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French music

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Dundonnell
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« Reply #30 on: January 09, 2013, 03:02:49 pm »

Olivier Messiaen(1908-92):

"Les Offrandes oubliee"(1930):

Polish National Radio Symphony Orchestra(Lukasz Borowicz)


http://www.mediafire.com/?rqb1z4dcn73g8fs
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« Reply #31 on: January 12, 2013, 02:34:56 am »

Continuing the feast of music by Olivier Messiaen:

"Hymne au Saint Sacrement"(1932):

Royal Concertgebouw Orchestra, Amsterdam(Mariss Jansons)


http://www.mediafire.com/?oiwqj1ci3deaxou

"Et exspecto resurrectionem mortuorum" for wind, brass and percussion(1964):

London Symphony Orchestra(Sir Simon Rattle)


http://www.mediafire.com/?6967m8ec0ccp89o

"La Transfiguration de Notre Seigneur Jesus-Christ" for solo instruments, chorus and orchestra(1969):

BBC National Orchestra of Wales(Thierry Fischer)


http://www.mediafire.com/?bdhj60jjdjj416h

Quadruple Concerto for Piano, Flute, Oboe, Cello and Orchestra(1991):

BBC Scottish Symphony Orchestra(Ilan Volkov)


http://www.mediafire.com/?brof4fv2061cpna

"Eclairs sur l'Au-Dela"(1992):

BBC Scottish Symphony Orchestra(Ilan Volkov)


http://www.mediafire.com/?67nw2x4qcn3e8oh



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rbert12
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« Reply #32 on: January 23, 2013, 08:34:21 pm »

Charles Chaynes (Toulouse 1925)

Visages mycéniens (1983)
Two movements: Cassandra, Electra

Orquesta Nacional de España, Maximiano Valdés conducts
http://www.mediafire.com/?c6vjuk9enitsaon


Broadcast by RNE Radio Clásica from a 1987 concert at the III Festival Internacional de Música Contemporánea, Alicante

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shamus
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« Reply #33 on: January 24, 2013, 02:24:40 pm »

http://www.mediafire.com/?7zw2rmfcpa43zjb

Seeing the Messiaen downloads reminded me of the Quadruple Concerto of Olivier Greif which I snagged off French radio a couple of years ago. It is performed by a student orchestra but comes through pretty well, even if the sound is a bit muddy at times. I particularly liked the angry god finale. Here is an excellent website about this "enigmatic" composer. He hasn't been totally neglected, several of his chamber works are on disc, as well as his Cello Concerto "Durch Adam's Fall" played by Henri Demarquette and which has an mp3 download available on French retailers. I had recorded it played with the Riga Kamermusiki, Normunds Sne and Demarquette, but it doesn't seem complete, nor could I verify it was a concert recording. But what I have is lovely, and will probably buy the complete version, being the addict I am.

http://www.oliviergreif.com/

Olivier Greif 1950-2000
Quadruple Concerto “La Danse des morts”
interprètes
Luc-Marie Aguera, violon / Michel Michalakakos, alto / Hélène Dautry, violoncelle / Anne-Lise Gastaldi, piano
Orchestre symphonique du conservatoire / Pierre-Michel Durand, direction
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« Reply #34 on: January 24, 2013, 07:16:02 pm »

André Lavagne (Paris 1913)

Psaume 41 pour soprano, choeur et orchestre(1962)
Denise Monteil (Soprano), Ensemble des choeurs de Radio France (dir. J.P.Kreder), Orchestre Philharmonique de l'ÒRTF, Paul Paray
http://www.mediafire.com/?5xnlxq8eqvfguxb

From France Musique broadcast
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mjkFendrich
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« Reply #35 on: January 24, 2013, 08:26:39 pm »

Olivier Greif  (1950 - 2000)

Cello Concerto 'Durch Adams Fall' op.357 (1999)

Jean-Guihen Queyras - cello
SWR SO Baden-Baden & Freiburg
Marc Minkowski

live concert 2008-02-10, Freiburg - Konzerthaus
broadcast by SWR2 on 2008-02-29

http://www.mediafire.com/download.php?k99wf26luwk92gm
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MVS
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« Reply #36 on: June 19, 2013, 09:33:49 pm »

Darius Milhaud:
 
