Unsung Composers

Thanks to Latvian for his upload, actually the INA (a kind of french MIC) is doing a great job in making a lot of neglected french music available at low price, for instance a Symphony by Martinet can be found here :

http://boutique.ina.fr/audio/PHD07008870/jean-louis-martinet-symphonie-en-hommage-a-jean-philippe-rameau-creation.fr.html (http://boutique.ina.fr/audio/PHD07008870/jean-louis-martinet-symphonie-en-hommage-a-jean-philippe-rameau-creation.fr.html)

Added several French pieces from LPs, no rhyme or reason, just what I have accumulated over the years.

  Dear Arbuckle

  Thank you very much for your precious collections.
  Especially, the music of Abbiate Louis, I hope to listen long time.
  Huge thanks again!


  Regards

  A.S

An embarrassment of riches!
Many thanks, Arbuckle!
P.S.: Last time I listened to the Bondon Concerto de Mars (an old RCA LP),it was coupled with Castelnuovo-Tedesco's rarely heard Quintet for Guitar (Manuel Lopez Ramos & The Parrenin Quartet). Does anyone know whatever became of that guitarist?

QuoteJacques Chailley(1910-1999)

Symphony (No. 1) in G minor (1942-47)

A worthy addition -- that first movement never fails to energize me!

BTW a recording of Martinon conducting the 2nd symphony with almost but not quite the same total timing - but conducting the Chicago symphony - was released in 1997 by the Chicago Symphony as part of a tribute to the conductor/composer. I am sure they are different performances (this last was most likely a never-issued-before 1997 recording in fact?) and doubt it's still available, and based on the Martinon works in score at IMSLP hope more of his music will be recorded anycase (I have seen a few chamber works appear in the last few years, anyway, though none of the string quartets unfortunately?.)

The CSO recording of Martinon's 2nd Symphony is also without theremin, from what I've read.

Re Gédalge - the symphony no.3 (in F, not D minor) is at IMSLP, which should help with the movement titles problem. See http://imslp.org/wiki/Symphony_No.3_(G%C3%A9dalge,_Andr%C3%A9) (http://imslp.org/wiki/Symphony_No.3_(G%C3%A9dalge,_Andr%C3%A9)). Glad to have this and the concerto (also uploaded at IMSLP) to hear! (Though your movement titles for the concerto are quite different from "ours" (those at IMSLP) - which are
Moderato maestoso
Andante
Allegro poco a poco accelerando. )

Here are the quatre parties ;) of the Gédalge symphony no.3 in F major (en quatre parties) as they appear on the score :  (I assume we are speaking of the same work, though it is D major in the files and D minor in the description thereof , and was published and premiered, not composed, in 1910- it was composed in 1908. I have the score in front of me so will know soon enough. Movements in F major, C minor, F major and F minor, I think- will check.)

Allegro
Adagio sostenuto è malinconico
Allegretto non troppo vivo
Molto vivace, con fuoco

(As to the concerto in C op.16 again: it was premiered and arranged by 1900 and 1901 respectively, Falcke having died in the latter year, but was composed most likely ca. 1899 (I forget, the exact information may even be available...).)

  Hello Ilja.

  Thanks to upload André GEDALGE's music.
  I enjoyed to listen these very much!
  I'm very interest to listen French rare symphonic music, but these are difficult to listen today.
  Thanks a lot again for these treasure recordings.


  Best  A.S

Are there any recordings of the Emmanuel Moor symphonies out there?

  Oh! I hear Emmanuel Moor's name first time. So I checked wikipedia.
  He composed 8 Symphonies! Very interesting :o

 

Several of Moor's Cello Sonatas are available on CD or for download.   The only other thing I've ever seen is a Concerto for two cellos and orchestra,  opus 69 which I have on cassette tape.  Would certainly like to hear those symphonies.

Jerry

what I've seen of his music on IMSLP (some of which I've transferred from Sibley, I admit) looks very good to me.  I'd like to hear one of the string quartets but gather they're on the rather difficult side of things! However, there is a recording at IMSLP of his early serenade (played by Steve's Bedroom Band). Nice (brief) piece. (Bit the digression since he's Hungarian, not French!) Same cassette tape of those terrific concerts that also had works by Busoni, Reznicek, etc. I assume? :) http://www.worldcat.org/title/forgotten-romantics/oclc/32645509&referer=brief_results (http://www.worldcat.org/title/forgotten-romantics/oclc/32645509&referer=brief_results) - link (not a  commercial release)

Andre Jolivet's three Symphonies were recorded on 3 Lyrinx LPs in 1984. The Third Symphony has made it to cd and I have a copy.

Has anybody got Nos. 1 and 2 by any chance?  I have to ask ;D

  Dear Dundonnell,

  I have LP of Jolivet's symphony no.1.
  But I have is LP by INEDITS, not LYRINX.
  Are you OK?
 

  I have is...

  ANDRÉ JOLIVET  (1905-1974) : Symphony No. 1 (1953)
  Marius Constant/Orchestre National de l'O.R.T.F
  BARCLAY INÉDITS 995 008 (LP) (1971)

 
  By the way, my collections of French musics are not many, so I hoped next works long time.
  If anyone have it, I certainly look forward to upload.


  Atsushi
 


   Barraine, Elizabeth   Symphony #2
   Bondeville, Emmanuel   Symphonie Lyrique
   Bozza, Eugene   Symphony (1948)
   Damase, Jean Michel   Symphony
   Delannoy, Marcel   Symphony No.1, op.20
   Delvaux, Alben   Symphony in G "Sinf. Lovaniensis"
   Desenclos, Alfred   Symphony
   Dubois, Pierre Max    Piano Concerto No. 1 (1957)
   Hugon, Georges   Symphony No.2 "La Jeanesse d'or" (1949)
   Labey, Marcel   Symphony No.3
   Loucher, Raymond   Symphony No.1 - no.3 
   Migot, Georges   Symphony No.1 "Les Agrestides"
   Wolff, Albert   Symphony in a




 

Thank you very much, Mark, for the Léon Boëllmann Symphony - it's long been near the top of my wish-list. ;D

I think I may have Jolivet's own recording of his first symphony somewhere as well (not sure though if it ever hit CD, will check first that among other things).

Boëllmann symphony:
(I) don't know - (II) Intermède variée - (III) Recitative (Andante) - (IV) Presto

Will try to find out (I). Premiered Feb.24 1895 Paris, Lamoureux concerts; English premiere December 1 1897 Queen's Hall Orchestra London conducted by Lamoureux (and from a report on the English premiere the above information is taken- Musical Times, January 1 1898, p26.) Have wanted to see the score or hear the symphony or both for awhile now, thank you.

