Igor Markevitch (conductor)
The Philips Legacy
rec. 1959-1968
No texts
ELOQUENCE 4841744 [26 CDs: ca 26 hours]

The Kiev-born composer and conductor Igor Markevitch (1912-1983) was one of a group of musicians who developed major conducting careers in the stereo recording era following the Second World War. His family were Cossack nobility; his great-grandfather was Secretary of State to Alexander II, and his grandfather helped found the Russian Music Society. His father was a pianist and when Igor was one year old, the family moved to Paris, and later to Switzerland, where his first acquaintance with classical music was the Suisse Romande Orchestra under Ernst Ansermet accompanying Clara Haskil. He studied piano and composition in Lausanne and attracted the notice of Cortot, who invited him to the Paris École Normale, where he studied composition with Nadia Boulanger, orchestration with Rieti, and with Cortot.

Diaghilev was impressed by the young Markevitch and asked him to write a piano concerto that he played at Covent Garden in 1929, accompanied by Desormière. Diaghilev said that Markevitch would end ‘the scandalous period of music … of cynical-sentimental simplicity.’ He composed a ballet for the Ballet Russe Rébus, that was staged with Leonid Massine in 1931. His first wife Kira Nijinska was the daughter of the celebrated dancer. It was said that his music was so avant-garde that he was called ‘the second Igor’. Markevitch studied conducting with Pierre Monteux and Hermann Scherchen and he debuted with the Concertgebouw in a programme of his compositions in 1930, after which, Markevitch concentrated on composition by writing a number of pieces in different genre, mostly in quartertones, among which was his Psaume for soprano and orchestra premiered at the ISCM Festival at Florence in 1934 to some controversy. His L’Envoi d’Icare and Le Nouvel Âge were recorded by EMI with the Belgian National Orchestra.

The Second World War found him in Italy where he joined the partisans and began to eliminate radical elements from his music, simplifying his rhythm and orchestration; his last composition dates from 1941. His conducting career took off when he took charge of Florence’s Maggio Musicale in 1944. He also began teaching conducting at the Salzburg Mozarteum, and later taught masterclasses in Mexico, Moscow, and Jerusalem. He made many successful recordings with his French ensemble, the Orchestre des Concerts Lamoureux and h is conducting appointments included Stockholm, Havana, Montreal and in Paris and spells with the Monte Carlo Opera, Santa Cecilia Orchestra, the Boston Symphony and Japan Philharmonic and at Covent Garden. During the fifties, he became a regular recording artist with diverse ensembles but never recorded his own compositions. His last conducting engagement was, ironically, in Kiev, his birthplace, in 1983, as part of a tour of the USSR and Japan. One of his four sons is the conductor Oleg Caetani.

Markevitch was the conductor on the first recording I bought, the Music for Pleasure LP of Shostakovich’s First Symphony coupled with Prokofiev’s Scythian Suite. To date, I find these readings unsurpassed. I also treasure his two interpretations of Le Sacre du printemps with the Philharmonia Orchestra, one in mono, and the other in stereo, both for EMI. Markevitch’s understanding of modern Russian music was exceptional, and it is strange that he considered himself a French musician; sadly, only two French composers feature on this 26 CD box. The bulk of his recording legacy lies with EMI, Concert Hall, DGG and Philips. Between 1959-1968, he set down works from the classical period with the Lamoureux Orchestra.

