Lélia Gousseau ∙ French Radio Broadcast Recordings 1953-1959


As a celebrated pupil of the icon Lazare-Lévy, Lélia Gousseau was a major performer from the 1930s to 1950s and beginning in 1952 embarked on an international career, playing with such orchestras as the New York Philharmonic, Philadelphia Orchestra and Boston Symphony while touring the U.S. Sadly, she recorded very little commercially. Our discovery of rare recordings brings her artistry back into the present.

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LÉLIA GOUSSEAU plays Liszt, Brahms and Fauré

Liszt: Piano Concerto No 1 in E-flat Major, HS 124
Lélia Gousseau ∙ piano
Orchestre National de la RT
Pierre Dervaux ∙ conductor

Recorded ∙ 05 November 1953 ∙ Paris ∙ Salle Gaveau ∙ Radiodiffusion-Télévision Française ∙ Live Recording

Brahms: Piano Concerto No 1 in D minor, Op 15
Lélia Gousseau ∙ piano
Orchestre National de la RT
Manuel Rosenthal ∙ conductor

Recorded ∙ 24 January 1955 ∙ Paris ∙ Théâtre des Champs-Élysées ∙ Radiodiffusion-Télévision Française ∙ Live Recording

Fauré: Thème et variations, Op 73
Lélia Gousseau ∙ piano
Recorded ∙ 24 March 1959 ∙ Paris ∙ Studio RTF ∙ Radiodiffusion-Télévision Française ∙ Radio Studio Recording

Article number: MC 1028
UPC barcode: 791154054048
Recording dates: 1953-1959
Release date: March 2015
Total timing: 78:46
Booklet: 8 Pages
From the Original Masters ∙ © 2015 Meloclassic

September 2016 ∙ Classical Source ∙ Colin Anderson ∙ Lélia Gousseau plays Liszt, Brahms and Fauré
Another French pianist is the Parisian Léila Gousseau (1909-97), heard here in Concertos, the respective No.1s of Liszt and Brahms, both with Orchestre National de la RTF (sic), the Liszt conducted by Pierre Dervaux in 1953 in the Salle Gaveau, with Manuel Rosenthal leading the Brahms two years later in the Théâtre des Champs-Élysées. Gousseau’s playing of Liszt is of consideration and panache without quite reaching the greatest heights; and the nasal-sounding oboe and strident trumpets may not be universally appealing. The Brahms (with the orchestra better blended) is similarly confident, a respectful reading but not completely compelling, and the pitch may be questioned at isolated moments. As a solo encore, albeit a lengthy one, is Fauré’s Theme & Variations (Opus 73), which Gousseau essays with sympathy and insight.
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