself as an operatic singer, she increasingly developed her career as a recitalist specialising in mélodies, and she undertook recital tours in numerous countries, including frequent visits to London where she was very well received. She had a great feeling for the French language and was always able to enunciate the words in clear and natural way without sacrificing the flow of the music. Several contemporary composers chose to accompany her personally in performances of their songs, including Ravel (in Shéhérazade), Fauré (in the premiere of Le jardin clos ),[1] Poulenc, Roussel, and Swiss-French composer Arthur Honegger.

From 1922, she also worked as a teacher, giving classes in interpretation at the École Normale, and from 1934 at the Paris Conservatoire. Her pupils included Janine Micheau, Suzanne Juyol, and the baritones Jacques Jansen, Camille Maurane and Gérard Souzay.

In 1926 Croiza gave birth to a son, Jean-Claude (1926–2003), whose father was Honegger, but the parents did not marry. She died in Paris in 1946 at the age of 63.

Her reputation was concisely summed up by a reviewer in The Times reporting on a Wigmore Hall concert in 1932: "Mme. Croiza is a supreme interpreter of modern French songs. She brings to them an exquisite sensibility that reveals every shade of meaning in the poems." [2]

This view was reinforced in an obituary tribute also in The Times: "Her consummate musicianship, unerring in its intuition, sensitiveness, charm and subtlety, exquisite diction and phrasing, combined with deep poetical feeling and a restrained but profoundly moving dramatic sense allied to an unusually wide culture, made her the friend and chosen interpreter of the chief contemporary French composers from Debussy to Poulenc and of the poets Valéry and Claudel." [3]

Recordings
Her surviving recordings comprise over 40 titles, mostly French songs and opera extracts. They have been collected in a 2-CD set by Marston Records: "Claire Croiza: champion of the modern French mélodie".

De Vocht is well known in Belgium, the Netherlands - even France, for his pioneering work as choral/orchestral conductor . Already as a teenager he showed great talent, he sang in the Antwerp Cathedral choir,studied at the  Antwerp Conservatory,played the violin in an orchestra that was conducted (during their tours) by Gustav Mahler, Richard Strauss, Hans Richter and Felix Weingartner....

As leader of the Chorale Caecilia he became really famous with annual performances of Bach's St Matthew Passion and (premiere) performances of works by Respighi, Stravinsky, Milhaud ( l'Orestie - finale of Les Eumenides) and Honegger (Jeanne d'Arc au bucher).De Vocht has a knack for sumptuous outpourings of rich material : everything sings - like "Nature".

Gummarus Ida Ludovicus (Louis) de Vocht ( Antwerp , September 21 1887 - 's-Gravenwezel , March 27 1977 ) was a Flemish composer and conductor . He was particularly active between the two world wars and wrote mainly choral music . As a student of Lodewijk Mortelmans he joined his footsteps.

Education [ edit ]
de Vocht received his first musical training at Emile Wambach in the choir of the Cathedral of Antwerp. He studied at the Antwerp Conservatory with Jan Bacot (violin), Frans Lenaerts (piano), Emile Wambach (harmony) and Lodewijk Mortelmans (counterpoint and fugue).

He was only fourteen when he Antwerp Saint Augustine Circuit, the wrote his first musical work Groeninger Cantata .

Teacher and director [ edit ]
At the Antwerp Conservatory, he became a teacher harmony (1921) and orchestra class (1925), director of the Conservatory Concerts (1934-1952) and Director (1944-1952). He taught to include Daniel Sternefeld , Jef Maes and Andre Cluytens . As a music educator was de Vocht also active in Youth and Music Antwerp and he was involved in the Queen Elisabeth Music Chapel .

The director of the Antwerp Conservatory was the deployment of an acrimonious battle. In 1934, de Vocht candidate but lost the Flor Alpaerts . The title "director of the concert" was a consolation prize . In 1941 the director position was vacant again. de Vocht was another candidate but Jef Van Hoof , who was supported by celebrities from the collaboration , made ??it. This was fortunate for de Vocht, after the Liberation succeeded the deposed Van Hoof and eight years to exercise the directorship.

The music performer [ edit ]
From 1913 to 1950, de Vocht bandmaster of the Antwerp Cathedral . From 1903 he was a violinist at the Society of New Concerts. He has performed under the direction of, inter alia, Gustav Mahler , Richard Strauss , Hans Richter and Felix Weingartner . From 1921 to 1934 he himself was the conductor of this orchestra.

He is best known as the founder of the Royal Chorale Caecilia, which he includes the opera Les Eumenides of Darius Milhaud created in Paris (1928). He also performed other works of contemporary composers such as Joan of Arc au bûcher of Arthur Honegger , as well as work by Zoltán Kodály , Albert Roussel , etc. With the first two composers he worked closely.

From 1937 he was the conductor of the Brussels Chorale de la Société Philharmonique, with whom he annually as the Caecilia Choir, the St. Matthew Passion and The Messiah performed.

The composer [ edit ]
de Vocht wrote symphonic works (including three symphonies and symphonic poem ), a violin concerto , a piano concerto , miss , cantatas , choral works , chamber music and songs . His compositions are characterized by a pure melody liner and a simple, transparent structure. He not only wrote numerous choral works based on texts by various Flemish poets, but also made ??many choral arrangements of (ancient) Flemish folk songs. He composed almost chamber music, but indeed many solo works for guitar and piano (including a sonata and various 'pastorals').

The first sustained activity related to the show closing songs. Between 1908 and 1910 he wrote the Year wreath of spiritual songs around the fireplace on texts by August Cuppens , including the well-known Love gave you a thousand names . Soon he also composed to texts by other poets such as Guido ( O rustling of the slender reed and the schrijverken ), Bert Peleman ( Scaldis aeterna and Ulenspiegel ballad ) and Joseph Simons ( Tales from ancient fables in folk style ).

de Vocht has left a large oeuvre of neo-romantic inspiration. It includes symphonic poems and cantatas, chamber music, concertos for violin, cello and flute, solo works for violin, piano, flute and guitar, masses, motets, songs and hymns as well as incidental music. Some examples:

Dusk, for orchestra (1906)
Awakening, for orchestra (1907)
Pastorale, for orchestra (1908)
Great symphony (1932) for chorus and orchestra
Te Deum (1935) for chorus and orchestra
Violin Concerto (1944)
Cello Concerto (1955)
Rural concerto (1957) for flute and string orchestra
Primavera (1962) for chorus
XIV Cantica (Alma Redemptoris Mater, Regina Caeli, Ave regina caelorum, salve regina , O quam suavis est, Ave verum corpus, O Doctor optime, Da pacem domine, adeste loyalty to Joseph celeb rate, tantum ergo, tantum ergo, ave maria, magnificat)
Vernoemingen [ edit ]
Antwerp has a Louis Moisture Street.
Beveren Waas has a Louis Moisture Street.
's-Gravenwezel a Louis Moisture Square.
In Lint, where he lived for a short time and "Love gave you a thousand names" composed, his memory honored.
His legacy was deposited by the Study Centre for Flemish Music Conservatory in Antwerp in 2003. The collection includes almost all the autographs of the composer.

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