On CD 1 are his bright, sparkling recordings of Haydn’s symphonies 103 and 104; he brings out all the humour and wit in the symphonies, especially in the ‘London’ symphony where there is abundant grandeur and a divine magnificence mixed with bucolic charm. The excellent filler is the rarely recorded Weber Preciosa Overture. On CD 2, the two Mozart Piano Concertos are blessed with Clara Haskil in magnificent readings of the 23rd and 24th concertos with the Romanian pianist playing her cadenzas, together with Nikita Magaloff’s cadenza in the Allegretto of the C minor concerto. The four Beethoven symphonies are on CDs 3 and 4 in which the interpretations are manifestly robust and immediate but with perfect clarity, drawing terrific playing from his French musicians. Nos. 1, 5 and 8 are on one disc, and the Choral Symphony, in which he has the superb Oratorienchor Karlsruhe, with fine singing from soloists, Hilde Gueden, Aafje Heynis, Fritz Uhl and Heinz Rehfuss. Notably, Markevitch later prepared his performing edition of the Beethoven symphonies (published by Peters Leipzig in 1982), although here, he uses the standard edition. His interpretations are insightful, albeit that their affability is somewhat restrained, whereas there is a raw energy matched with a pristine lucidity in the C major symphony.

Markevitch’s collaborations with Clara Haskil are highlights in this collection. Her performance of the Beethoven Concerto No 3 is one of her great recordings and much of the music-making here is of another world. Markevitch lends her an attentive and sensitive partnership. Chopin’s Piano Concerto No 2, is another masterly performance and testimony to the musical relationship between the two musicians.

On CD 6, we have another outstanding partnership with Arthur Grumiaux and the Concertgebouw Orchestra in Berg’s Violin Concerto. The playing is transcendental, and yet another high-point in the box, with wonderful playing from the Amsterdam musicians and a fine recording capturing the generous acoustics of the Concertgebouw Hall. Brahms’s Tragic Overture and Altorhapsodie (in which Irina Arkhipova is the soloist), are accompanied by a very fine Psalmus Hungaricus by Kodaly. CD 7 is a quite spectacular recording of Bizet’s Carmen suites 1 and 2 and the suites No 1 and 2 from L’Arlésienne, where Markevitch’s affinity with intensely coloured rhythmic ballet scores comes out fully embellished by a spectacular recording from the engineers at the Philips studios in La Maison de la Chimie in Paris. 

CDs 8-13 contain the Tchaikovsky symphonic cycle with the London Symphony Orchestra, recorded in the mid-sixties. There were few Tchaikovsky symphonic cycles at the time, and it seems as if Philips decided to set down the last three numbered symphonies first, together with the Manfred in its uncut version, before recording the earlier three symphonies a couple of years later. These recordings were highly praised and remain among Markevitch’s finest achievements. Unfortunately, I find this cycle disappointing, despite the brilliant playing by the LSO – for me, they lack the warmth and sensitivity found in his other interpretations of Russian music. Certainly there was competition for this cycle, as Antal Doráti recorded a Tchaikovsky cycle for Mercury in the early sixties, also with the LSO.

Of Markevitch’s cycle, I find the Third and the Manfred symphonies to be of outstanding quality; Markevitch captures all the rich melodic charm of works which were then neglected in the recording studio. I was more impressed by Markevitch’s superb recordings of the other Russian pieces, most notably the Scheherazade, again with the LSO, and Erich Gruenberg as the soloist on C14. All the beautiful colours and rich, eastern melodies emerge in brilliant kaleidoscopic harmonies – this is one of the finest recordings I know of this popular piece. One major advantage is the superb playing throughout this cycle by the LSO, brilliantly recorded. The recordings with the Concertgebouw of Borodin, Rimsky Korsakov and Tchaikovsky on CD 15 are also wonderfully performed, showing how the conductor could get any orchestra to produce outstanding performances.

However, of the CDs of Russian music, the most important are those devoted to Stravinsky, as Markevitch had the key to performing his masterworks. CDs 16 and 17 contain some of the finest recordings by Stravinsky that I have heard: a mesmerising Apollon musagète, a delightfully characterful L’Histoire du soldat with an ensemble of virtuosi performers led by Manoug Parikia: Jean Cocteau, Peter Ustinov, Jean-Marie Fertey and Anne Tonietti, and a remarkable Symphonie de Psalms with the Russian State Academy Orchestra and a choir from the Russian State Academy Choir. On CD 18 are more Russian jewels in Mussorgsky’s ‘Six Melodies’ (in an orchestration by Markevitch) and sung by Vishnevskaya, of which ‘The Cradle Song’ and ‘Where art thou, little star’ are the highlights. Tcherepnin’s Tàti-Tàti is a series of paraphrases on Liszt and Russian nationalist composers in a delightfully charming collection played by pianist Olga Rostropovich, plus Leopold Mozart’s Toy Symphony and Bizet’s Petite Suite with Russian ensembles.

