The following review is an excerpt from Keyed In (December 2017/January 2018) which can be read in its entirety here.
Alain Lefèvre has recorded an intriguing work with the Buffalo Philharmonic Orchestra under Joann Falletta: André Mathieu – Concerto No.3 (Analekta AN 2 9299). Written at age 13 while marooned with his family in North America by the outbreak of WWII, unable to return to France where he had been studying on a scholarship from the Quebec government, the work was intended to launch Mathieu’s career with the influential decision makers of the New York music scene. Unfortunately, not much came of it until 1946, when a newly created Quebec production company approached Mathieu for the rights to use his Concerto No.3 in a film (La Forteresse/Whispering City) to be shot entirely in Quebec. As things turned out, only major portions of the second movement were used in the film score. Until recently, this had been the only record of the work. Mathieu himself recorded it in 1947, and this same version, revised by Marc Bélanger, was recorded by Philippe Entremont in 1977 and made famous by Alain Lefèvre in 2003. Eventually renamed the Concerto de Québec, the recording by Jean-Philippe Sylvestre with the Orchestre Métropolitain and conductor Alain Trudel was reviewed here in October.
In 2008 the original autograph score for two pianos was discovered in Ottawa. Since then, composer and conductor Jacques Marchand has prepared a critical edition that is faithful to the original manuscript. This is its first full recording. It has all the sweeping gestures of its period and a devilishly difficult piano part. Lefèvre’s performance at the keyboard is masterful. He and the BPO perform the work with astonishing authenticity, restoring a fascinating chapter to Canadian music history of that period.