Thanks for the info, Eric.

Atsushi,

Your version of the Jolivet Symphony No.1 would do very well, thank you :)

  Dear Mark,

  Thanks a lot for Boëllmann.
  This is also my long time wish work!

  Very good work!  Thanks a lot again! :D


 

  Dear Dundonnell,

  I will digitize and upload it :)


  Atsushi

Thanks so much for the Boëllmann symphony! I very much look forward to hearing it.

As a practicing church organist, over the years I've played quite a bit of Boëllmann's pieces as preludes, postludes, offertories, etc. They're gratifying to play -- well-written, memorably tuneful, and pleasing to listeners. I particularly like the first volume of his Heures intimes. Not profound, not taxing to the listener (and usually not the organist, either), but very enjoyable, and suitable for its purpose.

Of course, most any familiar with the Romantic French organ repertoire (either as player or listener) will have encountered the Suite gothique. A really gorgeous and memorable piece that I strongly encourage anyone unfamiliar with it to seek it out!

QuoteI have is...

  ANDRÉ JOLIVET  (1905-1974) : Symphony No. 1 (1953)
  Marius Constant/Orchestre National de l'O.R.T.F
  BARCLAY INÉDITS 995 008 (LP) (1971)

A.S., I believe the conductor in this instance is actually Georges Tzipine, not Marius Constant.

There are also at least two different recordings of the 1st Symphony conducted by the composer, one of which is a live performance on Melodiya.

QuoteBarraine, Elizabeth   Symphony #2
   Bondeville, Emmanuel   Symphonie Lyrique
   Bozza, Eugene   Symphony (1948)
   Damase, Jean Michel   Symphony
   Delannoy, Marcel   Symphony No.1, op.20
   Delvaux, Alben   Symphony in G "Sinf. Lovaniensis"
   Desenclos, Alfred   Symphony
   Dubois, Pierre Max    Piano Concerto No. 1 (1957)
   Hugon, Georges   Symphony No.2 "La Jeanesse d'or" (1949)
   Labey, Marcel   Symphony No.3
   Loucher, Raymond   Symphony No.1 - no.3 
   Migot, Georges   Symphony No.1 "Les Agrestides"
   Wolff, Albert   Symphony in a

Atsushi -- I, for one, would be very happy to have uploads of any of these symphonies. I already have the Barraine 2nd and Migot 1st, but perhaps someone else would like to them? Also, I have the Loucheur symphonies and like them very much, but my dubs are in horrible sound. Perhaps yours are better?

You are quite correct :)

Marius Constant conducts the other work on that LP. This mistake is repeated in Michael Herman's (splendid) Discography of French Symphonies.
The Symphony No.2 is on that Lyrinx LP set to which I referred earlier.

Quote from: A.S on Sunday 16 October 2011, 01:47
 
By the way, my collections of French musics are not many, so I hoped next works long time.
If anyone have it, I certainly look forward to upload.

I think your  collection of french symphonies is quite astonishing Atsushi : most of them are not even available from the INA website :

http://boutique.ina.fr/ (http://boutique.ina.fr/)

　Thanks to tell me correct conductor of this recording.
  But, in this case, maybe My LP is same recording of  INA website contents.
  http://boutique.ina.fr/audio/PHF07009498/andre-jolivet-symphonie-n1.fr.html (http://boutique.ina.fr/audio/PHF07009498/andre-jolivet-symphonie-n1.fr.html)
  So I think I should not be upload my collection.
　What do you think about it?


 

  Latvian,  Thanks a lot to post about many works of my wishlist.

　But this group is public community, so I think I should not be request many works .
  I would deeply appreciate it if you upload one or two work from my wishlist.

  Rest of my wishlist, I would like to wait someone upload it someday.

  Thanks!  Atsushi

QuoteLatvian,  Thanks a lot to post about many works of my wishlist.

　But this group is public community, so I think I should not be request many works .
  I would deeply appreciate it if you upload one or two work from my wishlist.

Atsushi,  I must have misunderstood your note. I thought you were listing French symphonies that you already had, not ones that you were looking for!

If I could -find- the broadcast recording I had (may still have somewhere around- it's on my iPod and doesn't disappear when synched, which is odd, but it's not on my computer's HD anymore) of Koechlin's 2nd symphony op.196 I'd upload that... :)

  Latvian

  I also misunderstood your note!

  I understand now. No problem. Thanks ;)


  Atsushi

Quote from: eschiss1 on Monday 17 October 2011, 14:12
If I could -find- the broadcast recording I had (may still have somewhere around- it's on my iPod and doesn't disappear when synched, which is odd, but it's not on my computer's HD anymore) of Koechlin's 2nd symphony op.196 I'd upload that... :)

Please find it! ;D

  Thanks a lot Latvian to upload many rare French symphonic works!
 
  Atsushi

QuoteIf I could -find- the broadcast recording I had (may still have somewhere around- it's on my iPod and doesn't disappear when synched, which is odd, but it's not on my computer's HD anymore) of Koechlin's 2nd symphony op.196 I'd upload that...

Interesting you should mention Koechlin... I was planning to do both Koechlin symphonies for one of my next uploads. Don't worry if you can't find it, I'll take care of it.

Latvian - which Koechlin symphonies? There's a 1st symphony Op.57bis (possibly skippable?- arrangement of the 2nd string quartet), the 7 Stars Symphony, a Symphony of Hymns, a symphony no.2 op.196,  I suppose that's already four... most of them mostly arrangements/combinations of pre-existing material (the 2nd symphony included, only one of its movements entirely new, but still... combines in one place otherwise orchestrations of works of his I'd never heard of like the fugue on a subject by Ernest le Grand, and sounds characteristic). But that said and no matter what and nevertheless and etc. :) - thanks!!!
Re Barraine's 2nd symphony- the movements are 1. Allegro vivace -- 2. Marche funèbre: Lento -- 3. Finale: Allegretto.  (Hrm. Very interesting biography of her as a resistance fighter if I understand?... not going to force an interpretation of the Marche funèbre and the 1938 year, though.)

QuoteLatvian - which Koechlin symphonies?

Symphony No. 1, Op. 57bis, and Symphony No. 2, Op. 196

The 7 Stars Symphony has been available long enough commercially, but I've never heard the Symphony of Hymns. Anyone have it?