Ouverture Philharmonique  Opus 397 (1962)

French Radio Philharmonic/Frédéric Chaslin

http://www.mediafire.com/download/qdid3gxi6bq9mv1/Milhaud_Ouverture_Philharmonique.zip

Music for Indiana  Opus 418 (1966)

BBC Symphony Orchestra/composer

http://www.mediafire.com/download/ps1ma7aptta1xr6/Milhaud_Music_for_Indiana.zip

Music for Lisbon  Opus 420 ((1966)
Nice Radio Orchestra/Daniel Chabrun

http://www.mediafire.com/download/de2kj7647totd7l/Milhaud_Music_for_Lisbon.zip

Music for New Orleans  Opus 422 (1966)

ORTF Orchestra/composer

http://www.mediafire.com/download/dj5fh6etezqi4y0/Milhaud_Music_for_New_Orleans.zip


Promenade Concert  Opus 424 (1967)
Frankfort Radio Symphony/Ladislav Kupkovič

http://www.mediafire.com/download/b2xqvw2gs7ggzo1/Milhaud_Promenade_Concert.zip


Music for Graz  Opus 429 (1968-69)
Ars Nova Ensemble/Marius Constant

http://www.mediafire.com/download/jzfoc89lvdcg700/Milhaud_Music_for_Graz.zip

…all of the above from Mike Herman… no CD version of any of these as far as I know…
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« Reply #37 on: February 25, 2014, 03:55:55 pm »

Three French Piano Concerti




From the collection of Karl Miller

http://www.mediafire.com/download/c6e2k9bcc7cyp5s/poulenc.zip

http://www.mediafire.com/download/vouzwqcvmyih9gv/Tailleferre.zip

http://www.mediafire.com/download/hrwp2xbsoa5j3ap/Barraud.zip


Francis Poulenc: Piano Concerto

Composer, Piano
ORTF/Charles Munch
1st European Perfomance
Radio Broadcast
[6 January 1950]
1. Allegretto
2. Andante con moto
3. Rondeau à la française

Description from Allmusic.com
This was the last of Poulenc's five concertos. While in the first fifteen years of his career Poulenc had made a reputation as a light-hearted composer, personal crises in the late 1930s awakened a dormant religious sensibility. Thereafter, including the war years, he had written music of considerably more seriousness of purpose, but even in them retained his lightness of touch and his ability to charm. After the war ended, restoring communication between Paris and America, the Boston Symphony Orchestra commissioned this piano concerto from Poulenc. It was premiered by that orchestra, conducted by Charles Munch on January 6, 1950, with the composer as soloist.

Now Poulenc returned, for this composition, to his earlier breezy style. The composition is in three movements, each smaller than the previous one; their lengths are about ten, five and a half, and four minutes. The piano is not treated as an individual protagonist against the orchestra, but as a part of the entire ensemble.

The concerto opens with the piano playing one of Poulenc's rhythmic ideas of faux gruffness, which is countered by a lovely tune on English horn. The slow second movement is tender, with a sense of some sadness, using a string melody introduced with softly marching rhythms in the horns. The finale is called Rondeau ˆ la Francaise and is in a very fast tempo. In one of the final episodes a tune appears which has been traced back to A la claire fontaine, an old sea chanty dating back to the time of Lafayette. Its first few notes are the same as that of Foster's song "Old Folks at Home" (or "Swanee River"), which some French commentators have mid-identified as a "Negro spiritual." Poulenc blends it, surprisingly, with a Brazilian maxixe rhythm.


Germaine Tailleferre: Piano Concerto in D (1924)

Penelope Thwaites, Piano
BBC Concerto Orchestra/Gregory Rose
Radio Broadcast.

1. Allegro
2. Adagio
3. Final. Allegro non troppo


Wikipedia Bio:

Germaine Tailleferre (French: [tɑjfɛʁ]; 19 April 1892 – 7 November 1983) was a French composer and the only female member of the group of composers known as Les Six.

She was born Marcelle Taillefesse at Saint-Maur-des-Fossés, Val-de-Marne, France, but as a young woman she changed her last name to "Tailleferre" to spite her father, who had refused to support her musical studies. She studied piano with her mother at home, composing short works of her own, after which she began studying at the Paris Conservatory where she met Louis Durey, Francis Poulenc, Darius Milhaud, Georges Auric and Arthur Honegger. At the Paris Conservatory her skills were rewarded with prizes in several categories. Most notably Tailleferre wrote 18 short works in the Petit livre de harpe de Madame Tardieu for Caroline Tardieu, the Conservatory’s Assistant Professor of Harp.

