CHABRIER: “Une Education Manquee”; Melodies. Soloists and...

CHABRIER: “Une Education Manquee”; Melodies. Soloists and orchestra, conducted by Charles Bruck. Le Chant du Monde LDC 278 1068. “ ‘Une Education Manque,’ ” wrote Maurice Ravel, “is only an operetta, and has the merit not to aspire to more. Nevertheless there is more real music in this little score than in many a big operatic work.” Indeed, it would be hard to conceive of more perfect music for the frivolous story line of this one-acter, which concerns itself with young lovers caught unaware of the facts of life on their wedding night. Written when Chabrier was still a government clerk, “Une Education”--set in seven numbers plus dialogue--presages his mature style: The lyrical grace and melodic charm, the harmonic twists and rhythmic acuity are all evident. The 1954 recording, in serviceable mono, features soprano Christiane Castelli in the trouser role of Gontran, singing clearly, sweetly and fluently. Claudine Collart and Xavier Depraz offer characterful accounts of the supporting roles, while Charles Bruck leads an unnamed orchestra energetically.

SCHUBERT: Piano Sonatas D. 279 and D. 568; first version of the Menuetto to D. 279. Massimiliano Damerini, piano. Europa Musica 350-226. On the basis of two recordings alone, Damerini would seem to have at least three qualities requisite for greatness: intelligence, the ability to project personality and technique. The Italian pianist brings out the early-Beethoven qualities in the Sonata D. 279 through careful attention to accents, staccatos, dynamics and voicings; the playing is precise yet brimming with finesse and energy. He takes the Sonata D. 568 more gently, in a flexible, soft-spoken reading that remains consistently songful. Even accompanimental materials emerge subtly nuanced. A special musician.

THOMSON: Film Music. New London Orchestra, conducted by Ronald Corp. Hyperion CDA66576. Virgil Thomson, in his prose as well as music, always wore his learning lightly, mixing sophistication with simplicity, using a polished technique for clear, unequivocal statement. His film music, characteristically, shows him exploiting such cerebral methods as fugue, chorale and passacaglia for immediately communicative, evocative ends. The engaging, urbane and rugged “Acadian Songs and Dances” from “Louisiana Story” and the Fugues and Cantilenas from “Power Among Men” complete the disc, in spirited readings from the British forces. Top-drawer.