Quote from: Latvian on Tuesday 18 October 2011, 15:53

QuoteLatvian - which Koechlin symphonies?

Symphony No. 1, Op. 57bis, and Symphony No. 2, Op. 196

The 7 Stars Symphony has been available long enough commercially, but I've never heard the Symphony of Hymns. Anyone have it?

The 1st and 2nd Symphonies :)

That's exciting :) Every day on here seems to bring fresh joy ;D ;D

Koechlin sym. 2: Op.196 (1943-4) Premiered Aug. 29 1952 by the Orquestra Sinfonica Naçional under Jose Pablo Moncayo.
I Fugue (arr. of Fugue sur un sujet d'Ernest le Grand, op. 126) (7'55" in the recording I had - still on my iPod but unrecoverable far as I know, making this a better idea...)
II Scherzo (l'âme libre et fantasque) (based on themes from the suite for Cor anglais) (11'41" likewise.)
III Suite of six chorales (Requête à l'inconnaissable - Aegri somnia (from op.90a, 1924) - Pour la consolation des pauvres âmes (op.111/7, 1929. Strings and harp) - Les Goëlands sur la Mer - Berceuse marine (op.109/4, 1929) - Vers la cime)
IV Fugue on a Theme of Catherine Urner (from op.114)
V Finale (new to the symphony, not an arrangement.) (III-IV-V totalling 22'13" in the recording I had.)

Discussed in Orledge, "Charles Koechlin (1867-1950): his life and works", e.g. on page 200. ? because a lot of it is no longer under Google's Preview-view and I don't have the book :) Also see e.g. http://classik.forumactif.com/t3654-koechlin-les-symphonies (http://classik.forumactif.com/t3654-koechlin-les-symphonies).
Since there are in fact five movements to the symphony, not four, not sure how they correspond to the four on your mp3s, but will check. I had the same issue (actually, I think I had three mp3s, not four, my last being Suite of Chorales - Fugue - Finale, with unknown prov., conductor, etc. ...)

eschiss1, thanks for the incredible detail on Koechlin's 2nd! I didn't realize there were in fact 5 movements, so I'll be glad to know how my 4 tracks correspond. When I received this recording from a friend a number of years ago, this is the format it was in, so he was clearly unaware of the numbering discrepancy as well.

Absolutely delighted to hear that the two Koechlin symphonies have been made available :)

Wonderful news. Thank you :) :)

  Thanks for Koechlin.
  Amazing recordings!

  Also Thanks a lot to Elsa Barraine's symphony by my request.
  I'm happy now :D



  Atsushi
 

I dunno where the problem is, but the Koechlin Symphony 2 download page (the actual DL page on Mediafire) triggers my Avast as a trojan horse, and it doesn't load the link. Mediafile pages have never done this before.

QuoteI dunno where the problem is, but the Koechlin Symphony 2 download page (the actual DL page on Mediafire) triggers my Avast as a trojan horse, and it doesn't load the link.

Sorry, I have no idea why there's a problem for you. I just linked to the file myself and downloaded it with no difficulty. If you continue to have a problem, perhaps I can reupload it for you on a different link.

The Casadesus is - well, dare I say - very French! ;)  I mean eccentric in that spikey Satie-esque sort of way.   :o

I find the Quintet a very strange kettle of fish.  It sounds like he was having fun, but sometimes it's at the expense of the listener!

Do others agree? What is your reaction to this music?
Does it reflect the chamber music of other European composers of the 20s and 30s?
Am I missing something?    ??? ???

Shamokin88 here. I have been exploring older discussions. I'm not certain if the question of the André Jolivet symphonies has been answered to everyone's satisfaction but I can provide not only 2 and 3 - if a French Solstice CD is out-of-print - but his 1940 Symphonie des Danses with George Szell and the Cleveland O as well. The Symphony for Strings is perhaps still available on Timpani.

I have always enjoyed what I have heard by Casadesus; music without issues, simply for the pleasure of it but without trifling.

The Jolivet Symphony No.3 can still be obtained on the Solstice cd to which you refer.

The Symphony No.2 is the missing one however. If you can provide that one it would be very much appreciated :)

I did a little more research and as to the Georges Migot Piano concerto, the details are:

Mvt 1. Prelude. Tres modere, avec souplesse
Mvt 2. Choral. Andante tres modere
Mvt 3. Final. Allegrement decide

Jacqueline Eymar, Piano (and dedicatee), Orchestre Philharmonique de l'ORTF, Manuel Rosenthal (June 26 1964)

I have a tape of no.2 but only digitized part of it (the part that fit on a CD- the Heurté first movement and part of the Fluide second... - after Jolivet sym.1/Jolivet and Myaskovsky 16/Ivanov).  Will see about digitizing the rest of no.2 sometime soon (have to first find tape... then - well, have to first find tape ...)

I have uploaded my first digitised tape-recording :)

It is a BBC broadcast from 1973 of:

Jean Martinon:

Symphony No.4 "Altitudes"(1966)

      French National Radio Orchestra(the composer)

Please advise me of any problems ;D

Ah. Martinon recorded his 4th symphony with the Chicago Sym. and there is also a broadcast tape in a library archives I see with the Philadelphia Orchestra via WFLN. Have heard probably one of those two- probably not the French orchestra recording - on WFLN back when I could receive it in college (before it became, if memory serves, a more popular-music-oriented station, and was at the time a very adventurous classical station - it was good to be within broadcast range of it then over in New Jersey :) - got to hear a lot of works and composers for the first time.)

Quote from: Arbuckle on Friday 21 October 2011, 01:18
http://www.mediafire.com/?ptfq3e044wub2 (http://www.mediafire.com/?ptfq3e044wub2)

Georges Migot  1891-1956
Piano Concerto
  Unsure of performers, announcer states pianist is Jacqueline ?Ymar, but doesn't state orchestra

This is the information I have on this recording:

2Radio France GRC 9140/41 [French Broadcasting System In North America, Program 734]:  Jacqueline Eymar/ORTF/Manuel Rosenthal

If anyone needs additional information on recorded works for piano and orchestra, please contact me.  My online discography of such works lists just the composers, titles, dates.  I keep names of performers, labels, etc. offline in a larger file.