CD 19 has overtures and extracts from Verdi’s operas, brilliantly directed and comparable to the breath-taking series by Karajan for DGG. I was particularly impressed by the ballet music for Macbeth and the overtures for Giovanna d’ Arco and I vespri siciliani. The two final tracks are the ‘Requiem’ and ‘Kyrie eleison’ from his Russian recording of Verdi’s ‘Messa da Requiem’, the remainder of which follows on CD 20. I have the original Melodiya LPs of this performance, and was more impressed by mezzo-soprano Nina Isakova, bass Ivan Petrov and tenor Vladimir Ivanovsky than by soprano Vishnevskaya. The singing of the Sveshnikov choir is marvellous with the outstanding genuine Slavic bass voices adding to the drama of this masterpiece. This is another focal point in this set, my only issue being that the Requiem could have fitted on one disc, rather than being split up on two.

CDs 21 to 26 present Spanish and South American music from Markevitch’s spell with the Orquesta Sinfónica de la RTV Espana – the greater part of which was for me a genuine discovery, particularly the two discs devoted to Zarzuela music. CD 21 is devoted to sacred music by Mompou, Victoria and Ferrer graced by magnificent singing, especially from soprano Angeles Chamorro in ‘Lamentation 1a’. CD 22 has Victoria’s ‘Magnificat’ with more heavenly vocal contributions from Chamorro, who also sings in Ramoneda’s ‘Veni Creator’. CD 23 is devoted to ‘Songs and Dances of Spain’ with Markevitch’s orchestration of De Falla’s ‘Siete Canciones populares españolas’, and a rustically colourful ‘Catalonia’ by Albeniz, and Granados’ ‘Spanish Dances’, ‘Intermezzo’ and the intriguing ‘Zapateado’ in which once again we hear the remarkable Chamorro.

CD 24 has Clara Haskil as a soloist in De Falla’s ‘Noches en los jardines de Espana’ accompanied by the Orchestre des Concerts Lamoureux. El amor brujo is especially colourful with the contralto Ines Rivadeneya, as is Chabrier’s ‘Espana-rapsodie pour orchestre’ and Ravel’s Bolero with Markevitch’s Orquesta Sinfónica de la RTV Espanola. On discs 25 and 26, are of excerpts from Zarzuela, most notably, Gimenez’s La Tempranica which is bright and rich in folk song. Angeles Chamorro appears in DonaFrancisquita by Vives, where she is joined by a fine tenor in Carlo del Monte. There are brief extracts from operas from Gimenez and Balbastre and fuller examples from those by Luna and Breton. On CD 26 are fleeting excerpts from several Spanish Zarzuela composers, with three extracts from Barbieri’s El barberillo deLavapies, in which Chamorro yet again displays her extensive vocal gifts.

Each CD has the original LP cover artwork, much of which is attractive and colourful, and the set is presented in three sections: Classical, Russian Romantic and Spanish music. A 48-page booklet provides informative notes on the conductor’s career in English by Peter Quantrill and black and white and colour photos of Markevitch and the musicians with whom he collaborated. This is an outstanding collection complementing the DG box of his recordings from Eloquence and in fine remastering by Chris Bernauer. The Russian music recordings are of historical significance and the recordings of Spanish music will be revelatory to many aficionados of the less familiar avenues of classical music. This is recommended to all collectors of great 20^th century conductors.