With her new friends, she soon was associating with the artistic crowd in the Paris districts of Montmartre and Montparnasse including the sculptor Emmanuel Centore who later married her sister Jeanne. It was in the Montparnasse atelier of one of her painter friends where the initial idea for Les Six began. The publication of Jean Cocteau's manifesto Le coq et l'Arlequin resulted in Henri Collet's media articles that led to instant fame for the group, of which Tailleferre was the only female member.

In 1923, Tailleferre began to spend a great deal of time with Maurice Ravel at his home in Monfort-L'Amaury. Ravel encouraged her to enter the Prix de Rome Competition. In 1925, she married Ralph Barton, an American caricaturist, and moved to Manhattan, New York. She remained in the United States until 1927 when she and her husband returned to France. They divorced shortly thereafter.

Tailleferre wrote many of her most important works during the 1920s, including her 1st Piano Concerto, the Harp Concertino, the ballets Le marchand d'oiseaux (the most frequently performed ballet in the repertoire of the Ballets suédois during the 1920s) and La nouvelle Cythère which was commissioned by Sergei Diaghilev for the ill-fated 1929 season of the famous Ballets Russes, and Sous les ramparts d'Athènes in collaboration with Paul Claudel, as well as several pioneering film scores, including B'anda, in which she used African themes.

The 1930s was even more fruitful, with the Concerto for Two Pianos, Choeurs, Saxophones and Orchestra, the Violin Concerto, the operas Zoulaïna and Le marin de Bolivar, and her masterwork, La cantate de Narcisse in collaboration with Paul Valéry. Her work in film music included Le petit chose by Maurice Cloche, and a series of documentaries.

At the outbreak of World War II, she was forced to leave the majority of her scores at her home in Grasse, with the exception of her recently completed Three Études for Piano and Orchestra. Escaping across Spain to Portugal, she found passage on a boat that brought her to the United States, where she lived the war years in Philadelphia, Pennsylvania.

After the war, in 1946, she returned to her home in France, where she composed orchestral and chamber music, plus numerous other works including the ballets Paris-Magie (with Lise Delarme) and Parisiana (for the Royal Ballet of Copenhaugen), the operas Il était un petit navire (with Henri Jeanson), Dolores, La petite sirène (with Philip Soupault, based on Hans Christian Andersen's story "The Little Mermaid") and Le maître (to a libretto by Ionesco), the musical comedy Parfums, the Concerto des vaines paroles, for baritone voice, piano and orchestra, the Concerto for Soprano and Orchestra, the Concertino for Flute, Piano and Orchestra, the Second Piano Concerto, the Concerto for Two Guitars and Orchestra, her Second Sonata for Violin and Piano, the Sonata for Harp, as well as an impressive number of film and television scores. The majority of this music was not published until after her death.

In 1976, she accepted the post of accompanist for a children's music and movement class at the École alsacienne, a private school in Paris. During the last period of her life, she concentrated mainly on smaller forms, due to increasing problems with arthritis in her hands. She nevertheless produced the Sonate champêtre for oboe, clarinet, bassoon, and piano, The Sonata for Two Pianos, Choral and Variations for Two Pianos or Orchestra, a series of children's songs (on texts by Jean Tardieu) and pieces for young pianists. Her last major work was the Concerto de la fidelité for coloratura soprano and orchestra, which was premièred at the Paris Opera the year before her death.

Germaine Tailleferre continued to compose right up until a few weeks before her death, on 7 November 1983 in Paris. She is buried in Quincy-Voisins, Seine-et-Marne, France.



Henri Barraud: Piano Concerto(1939)

1. Allegro
2. Andante
3. Finale
Alain Lefévre, Piano
ORTF/Manueal Rosenthal
Radio Broadcast


Wikipedia Bio:
Henry Barraud (sometimes Henri) (23 April 1900 – 28 December 1997) was a French composer.