According to http://allmusic.com/album/rivier-symphonies-for-strings-w56630/tracks (http://allmusic.com/album/rivier-symphonies-for-strings-w56630/tracks) the movements of the Rivier symphony 3 are
*Allegretto quasi pastorella
*Vivo e leggiero
*Lento e nostalgico
*Allegro molto e fugato

Quote from: eschiss1 on Sunday 23 October 2011, 15:34
According to http://allmusic.com/album/rivier-symphonies-for-strings-w56630/tracks (http://allmusic.com/album/rivier-symphonies-for-strings-w56630/tracks) the movements of the Rivier symphony 3 are
*Allegretto quasi pastorella
*Vivo e leggiero
*Lento e nostalgico
*Allegro molto e fugato

Again, thanks for this additional info' on-

Jean Rivier(1896-1987):

Symphony No.3 for strings(1937)

Moscow Conservatory Chamber Orchestra/Mikhail Terian.

BBC Radio broadcast from 1974/1975


....which is now available for download in the appropriate section.

I've now listened to Koechlin's 2nd Symphony. What an amazing and powerful piece!Many thanks to Latvian for sharing it. Koechlin shurely was one of the best orchestrators ever, and a great contrapunctist, too. Why was this masterwork never recorded commercially? I can only shake my head about this.

Quote from: Rainolf on Tuesday 25 October 2011, 21:42
I've now listened to Koechlin's 2nd Symphony. What an amazing and powerful piece!Many thanks to Latvian for sharing it. Koechlin shurely was one of the best orchestrators ever, and a great contrapunctist, too. Why was this masterwork never recorded commercially? I can only shake my head about this.

My problem is t hat I can't see the connection between movements - and so the structure or integrity of the work as a whole. I would be happy to receive advice! :)

Given that the 2nd symphony (like most? of Koechlin's works entitled symphony except maybe for the Seven Stars Symphony- and I'm not sure about that one...) is mostly made out of arrangements of earlier-composed pieces, with I gather only the 5th and final movement being entirely newly composed, if you're looking for a cyclic recycling or metamorph. of motives between movements à la Beethoven, Liszt, Holmboe and others- I wouldn't. What you have, I think , is
*fugue (on a subject of Ernest le Grand)
*Scherzo (arranged, I think, from a suite for bassoon)
*suite of 5 or 6 (one is optional? I forget) chorales (from different works - which doesn't mean he can't arrange them into a coherent progression and whole! )
*fugue on a theme of his friend Catherine Urner
*finale .

The transition from the rather solemn fugue- which I thought felt a bit like- well, I would not have been surprised to learn that it was an actual Baroque fugue arranged in ways that hid its origins... :) - to the much more contemporary and capricious scherzo - .. erm. :)

The premiere did not occur for a decade and occurred through the arrangement, efforts and energy of Carlos Chavez, I think, who got Jose Pablo Moncayo to conduct it, if I understand what I know of the story... before that (and after) the work has been rejected for performance quite often...
I go in part here by what I can read (for free, being cheap...) of Orledge's account in his book on Koechlin (available in partial preview at Google books and very interesting- only viewable in the USA I think, or perhaps a few other places. And on the basis of what I read, very recommendable and very interesting...)

("Charles Koechlin (1867-1950): His Life and Works (Contemporary Music Studies) ", unfortunately not presently available at Amazon. Maybe there's a newer version. Searching for it I find related books whose titles intrigue including one about Catherine Urner (1891-1942) - apparently his favorite American pupil- and Koechlin- I am guessing by the way that Koechlin was working on the symphony when she died, and now I wonder how she died... war-related?... :( Hrm. No - this (http://socialarchive.iath.virginia.edu/xtf/view?docId=Urner+Catherine+Murphy+1891-1942-cr.xml) provides a little more detail though not much. According to the book- Google preview (http://books.google.com/books?id=sQYb6ai_mI8C&pg=PA178)- car accident. Arg.)

Thats interesting to read, that Koechlin's 2nd is a Pasticcio, Eric. When I first heard it, I had the impression of a planful designed piece. But it speaks for the composer, in my opinion, that he could make such an impression with four movements, that were firstly not composed to form a united symphony together.

The conception of the work however looks very clear und straightforward for me, even without thematic coherence, as if there was originaly a plan: slow fugue --> fast --> slow --> fast fugue. There is much contrast between the movements, but I would say, its this contrast, which binds them together: After the very large fugue at the beginning there's a good place for a completely different movement.

Quote from: Rainolf on Wednesday 26 October 2011, 16:49
Thats interesting to read, that Koechlin's 2nd is a Pasticcio, Eric. When I first heard it, I had the impression of a planful designed piece. ......

Well, I suppose that's testimony to how very different our tastes in music are and how differently we hear music - hurrah!  :) :)

What it boils down to, as I read these comments, is that there is no intended unity to the symphony and no thematic coherence (i.e. it's a collage of 5 separate compositions), and any sense of unity consists only in alternating fast/slow movements, and beginnning and ending with a fugue. Hmm, I struggle with this as a listener. :-\

Not having compared the movements in the symphony to the originals, I find it possible he may have made some adjustments - and chosen works that fit together in a sense that worked for him. (The idea, even if only approximately accurate, of his orchestrating a fugue on learning of the death of the composer of the theme of the fugue touches me, by the way...)
You have a point; objections that I almost have that tying together large-scale works using thematic transformation etc. is an artifact of Beethoven and later must be met by the objection that this is just not true- Mozart used such techniques for example (his father called it the thread, "il filo", I gather), as did his contemporaries, if not as often as with later generations.

Thanks, Amphissa, for the Gouvy Fourth.

Agreed. Hrm. According to Fétis, premiered 1856 at Gurzenich. Load.cd claims to have a reduction of the 2-piano reduction of op.25 for sale that for once isn't just something they stole from some other, free, site, near as I can tell, but without buying that or visiting a library that has the work (Munich, one in California, etc.), no idea right now what the movement headings are...

Reading that cpo is planning to release 1 and 2 but listening to 4, I wish they'd left the already-recorded 2 off to the last volume and went with 1 or 7 and 4- which is making a terrific impression (on me). Very strong material strongly, cleverly and originally (well, twistily) argued, my favorite kind of opening movement ;^)

Quote from: eschiss1 on Monday 10 October 2011, 15:37
Re Gédalge - the symphony no.3 (in F, not D minor) is at IMSLP, which should help with the movement titles problem. See http://imslp.org/wiki/Symphony_No.3_(G%C3%A9dalge,_Andr%C3%A9) (http://imslp.org/wiki/Symphony_No.3_(G%C3%A9dalge,_Andr%C3%A9)). Glad to have this and the concerto (also uploaded at IMSLP) to hear! (Though your movement titles for the concerto are quite different from "ours" (those at IMSLP) - which are
Moderato maestoso
Andante
Allegro poco a poco accelerando. )

Hi Eric, I think you IMSLP folk are right - the movement titles didn't sound 'right' for Gedalge, who invariably applies Italian descriptions in his orchestral work. I got them from a library catalogue, but they may be a mix-up with some other French concerto (although I wouldn't know whose).