Gregor Tassie

Previous review: Jonathan Woolf (January 2022)

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Contents
CD 1
FRANZ JOSEPH HAYDN (1732–1809)
1–4 Symphony No. 103 in E flat major, H.I:103 ‘Drum Roll’*
5–8 Symphony No. 104 in D major, H.I:104 ‘London’*
Orchestre des Concerts Lamoureux
CARL MARIA VON WEBER (1786–1826)
9 Preciosa – Overture, Op. 78, J.279
Orquesta Sinfónica de la RTV Española
Recording locations: La Maison de la Chimie, Paris, December 1959 (Haydn) Cinema Monumental, Madrid, October 1956 (Weber)
*FIRST INTERNATIONAL CD RELEASE ON DECCA
CD 2
WOLFGANG AMADEUS MOZART (1756–1791)
1–3 Piano Concerto No. 20 in D minor, KV 466
4–6 Piano Concerto No. 24 in C minor, KV 491
Clara Haskil, piano
Orchestre des Concerts Lamoureux
Recording location: La Maison de la Chimie, Paris, November 1960
CD 3
LUDWIG VAN BEETHOVEN (1770–1827)
1–4 Symphony No. 1 in C major, Op. 21*
5–8 Symphony No. 5 in C minor, Op. 67*
9–12 Symphony No. 8 in F major, Op. 93*
Orchestre des Concerts Lamoureux
Recording location: La Maison de la Chimie, Paris, October 1959 (Symphonies 5 &8) October 1960 (Symphony 1)
*FIRST INTERNATIONAL CD RELEASE ON DECCA
CD 4
LUDWIG VAN BEETHOVEN
1–4 Symphony No. 9 in D minor, Op. 125 ‘Choral’*
Hilde Gueden, soprano
Aafje Heynis, contralto
Fritz Uhl, tenor
Heinz Rehfuss, baritone
Oratorienchor Karlsruhe
Orchestre des Concerts Lamoureux
Recording location: L’ Maison de la Chimie, Paris, January-February 1961
*FIRST INTERNATIONAL CD RELEASE ON DECCA
CD 5
LUDWIG VAN BEETHOVEN 
1–3 Piano Concerto No. 3 in C minor, Op. 37
FRÉDÉRIC CHOPIN (1810–1849)
4–6 Piano Concerto No. 2 in F minor, Op. 21
Clara Haskil, piano
Orchestre des Concerts Lamoureux
Recording location: La Maison de la Chimie, Paris, December 1959 (Beethoven), October 1960 (Chopin)
CD 6
ALBAN BERG (1885–1935)
1–2 Violin Concerto ‘To the Memory of an Angel’
Arthur Grumiaux, violin
Concertgebouworkest
JOHANNES BRAHMS (1833–1897)
3 Tragic Overture, Op. 81
4 Alto Rhapsody, Op. 53
ZOLTÁN KODÁLY (1882–1967)
5 Psalmus Hungaricus, Op. 13
Irina Arkhipova, contralto (Alto Rhapsody)
Róbert Ilosfalvy, tenor (Psalmus Hungaricus)
Russian State Academy Choir
USSR State Symphony Orchestra
Recording locations: Moscow, 1963 (Brahms, Kodaly); Grote Zaal, Concertgebouw Amsterdam, January 1967
CD 7
GEORGES BIZET (1838–1875)
1–5 Carmen – Suite No. 1
6–10 Carmen – Suite No. 2
11–14 L’Arlésienne – Suite No. 1
15–17 L’Arlésienne – Suite No. 2
Orchestre des Concerts Lamoureux
Recording location: La Maison de la Chimie, Paris, May-June 1960
CD 8
PYOTR ILYICH TCHAIKOVSKY (1840–1893)
1–4 Symphony No. 1 in G minor, Op. 13, TH. 24 ‘Winter Daydreams’
5–8 Symphony No. 2 in C minor, Op. 17, TH.25 ‘Little Russian
London Symphony Orchestra
