Enrique Jorda - Enrique Jorda - Decca Recordings 1950-51 [CD]

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A new collection of Decca\u2019s legendary \u2018ffrr\u2019 recordings from the early 1950s, made by an underrated Spanish master of orchestral colour in London and Paris. Includes several items new to CD. \r
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Enrique Jorda described conducting as a \u2018hair-raising\u2019 business, and his career never recovered from a very public dressing-down by George Szell while music director of the San Francisco Symphony in the early 1960s. However, he was a true podium artist, lithe and mobile in action, who could draw upon a remarkably broad palette of orchestral colours. Decca\u2019s \u2018full frequency range recording\u2019 technology was the perfect vehicle for conveying them to the ears of listeners at home. Though he made his best recordings for Decca, there were only two complete LPs, both of them reissued here, of Dvorak\u2019s \u2018New World\u2019 Symphony (July 1951) and bonnes bouches by Jorda\u2019s compatriots Albeniz, Falla, Granados and Turina (February 1950).\r
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The Dvorak was made in London with the New Symphony Orchestra at the same time as Jorda\u2019s second recording of Falla\u2019s Nights in the Gardens of Spain with Clifford Curzon the soloist: an account which has often been praised for its subtle shifts of mood. The Spanish pieces were recorded in Paris with the Conservatoire orchestra, alongside pieces that showed how unfairly limiting was Jorda\u2019s reputation as a Spanish specialist. There are virtuoso but accurate and unflashy accounts of The Sorcerer\u2019s Apprentice alongside showpieces by Glinka and Chabrier, initially issued together on a 10-inch LP, never previously released complete on CD. Also from the Paris sessions, Jorda secures edge-of-seat playing and potent atmosphere in Tchaikovsky\u2019s dark fantasia after Dante, Francesca da Rimini. \r
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\u201cMastery of the involutions of Spanish rhythms makes mastery of the healthier Czech meters easy, and the very talented Spaniard Jorda gives us here the most rousing performance on records, variation without diffusion, nuance without affectation.\u201d High Fidelity, Spring 1952 (Dvorak)\r
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\u201cThe new Nights in the Garden of Spain will be the touchstone by which future performances must be judged.\u201d High Fidelity, Spring 1952\r
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\u201cA stunning Sorcier \u2026 The Glinka is just as alert and satisfying \u2026 The whole thing ripples along perfectly. A very old gentleman to whom I played it said it reminded him of the Empire in palmy days; this made me wish that I, too, were an octogenarian.\u201d Gramophone, November 1950 (Dukas, Glinka, Chabrier)\r
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\u201cSplendid recording \u2026 I strongly recommend it for our English climate \u2026 This rich record holds many delights.\u2019 Gramophone, November 1950 (\u2018Music from Spain\u2019)

DUKAS: L\u2019Apprenti Sorcier

DE FALLA: Noches En Los Jardines De Espana

GLINKA: Ruslan And Lyudmila \u2013 Overture

CHABRIER: Danse Slave (from Le Roi Malgre Lui)

DE FALLA: Danza Espanola (from La Vida Breve)

DVORAK: Symphony No. 9 In E Minor, Op. 95 \u2018From The New World\u2019

GRANADOS: Danzas Espanolas, Op. 37 Nos. 5, 2 & 6

TURINA: La Procesion Del Rocio \u2013 Symphonic Poem, Op. 9

ALBENIZ: Iberia (orchestrated By Arbos) - Book I No. 2: El Puerto

Book II No. 3: Triana

TCHAIKOVSKY: Francesca Da Rimini, Op. 32