Quote from: eschiss1 on Sunday 16 October 2011, 14:06
Boëllmann symphony:
(I) don't know - (II) Intermède variée - (III) Recitative (Andante) - (IV) Presto

Will try to find out (I). Premiered Feb.24 1895 Paris, Lamoureux concerts; English premiere December 1 1897 Queen's Hall Orchestra London conducted by Lamoureux (and from a report on the English premiere the above information is taken- Musical Times, January 1 1898, p26.) Have wanted to see the score or hear the symphony or both for awhile now, thank you.

Hi Eric, Mark,
The first movement of the Boëllman is simply Allegro, according to Swedish Radio, who are doubtlessly right. However, they give the final movement as 'Récitation et finale', which to me also sounds more right than 'Presto'.

Thanks, Ilja.

Silvestri's performance of Koechlin 2 was according to CADENSA the first British performance and was broadcast November 27 1967.
I found my unidentified performance of the same work (either or both of which may lack the 4th movement fugue which, according to Orledge, is often omitted in performance- that might be why there only seem to be 4 movements...) and have uploaded it; if despite the lack of identification it passes muster (I will try to find some id-- does anyone anywhere know the timings of the movements of the few other performances it's had? Shot-in-the-dark question I know. Silvestri takes 5 minutes or so more time over the opening fugue than does the mystery conductor on the tape/now CD that I have (cuts?) - so there's something other than statistical error for identification purposes -there-!... )

Loucheur- will look for more details- Salabert-Durand-Eschig website does give orchestration and dates (of composition, which differ - 1932, 1944, 1975 - the date of publication of symphony 2 was 1958 so I'm guessing these are the dates of composition, not of publication, leaving aside the revision date of symphony 1 :) ) Thanks! (Other works listed there seem interesting- trumpet concerto and concertino, and as with Cools, another work called Hop-Frog...)

 Latvian, Thanks to upload Loucheur symphonies. Especially, I like second symphony.  These are very rare recordings!

QuoteLoucheur-... (Other works listed there seem interesting- trumpet concerto and concertino, and as with Cools, another work called Hop-Frog...)

Other works of Loucheur's are indeed excellent. I'll upload more as time permits.

You're welcome, A.S. -- I know you were looking for these.

I have uploaded an old LP version of Maurice Emannuel's Symphony No.2 "Bretonne"(1933).

Thanks!!
General point -
have seen "ORTF ( ) orchestra" before but isn't the "O" orchestra (as in, French Radio-Television Orchestra - ORTF)? I may be mistaken and probably am...

Quote from: eschiss1 on Wednesday 30 November 2011, 04:49
Thanks!!
General point -
have seen "ORTF ( ) orchestra" before but isn't the "O" orchestra (as in, French Radio-Television Orchestra - ORTF)? I may be mistaken and probably am...

Orchestre de la Radio et Television Français.

I have uploaded the two Dutilleux symphonies in radio broadcasts conducted by French conductors-Georges Tzipine and Jean Fournet respectively.

Quote from: JimL on Wednesday 30 November 2011, 06:27

Quote from: eschiss1 on Wednesday 30 November 2011, 04:49
Thanks!!
General point -
have seen "ORTF ( ) orchestra" before but isn't the "O" orchestra (as in, French Radio-Television Orchestra - ORTF)? I may be mistaken and probably am...

Orchestre de la Radio et Television Français.

Sorry Jim, 'ORTF' stands for Office de Radiodiffusion Télévision Française, so ORTF Orchestra is quite correct.

ah! I stand corrected (sittingly and fittingly - as it was my objection - mild :) - to begin with.) Thank you!

  Thanks for Symphonies by Migot, Shamokin88.
  Very interesting works!

Thanks once again to shamokin....this time for the two Jolivet downloads.

The addition of the Jolivet Symphony No.2 certainly fills a gap in my list ;D ;D

Re the French/Swedish Marteau's quartet no.3 in C, op.17 (1916, published by Steingraber in 1921)- thanks! The movements are
I. Comodo (quarter=104)
II. Hymne an den Schmerz (Molto adagio, quarter=58 - Poco più andante - Tempo I. Preceded in the score by the poem Hymne à la douleur by Lamartine.)
III. Scherzo (Allegro, quarter=138 - Trio).
IV. Adagio (quarter=63) - Allegro (Mysterioso. minim=80).

Been having a good look at at least the opening pages of the score and am really looking forward to hearing this. So thanks yes :)

RE. Le Flem's Symphonies 2 & 3.
Thanks for both. However, both files are marked as Symphony No. 3. Are both files similar?

Quote from: gpdlt2010 on Sunday 11 December 2011, 11:04
RE. Le Flem's Symphonies 2 & 3.
Thanks for both. However, both files are marked as Symphony No. 3. Are both files similar?

I have downloaded both: the first file, though labeled Symphony No. 3, is different from the second. Therefore I suppose that the first file links to Symphony No 2 and the second to No 3. I am sure Edward will help us to clear this soon! :D

Most online sources give 1957 as date of composition for No. 2.

You are correct about the Le Flem symphonies. Fortunately, MediaFire shows in small print the time at which a download began - or finished? - and knowing that I did 2 before 3, I have gone back and changed the title.

Very many thanks for the two Le Flem symphonies, shamokin :) :)

Any interest in Boellmann's Symphonic Variations for Cello and Orchestra?

Thanks, shamokin!
That does it!

QuoteAny interest in Boellmann's Symphonic Variations for Cello and Orchestra?

Oh, well played that man! I would jolly well say so. Thanks!

Quote from: Mark Thomas on Monday 12 December 2011, 07:52

QuoteAny interest in Boellmann's Symphonic Variations for Cello and Orchestra?

Oh, well played that man! I would jolly well say so. Thanks!

;D

Aaaahhh.....I find that my performance of the Boellmann is the one by Paul Tortelier which is included in a huge boxed cd set issued by EMI of Tortelier recordings.

So....by the rules of this site.............

Very sorry, chaps :(

Hoist by my own petard, by the look of it!