Recording location: Wembley Town Hall, March 1965 (Symphony 2), February 1966 (Symphony 1)
CD 9
PYOTR ILYICH TCHAIKOVSKY 
1–5 Symphony No. 3 in D major, Op. 29, TH.26 ‘Polish’
London Symphony Orchestra
6 Francesca da Rimini, Op. 32, TH.46
New Philharmonia Orchestra
Recording location: Wembley Town Hall, March 1965 (Symphony 3), June 1967 (Francesca da Rimini)
CD 10
PYOTR ILYICH TCHAIKOVSKY 
1–4 Symphony No. 4 in F minor, Op. 36, TH.27
5 Hamlet, Op. 67
London Symphony Orchestra
New Philharmonia Orchestra
Recording location: Wembley Town Hall, October 1963 (Symphony 4), June 1967 (Hamlet)
CD 11
PYOTR ILYICH TCHAIKOVSKY
1–4 Symphony No. 5 in E minor, Op. 64, TH.29
London Symphony Orchestra
Recording location: Wembley Town Hall, February 1966
CD 12
PYOTR ILYICH TCHAIKOVSKY
1–4 Symphony No. 6 in B minor, Op. 74, TH.30 ‘Pathétique’
London Symphony Orchestra
Recording location: Wembley Town Hall, January 1962
CD 13
PYOTR ILYICH TCHAIKOVSKY
1–4 Manfred Symphony, Op. 58, TH.28
London Symphony Orchestra
Recording location: Wembley Town Hall, November 1963
CD 14
NIKOLAI RIMSKY-KORSAKOV (1844–1908)
1–5 Capriccio Espagnol, Op. 34
6–9 Scheherazade, Op. 35
Erich Gruenberg, soloviolin
London Symphony Orchestra
Recording location: Wembley Town Hall, October 1962
CD 15
PYOTR ILYICH TCHAIKOVSKY
1 Ouverture solennelle ‘1812,’ Op. 49
NIKOLAI RIMSKY-KORSAKOV
2 Russian Easter Festival, Overture, Op. 36
ALEXANDER BORODIN (1833–1887)
3 Polovtsian Dances (from Prince Igor)
Netherlands Radio Chorus (Borodin)
Concertgebouworkest
Recording location: Concertgebouw, Amsterdam, September 1964
CD 16
IGOR STRAVINSKY (1882–1971)
1–10 Apollon musagète (1947 version)
11–14 Suite No. 1 for Small Orchestra
15–18 Suite No 2 for Small Orchestra
19–22 Four Norwegian Moods
23 Circus Polka for a Young Elephant
London Symphony Orchestra
Recording location: Wembley Town Hall, October 1963 (Apollon, Suites, Norwegian Moods), November1963 (Circus Polka)
CD 17
IGOR STRAVINSKY
1–24 L’Histoire du Soldat
Jean Cocteau, Jean-Marie Fertey, Peter Ustinov, narrators
Manoug Parikian, violin
Joachim Gut, double bass
Ulysse Delécluse, clarinet · Henri Helaerts, bassoon
Maurice André, trumpet · Roland Schnorkh, trombone
Charles Peschier, percussion
25–27 Symphonie de Psaumes
Boys’ and Male Voices of the Russian State Academic Choir
Russian State Academy Orchestra
Recording locations: Theatre de Vevey, Switzerland, October 1962 (L’ Histoire du Soldat), Moscow, October 1962 (Symphonie de Psaumes)
CD 18
MODEST MUSSORGSKY (1839–1881)
Orch. Markevitch
1 Cradle Song
2 The Magpie
3 Night
4 Where art thou, little star?
5 The Ragamuffin
6 On the Dnieper
Galina Vishnevskaya, soprano
NIKOLAI TCHEREPNIN (1873–1945)
7–13 Tàti-Tàti*