He was born in Bordeaux. He was a student of Louis Aubert at the Conservatoire de Paris, but in 1927 failed to graduate, apparently because of his refusal to follow orthodox methods. Along with Pierre-Octave Ferroud and Jean Rivier, he helped to form the society Triton for the wider distribution of contemporary music.

After the Liberation of Paris in 1944, he was named the Director of Paris Radio, and later, in 1948, of what later became ORTF, a position he held until his retirement in 1965.
 


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« Reply #38 on: February 26, 2014, 03:15:06 pm »

Music of Jean-Michel Damase


From the collection of Karl Miller

http://www.mediafire.com/download/8nph0kmv0afuifd/Damase.zip

Rameau Variations for Harpsichord and Orchestra(1966)
Robert Veyron-Lacroix, Harpsichord
ORTF/Andre Girard

Concertino for Harp and Strings (1951)

Performers and venue unknown

Serenade for Flute and Strings, Op. 36 (1956)
Composed at the Request of Jean-Pierre Rampal
James Dower, Flute
Langham Chamber Orchestra/Maurice Handford
Radio Broadcast


Introduction and Bio from www.chezdamase.com

 Born on 27 January 1928 and died 21 April 2013, Jean-Michel Damase composed in a style often compared to Fauré, Poulenc, Ravel, Françaix, Roussel, and Stravinsky; incorporating many of the rhythmic and harmonic complexities associated with twentieth-century French music. Throughout his career, Damase has remained a traditionalist, "continuing the post-tonal line of Debussy and Ravel without the modish interest in their deeper-seated implications."* Or, in the composers own words:​

Quote
"I prefer sincerity to forced innovation."

Damase's music is accessible without being lightweight; unapologetically melodic, with a penchant for repeating – some have even said "obsessive" – motifs; tonal, though paradoxically, harmonically complex; rhythmically surprising; sometimes playful, sometimes biting – but always resolving; respectful of tradition and form; often demanding virtuosic ability and endurance of the performer; and always superbly crafted.​


Born in 1928 in Bordeaux into a musical family, his mother being the renown harpist and musician Micheline Kahn, Jean-Michel Damase showed precocious musical talent. His studies began at an early age; when he was five he began the Samuel-Rousseau courses in piano and solfège.

Damase began composing at the age of nine. After Colette, his mother's friend, heard song settings of her poems, she wrote three "poèmes d'animaux" especially for him. When he was twelve, he became a pupil of Cortot at the École Normale de Musique de Paris, and in the next year he joined Armand Ferté’s piano classes at the Paris Conservatoire.

In 1943, he was unanimously awarded the Premier Prix in piano at the Conservatoire. Two years later he entered Henri Büsser's composition classes and began to study harmony and counterpoint with Dupré. At nineteen, he won the first prize in composition with his Quintet for flute, harp, violin , viola, and cello and his cantata Et la belle se réveilla won him the Prix de Rome. In the meantime, his career as a pianist was flourishing; he appeared as soloist in the Colonne and Conservatoire concerts and with the Orchestre National de la Radiodiffusion et Télévision Française (l'ORTF).

Damase's youthful compositional maturity helped to foster a considerable technical facility and he has produced a great deal of music in a style that is attractive and elegant, remaining close to the traditions of the Conservatoire. All his works show deep knowledge of the possibilities of instruments, and his orchestration is rich, full and varied; evidenced most notably in the chamber and concertante works.

Damase has a great admiration for Fauré and Ravel. As a pianist, he has made award-winning recordings of many of their works. He is also great lover of ballet and a close friend of several leading choreographers. His first ballet score was La Croqueuse de diamants (The Gold Digger) written for Roland Petit and first produced at the Marigny Theatre in Paris. The complete ballet is also featured in the film Un, Deux, Trois, Quatre (1960)​.

After touring the world as a piano soloist and winning the Grand Prix du Disque for his recordings, Jean-Michel Damase has devoted his activities to composition and teaching. He serves on the boards of numerous international musical organizations and societies, judges competitions, and conducts master classes in Europe, the United States and Japan. He was awarded the Grand Prix Musical de la SACD (Société des Auteurs et Compositeurs Dramatiques) and the Grand Prix de la Ville de Paris.