That Dukas overture is great -- I'm baffled as to why it seems to only have one commercial recording.

  shamokin88, Many many thanks for upload Migot's Symphonie  "Hagoromo".
  Maybe , subtitle of this work "Hagoromo" mean "Kimono" . (The traditional garment worn in Japan)
  Anyway, very interesting work.  Thanks again :)

Hardly an unsung composer, but I have a recording from Dutch Radio of Debussy's Nocturne for Violin and Orchestra which received its premiere last November in Amsterdam. It has been reconstructed by Robert Orledge and is performed by Isabelle Faust and the Dutch Radio Kamer Filharmonie conducted by Heinz Holliger. Anyone interested?

I certainly am.

Will try and upload the Debussy tomorrow.

Quote from: mikben on Saturday 07 January 2012, 16:06
Hardly an unsung composer, but I have a recording from Dutch Radio of Debussy's Nocturne for Violin and Orchestra which received its premiere last November in Amsterdam. It has been reconstructed by Robert Orledge and is performed by Isabelle Faust and the Dutch Radio Kamer Filharmonie conducted by Heinz Holliger. Anyone interested?

Thanks for the upload of this delicious piece!  Are there any Debussy scholars among us who can throw some light on it?  So far as I can ascertain, Debussy intended to write three 'Nocturnes' for violin and orchestra for Eugène Ysaÿe -- he worked on them in the summer of 1894 but the project stalled when the two men fell out for some reason.  What was the extent of the of Orledge's reconstruction, I wonder.

With the help of google translate I can make a rough translation of the programme notes which are in Dutch. They are quite long so would like to check that it's ok to post them here. If not, I can upload them as a word document an anyone interested can download them. It will take me a little bit of time to do the translation and correct google's english!

If you send me the programme notes by email, I will be happy to translate them.

Hope this isn't too long to post here.
Sincere thanks to Peter1953 for translating this from the Dutch programme notes!!

Nocturne – A World Première

The Belgian violinist Eugène Ysaÿe (1858-1931), who became famous because of his impressive mixture of virtuosity and poetry in his performances, was a great admirer of the music by the young Debussy. That is why he arranged in December 1893 the Parisian première of his only String Quartet and also had the intention to give the first concert performance of Pelléas et Mélisande in Brussels in 1896.
In September 1892 Debussy planned a tour through America, with financial support of Prince André Poniatowski, and he had the idea to play the "almost finalized three Scènes au crépuscule", three "scenes at twilight", inspired by poems from a friend, the symbolist poet Henri de Régnier. In his own words, in 1893 these pieces underwent "a major revision", however, only a few sketches for violin and orchestra are preserved, most of them in E major or B major.
Thanks to Ernest Chausson we know that Debussy composed a piece for Ysaÿe in April of that year, which was at a certain moment called a "concerto", and which piece was probably also meant for his first tour through America in 1894-1895.
A few weeks before his departure in November, just before adding the finishing touches to L'Après-midi d'un faune, Debussy told Ysaÿe that he was working on "three Nocturnes for violin solo and orchestra, which are tailor-made for you". These Nocturnes are most likely derived from the earlier Scènes au crépuscule. The first scène was meant "only for strings, the second for three flutes, four horns, three trumpets and two harps; in the third all instruments are combined".
The plan seems to be a fore-runner of the six Chamber Sonatas from the years 1915-1917. Perhaps Debussy had the Nocturnes by Whistler in mind, when he told Ysaÿe that his scènes "will be like paintings, a study in grey". In November 1896 he dropped his plans, after Ysaÿe told him that "because of financial reasons" he did not see any opportunity to première these pieces in Brussels.
However, at an auction in Paris in 2006 a score of an opening for violin and orchestra in E major turned up. Since this material did not show up in the orchestral Nocturnes of 1897-1899, I (Robert Orledge) put four harmonized themes (in length ranging from three to thirteen measures) next to each other in one single, representative Nocturne and kept this as much as possible close to the ensemble of Debussy's third Nocturne. At least then these themes would not remain in libraries or a private collection gathering dust.
The result is a piece of eight minutes, with a poetical introduction referring to the main movement to which it is linked. The dynamic opening found in 2006 with which the real Nocturne opens is the starting point of several subsequent episodes. Besides, it is a natural introduction to the "shadow theme" in B major, which starts with a single cello and double bass. Above hovers in the solo violin the thrilling motive of the three tunes from the beginning, exactly as Debussy meant. The themes are not developed further, instead they are presented in varying harmonic contexts, just like Debussy's L'Après-midi d'un faune from the same period.
The Nocturne looks much like a rondo with several episodes, built around an extensive musical scale theme, where different aspects of Debussy's "shadow themes" are placed in a new perspective. As during the course of the piece there is extensive reference  to the extrovert fireworks of the 2006 theme, it is sparingly dealt with later on, though it is used for the basis of a brief, I hope exciting coda.
I am very grateful to the violinist Otfrid Nies for his advice regarding the practical aspects of the challenging solo part.

Many thanks to Peter and mikben for troubling to provide that information.  I am no expert on Debussy but the end result of this exercise in reconstructive surgery sounds pretty convincing to me!  I'd be keen to know what other members think.

So having listened to that Debussy piece, I'm intrigued. It seems to be unrelated to "Nocturne et Scherzo", which is what I figured this was. Where does the musical material come from?

Thanks, Amphissa, for putting up the Guilmant first organ symphony.  It has been my favorite work for organ and orchestra for just about forever and i am glad to hear yet another performance of it. 

It seems to me this is a piece that is difficult to record (and perhaps to pull off, even - can't really say much about that as I've never heard a live performance).  Unfortunately,  most "suitable" venues are large cathedrals or concert halls with a very "live" ambience where the organ sounds rattle around the chamber for a second or more.  Add that to fast tempos as in the Finale and you wind up losing most of the stunning accompaniment that the orchestra provides.  And then it begins to just sound like the original organ sonata that Guilmant rescored to create the symphony.  And while the sonata is a nice organ piece in it's own right, I rather prefer the blast of the full orchestra......

Ah well (sigh.....)

Jerry

  I just uploaded Symphonies by Bondeville and Bozza now.

  I got this rare recordings from my good friend Miklos. He is also member of this forum.
  He was willing to agree to upload these wonderful recordings.   I sincerely appreciate his kindness!


  About music, Bozza's symphony is very interesting work.  The opening of this symphony is parody of very famous symphonic poem by Richard Strauss.   Bondeville's work is also fine French symphony, in my opinion.

I have uploaded Sept Mouvements Incantatoires by Ginette Keller


She is in the 1953 photo below, standing next to conductor Tony Aubin, who is at the piano.
(http://www.musimem.com/images/CNSMP_composition_Aubin_1953.jpg)



Wikipedia Entry:
Ginette Keller (* 1925 in Asnières-sur-Seine) is a French composer.