Olga Rostropovich, piano
LEOPOLD MOZART (1719–1787)
14–16 Toy Symphony (Cassation in G major for Orchestra and Toys) °
GEORGES BIZET (1838–1875)
17–21 Jeux d’enfants – Petite Suite, Op. 22°
Children’s Ensemble of the Moscow School of Music (Toy Symphony)
USSR State Symphony Orchestra
Recording location: Moscow, October 1962 (Mussorgsky), December 1965 (Tcherepnin, Mozart, Bizet)
*FIRST CD RELEASE ON DECCA
°FIRST INTERNATIONAL CD RELEASE ON DECCA
CD 19
GIUSEPPE VERDI (1813–1901)
1 La forza del destino – Sinfonia
2 Macbeth – Ballet Music (Act III)
3 La traviata – Prelude (Act I)
4 Luisa Miller – Overture
5 Aida – Overture
6 Giovanna d’Arco – Overture
7 La traviata – Prelude (Act III)
8 I vespri siciliani – Overture
New Philharmonia Orchestra
Recording location: Wembley Town Hall, October 1967
Messa da Requiem*
beginning
9–10 Requiem et Kyrie
CD 20
GIUSEPPE VERDI (1813–1901)
1–19 Messa da Requiem*
conclusion
Galina Vishnevskaya, soprano
Nina Isakova, mezzo-soprano
Vladimir Ivanovsky, tenor
Ivan Petrov, bass
Russian State Academy Choir
Moscow Philharmonic Orchestra
Recording location: Moscow, 1960
*FIRST STEREO CD RELEASE ON CD
CD 21
FEDERICO MOMPOU (1893–1987)
1–8 Los Improperios
Peter Christoph Runge, baritone
Orquesta Sinfónica y Coros de la RTV Española
Alberto Blancafort, chorus master
TOMÁS LUIS DE VICTORIA (c. 1548–1611)
9 Ave Maria
10 Vexilla regis
Escolania de nuestra Señora del Buen Retiro
César Sanchez, Maestro de la Escolanía
Coro de la RTV Española
Alberto Blancafort, chorus master
PADRE JAIME FERRER (1762–1824)
11–16 Lamentación 1a
Ángeles Chamorro, soprano
Norma Lerer, contralto
Julian Molina, tenor
Orquesta Sinfónica y Coros de la RTV Española
CD 22
TOMÁS LUIS DE VICTORIA
1–8 Magnificat primi toni
Coro de la RTV Española
Alberto Blancafort, chorus master
ÓSCAR ESPLÁ Y TRIAY (1886–1976)
9–12 De Profundis
Ángeles Chamorro, soprano
Ines Rivadeneyra, mezzo-soprano
Carlo del Monte, tenor
Antonio Blancas, baritone
Orquesta Sinfónica y Coros de la RTV Española
Alberto Blancafort, chorus master
ERNESTO HALFFTER (1905–1989)
13 Canticum in P.P. Johannem XXIII*
IGNACIO RAMONEDA (1735–1781)
14 Veni Creator*
Ángeles Chamorro, soprano
Antonio Blancas, baritone
*FIRST CD RELEASE ON DECCA
Orquesta Sinfónica y Coros de la RTV Española
Alberto Blancafort, chorus master
Recording location: Cinema Monumental, Madrid, October 1966 (Victoria), October-November 1968 (Mompou, Ferrer)
CD 23
MANUEL DE FALLA (1876–1946)
1–7 Siete Canciones populares españolas*
Orchestrated by Igor Markevitch
ISAAC ALBÉNIZ (1860–1909)
8 Catalonia°
ERNESTO HALFFTER (1905–1989)
9 Fanfare (a la memoria de Enrique Granados) *
ENRIQUE GRANADOS (1867–1916)
10 Spanish Dance, Op. 37 No. 9 ‘Romantica’°