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« Reply #39 on: March 18, 2014, 04:15:45 pm »

Paul Le Flem: Fantasie for Piano and Orchesta

From the collection of Karl Miller

Fantasie for Piano and Orchestra
Annie d'Arco, Piano
Rennes Theater Orchestra/Pierre Michel Le Conte

http://www.mediafire.com/download/vrubdkecp8camch/Le_Flem.zip

Paul Le Flem
From Wikipedia, the free encyclopedia


Paul Le Flem (18 March 1881 - 31 July 1984) was a French composer and music critic.


Biography

Born in Radon, Orne, and living most of his life in Lezardrieux, Le Flem studied at the Schola Cantorum under Vincent d'Indy and Albert Roussel, later teaching at the same establishment, where his pupils included Erik Satie and André Jolivet. His music is strongly influenced by his native Brittany, the landscape of which is reflected in most of his work.

Before World War I, Le Flem produced several major works, including his First Symphony, a Fantasy for Piano and Orchestra, and an opera. The war temporarily put an end to his compositional activities, and in its aftermath he devoted himself to music criticism and choral conducting. He wrote numerous articles for the periodical Comoedia.

In 1938, he began composing once again. Three additional symphonies and a second opera followed before he was finally forced to give up composition in 1976, at the age of 95, due to blindness. He died on 31 July 1984 at the age of 103.

Some of his dramatic works include the operas Le rossignol de St-Malo (The Nightingale of St Malo) and La magicienne de la mer (The Magician of the Sea), as well as a version of the chante-fable Aucassin et Nicolette. For the Dead and the seven Children's Pieces, both originally written in 1912, were orchestrated some years later. Two of the composer's children died young, and For the Dead is dedicated to their memory. In addition to his symphonies, Le Flem wrote evocative orchestral music such as En mer (At Sea) and La voix du large (The Voice of the Open Sea). Le Flem also composed the music for Jean Tedesco's short film The Great Gardener of France in 1942.
Personal life

Paul Le Flem, with his wife, Jeanne (Even), is the grandfather of actress Marika Green and great-grandfather of actress Eva Green by his daughter, Jeanne, who married Swedish journalist Lennart Green.[1][2][3]
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« Reply #40 on: April 04, 2014, 10:05:33 pm »

Requested reposting:

Darius Milhaud(1892-1974):

Suite "A Frenchman in New York"(1962):

Boston Pops Orchestra(Arthur Fiedler)


https://www.mediafire.com/?oznha7bohj4w60v
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shamus
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« Reply #41 on: October 31, 2014, 08:25:19 pm »

https://www.mediafire.com/folder/73iu9jjhk636o/bondon

Sorry, I don't have the performers in all cases.
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« Reply #42 on: November 13, 2014, 02:38:22 am »

Milhaud, Darius (1892-1974)

Scaramouche Suite: 1. Vif; 2. Modéré; 3. Brazileira

Margarita Shaposhnikova (saxophone), Academic Orchestra of Russian Folk Instruments of Central RTV, Nikolai Nekrasov

https://musicforeveryone.createaforum.com/downloads/margarita-shaposhnikova-(saxophonist)-plays-khrennikovrivchunkalinkovichcyril-sc/msg557/#msg557

from MELODIYA LP "Popular Music for Saxophone" - C60-27233-002
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guest224
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« Reply #43 on: November 13, 2014, 02:39:32 am »

Bonneau, Paul (1918-1995)

Caprice in the form of a waltz

Margarita Shaposhnikova - saxophone

https://musicforeveryone.createaforum.com/downloads/margarita-shaposhnikova-(saxophonist)-plays-khrennikovrivchunkalinkovichcyril-sc/msg557/#msg557

from MELODIYA LP "Popular Music for Saxophone" - C60-27233-002
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« Reply #44 on: November 14, 2014, 11:43:44 pm »

Aleksandr Ognivtsev - Arias and Scenes from Operas

https://musicforeveryone.createaforum.com/downloads/arrigo-boito-(1842-1918-italy)-prologue-to-mephistopheles/msg560/#msg560

Massenet, Jules (1842-1912) - Death Scene of Don Quixote, from Don Quixote

Ibert, Jacques (1890-1962) - To Dulcinea, from the film Don Quixote

Ibert, Jacques (1890-1962) - Deathbed song, from the film Don Quixote


Aleksandr Ognivtsev, Bolshoi Theatre Orchestra, Aleksandr Lazarev

from a MELODIYA LP
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