Biography
Keller studied at the Conservatoire de Paris with Nadia Boulanger, Tony Aubin and Olivier Messiaen. In 1951 she won the Second Prix de Rome with her cantata Et l'Homme vit se rouvrir les portes. She taught aural training at the Conservatoire and analysis and counterpoint at the École Normale de Musique in Paris.

She has composed for solo instruments, chamber and orchestral music. She has also written two operas with librettos by Alain Germain.

I've posted a link to Piano Concerto 1 by Marcel Landowski in the Downloads folder.
The Piano Concerto No.1 is entitled "Poeme" and dates from 1949-50.


Wikipedia Entry:

Marcel François Paul Landowski (18 February 1915 – 23 December 1999) was a French composer, biographer and arts administrator.

Born at Pont-l'Abbé, Finistère, Brittany, he was the son of French sculptor Paul Landowski and great-grandson of the composer Henri Vieuxtemps.

As an infant he showed early musical promise, and studied piano under Marguerite Long. He entered the Paris Conservatoire in 1935 where one of his teachers was Pierre Monteux.

Landowski's greatest musical influence was Arthur Honegger. His entire output (including four symphonies, several concertos, operas and a Mass) bears testimony to Honegger's impact. Landowski went on to write a biography of his mentor.

Between the 1940s and the 1960s, Landowski composed the scores for several dozen films, most notably Gigi (1949).

Landowski eschewed the avant-garde approaches to music of his contemporaries, preferring a more conservative style. In 1966, France's Cultural Affairs minister André Malraux appointed Landowski as the ministry's director of music, a controversial appointment made in the teeth of opposition from the then ascendant modernists, led by Pierre Boulez.[1] One of his first acts was the establishment, in 1967, of the Orchestre de Paris. He also championed France's regional orchestras at a time when interest in them appeared to be waning.[2]

He died in hospital in Paris in 1999, aged 84.

(http://www.marcel-landowski.com/images/lando03.jpg)

jowcol, while your Landowski upload hasn't appeared yet, I can see a Harmonica Concerto by some "Pierre Lancen". I couldn't find out anything about this composer, but I think I have now solved the mystery. Actually, there is a Serge Lancen, born in 1922, died in 2005, who composed a Harmonic Concerto in 1954.

It only seems reasonable that the composer's surname was changed by error and that the Concerto by Serge Lancen is the one we really have.

Quote from: Holger on Monday 13 February 2012, 20:17
jowcol, while your Landowski upload hasn't appeared yet, I can see a Harmonica Concerto by some "Pierre Lancen". I couldn't find out anything about this composer, but I think I have now solved the mystery. Actually, there is a Serge Lancen, born in 1922, died in 2005, who composed a Harmonic Concerto in 1954.

It only seems reasonable that the composer's surname was changed by error and that the Concerto by Serge Lancen is the one we really have.

Yes, indeed. You just beat me to it, Holger!  :)

According to the detailed biography of Serge Lancen at
http://www.molenaar.com/web/Details.aspx?isartist=1&id=3680

"...the Oboe Concerto (1991) was in fact a new version of the Concerto for Harmonica and Symphony Orchestra (1954) commissioned and also premiered by Larry Adler at the Birmingham Town Hall, Rudolf Schwarz conducting."

Instrumentation and score at: http://www.molenaar.com/web/details.aspx?isartist=0&id=7444

Quote from: semloh on Monday 13 February 2012, 20:23

Quote from: Holger on Monday 13 February 2012, 20:17
jowcol, while your Landowski upload hasn't appeared yet, I can see a Harmonica Concerto by some "Pierre Lancen". I couldn't find out anything about this composer, but I think I have now solved the mystery. Actually, there is a Serge Lancen, born in 1922, died in 2005, who composed a Harmonic Concerto in 1954.

It only seems reasonable that the composer's surname was changed by error and that the Concerto by Serge Lancen is the one we really have.

Yes, indeed. You just beat me to it, Holger!  :)

According to the detailed biography of Serge Lancen at
http://www.molenaar.com/web/Details.aspx?isartist=1&id=3680

"...the Oboe Concerto (1991) was in fact a new version of the Concerto for Harmonica and Symphony Orchestra (1954) commissioned and also premiered by Larry Adler at the Birmingham Town Hall, Rudolf Schwarz conducting."

Instrumentation and score at: http://www.molenaar.com/web/details.aspx?isartist=0&id=7444

Actually, there isn't much more for me to say after the sleuthing of Holger and Semloh (which, is Holmes backwards.  A coincidence?  I think not), other than to indulge my obsession with finding photos for each of the artists I post.  Thanks!

(http://www.molenaar.com/images/art_03680_Lancen_WEB.jpg)

What happened to the Landowski ???

Quote from: Dundonnell on Tuesday 14 February 2012, 00:51
What happened to the Landowski ???

UNSUNG FRENCH COMPOSER DISAPPEARS IN FLIGHT
Bermuda:  Air traffic controllers report that the aircraft carrying both Marcel Landowski and his Piano Concerto vanished from radar screens without explanation.  A Rescue team lead by Pierre Boulez returned shortly after setting out, claiming: "We are not willing to risk the revolution for a man who won't write in Dodecaphonic.  He is useless.  "    Internet forum members are still searching for the missing composer and his concerto.  The last witness to see him alive, who goes by the engimatic nickname of jowcol,  seemed unable to give a coherent account. 

Actually, no, he didn't disappear in the Bermuda triangle.  I think I happened to it.  I typed in the post,  saw the preview, saved a copy in my records, and closed the page without hitting  the post button.   I just posted it properly, (I hope) and it should be available as soon as it is approved.

I am sure that we are looking forward to the safe landing of Monsieur Landowski and his First Piano Concerto ;D

Sure hope the mother ship doesn't disgorge them in the middle of the Gobi Desert! ;D

Happy to see that Landowski touched down safely at last ;D

The Piano Concerto No.1 is entitled "Poeme" and dates from 1949-50.

Quote from: Dundonnell on Tuesday 14 February 2012, 14:14
Happy to see that Landowski touched down safely at last ;D

The Piano Concerto No.1 is entitled "Poeme" and dates from 1949-50.

Thanks!  I'll update the posts.   If I don't chance upon the Bermuda Triangle, Bigfoot, or the living Elvis on my way.

I've posted the Violin Concerto by Yvon Bourrel in the downloads section.  I've not been able to find out much about Bourrel, and welcome any input the rest of you may have.