11 Spanish Dance, Op. 37 No. 4 ‘Villanesca’°
12 Intermezzo (from Goyescas) °
13 Zapateado (from Six Pieces on Spanish Folksongs) °
14 Spanish Dance, Op. 37 No. 8 ‘Asturiana’°
Ángeles Chamorro, soprano (Falla)
Orquesta Sinfónica de la RTV Española
Recording location: Cinema Monumental, Madrid, October- November 1968
*FIRST CD RELEASE ON DECCA
°FIRST INTERNATIONAL CD RELEASE ON DECCA
CD 24
MANUEL DE FALLA
1–3 Noches en los jardines de España
Clara Haskil, piano
Orchestre des Concerts Lamoureux
4–16 El amor brujo
EMMANUEL CHABRIER (1841–1894)
17 España – rapsodie pour orchestre
MAURICE RAVEL (1875–1937)
18 Boléro
Ines Rivadeneyra, contralto (El amor brujo)
Orquesta Sinfónica de la RTV Española
Recording locations: La Maison de la Chimie, Paris, October 1960 (de Falla) Cinema Monumental, Madrid, October 1966 (de Falla El amor brujo, Chabrier, Ravel),
CD 25
ANTOLOGIA DE LA ZARZUELA*
GERÓNIMO GIMÉNEZ (1854–1923)
1–3 La Tempranica (excerpts)
AMADEOVIVES (1871–1932)
4–5 Doña Francisquita (excerpts)
GERÓNIMO GIMÉNEZ
6 El baile de Luis Alonso: Intermedio
VICENTELLEÓ BALBASTRE (1870–1922)
7 La corte deFaraón: Son las mujeres de Babilonia – ¡Ay ba!
PABLOLUNA (1879–1942)
8–10 El Niño Judio (excerpts)
TOMÁSBRETÓN (1850–1923)
11–13 La Verbena de la Paloma (excerpts)
Ángeles Chamorro, Alicia de la Victoria, sopranos · Norma Lerer, contralto
Angel Custodio, Gregorio Gil, Carlo del Monte, tenors
Rafael Enderis, baritone
Julio Catania, Jesus Coiras, José Granados, Antonio Lagar, José Le Matt, basses
Coro y Orquesta Sinfónica de la RTV Española
Alberto Blancafort, chorus master
Recording location: Cinema Monumental, Madrid, October 1967
CD 26
MANUEL PENELLA (1880–1939)
1 El Gato Montés: Pasadoble
FRANCISCOALONSO (1887–1948)
2 La Calesera: Dice el Rey que le debe guardar
RUPERTO CHAPÍ Y LORENTE (1851–1909)
3–4 La Revoltosa (excerpts)
FEDERICO CHUECA (1846–1908)
5 Agua, Azucarillos y Aguardiente: Vivimos en la Ronda de Embajadores
GERÓNIMO GIMÉNEZ
6 La Tempranica: Zapateado
7 La boda de Luis Alonso: Intermedio
RUPERTO CHAPÍ Y LORENTE (1851–1909)
8 El tambor de Granaderos: Preludio
FRANCISCO ASENJOBARBIERI (1823–1894)
9–11 El barberillo de Lavapiés (excerpts)
RUPERTO CHAPI Y LORENTE (1851–1909)
12 El Rey que Rabio: Coro de doctores
GERÓNIMO GIMÉNEZ 
13 Enseñanza Libre: Gavota
MANUEL FERNANDEZ-CABALLERO (1835–1906)
14 Gigantes y Cabezudos: Jota
Ángeles Chamorro, Alicia de la Victoria, sopranos · Norma Lerer, contralto
Carlo del Monte, José Antonio Viñe, tenors · Antonio Lagar, bass
Orquesta Sinfónica y Coros de la RTV Española
Alberto Blancafort, chorus master
IGOR MARKEVITCH
Recording location: Cinema Monumental, Madrid, October 1967
*FIRST COMPLETE RELEASE ON CD OF ‘ANTOLOGIA DE LA ZARZUELA’
STEREO RECORDINGS