What I can provide is a machine translation from a French Wiki page, which, at times, is tres surréaliste.


Born in 1932, nothing predisposed particularly Yvon Bourrel, this son of a teacher and a housewife (former teacher), to become a composer. And yet, his fate will change after hearing Beethoven's Pastoral Symphony on the radio during the war. It's a huge upheaval which will arouse in him a craving for music. Some ten years later, he studied composition with Darius Milhaud , who encouraged him strongly, and more briefly with Jean Rivier . However, in 1954, he became a music teacher in the National Education because it is inherently difficult to live in the composition, it also creates pieces that are not in the spirit of contemporary music then vogue from the mid fifties.

Indeed, his music, Y. Bourrel situates itself in the continuation of Emmanuel Chabrier , Gabriel Faure and Jean Francaix but is closer in taste Martinu , Shostakovich and Benjamin Britten , never giving the tone or modality. It has a very sober, served by a love for work well done.



Its origins and southern northerner partly explain the originality of its kind, combining a passionate sensibility, brought to dream and a spirit of contemplation and highly organized, easily dominating the major forms of musical language. He studied with Henri Challan (harmony), Simone Ple-Caussade (counterpoint and fugue), Darius Milhaud and Jean Rivier (composition).

His rich oeuvre (126 opus numbers) covers all genres of vocal and instrumental music, except opera. It is very varied and was inspired by the popular philosopher and musicologist Vladimir Jankelevitch , great defender of French music of the nineteenth and twentieth centuries.

Well I can't add any more information about the composer, apart from the fact that the violin concerto was written in 1986, but I can say that it is a delightful piece which I am very grateful to be able to hear :)

Thank you (both) for providing this cultured, civilised and impressive music (from which Mr. Gerard Brophy might take a lesson or two ;D. In the spirit of charity I shall say no more about his concerto ;D)

No...actually...I shall go further :) The Bourrel is more than just impressive it is an absolutely beautiful and moving work :) Why on earth have we not heard more of this composer :o

I must admit that, having read that he was a pupil of Milhaud, I was expecting something lightish, airy, jolly, sultry but instead we get an outpouring of Samuel Barber-like romantic gorgeous melody. WOW :) :)

Funny, but I was trading emails with Brophy, and he told me that he was visiting the UK, along with the Australian Olympic  Boxing team.   I made sure to give him your address. He said that he and his mates would pay you a visit.   :P

Seriously- the Bourrel is a lovely work, and I'd love to hear some other orchestral works by him.

Oh- if you liked the Bourrel, you may also like the Horace Perkins VC I just uploaded to the Australian composers.  Quite tonal-  more swagger than the Bourrel, for good and for bad.

Loved that Bourrel!  Will check on that Perkins later.

The Bourrel is the most impressive and really magnificent violin concerto I have heard for a very long time :)

I have totally fallen in love with the piece and cannot stop playing it.....which, I assure you, says an awful lot for it ;D

(It is light years removed from the Brophy ;D Still....different folks, different strokes, I suppose ;D)

I am currently uploading Marcel Dupré's De Profundis op. 17, a live recording taken from Bavarian Radio. I am aware of two commercial recordings with organ-only accompaniment, this however is the orchestral version. A beautiful piece, more in the vein of Duruflé than Dupré, I think.

Edit: Sorry, there IS indeed at least one recent recording of the orchestral version, released in 2010 by the small label Querstand:
http://www.jpc.de/jpcng/classic/detail/-/art/De-Profundis-Geistliche-Chorwerke/hnum/6337124 (http://www.jpc.de/jpcng/classic/detail/-/art/De-Profundis-Geistliche-Chorwerke/hnum/6337124)

Quote from: A.S on Monday 06 February 2012, 11:06

  I just uploaded Symphonies by Bondeville and Bozza now.

  I got this rare recordings from my good friend Miklos. He is also member of this forum.
  He was willing to agree to upload these wonderful recordings.   I sincerely appreciate his kindness!


  About music, Bozza's symphony is very interesting work.  The opening of this symphony is parody of very famous symphonic poem by Richard Strauss.   Bondeville's work is also fine French symphony, in my opinion.

The Bozza Symphony is a highly interesting work. Does anyone know the purpose or meaning of the parodistic opening?

I have a recording of  Jolivet's 1st, coupled with Nikiprowetzky's Hommage a Gaudi.
It's a record of the label Inedits ORTF (Nr 995 008).
The Jolivet is recorded especially for a radio prgogramme 19-2-1970 of the ORTF (France).
In 1972 this lp was awarded the 'Grand Prix National du Disques Français'.

I think it never was re-issued on cd, but I have to look into it.
If allowed I'll post it somewhere next week.

Elroel

More info about the Fantastic Hunt by Guiraud :

(http://www.mediafire.com/convkey/2251/ericyt5jkve5zft5g.jpg)

Thanks, Sicmu, haven't seen that LP insert in years. I made the LP to digital transfer and then dumped the LP.

Elroel...

you didn't supply a link to the Nikiprowetzky file in your post in the Downloads section  :(

You can download Hommage à Antonio Gaudi of Tolia Nikiprowetzky (not available in CD) from these files:

I, II and III: http://www.videoscop.com/watch/?v=JFyhbOct7Mw&feature=relmfu
IV: http://www.videoscop.com/watch/?v=SOvQrI0T934&feature=relmfu
V: http://www.videoscop.com/watch/?v=PeovvvQoK20&feature=relmfu
Enjoy it!

I am afraid that these links took me to some band playing South American popular dance music ::) :(

My apologies, Colin, about Tolia Nikiprowetzky LP.
In my country (I don´t know why not in yours) they are the download files of the following ones:

I, II, III: http://www.youtube.com/watch?v=JFyhbOct7Mw&feature=relmfu
IV: http://www.youtube.com/watch?v=SOvQrI0T934
V: http://www.youtube.com/watch?v=PeovvvQoK20&feature=relmfu

My best wishes.

QuoteUnfortunately the link for the Roland-Manuel Piano Concertino must have been already "invalid" by the time I came to attempt to download

I will reupload with a new link, once I find my original!

Thank you for the "deluge" of French Music lately.Despite the crashing shadow of Boulez and Messiaen, a lot of interesting composers wrote a nice amount of good music.
Is there a recording of Milhaud's quintets 3 and 4?

Merci
J

Don't know. Remember, one can enjoy what one likes without having to drag in who one doesn't (or who one imagines is objectively simply bad). (I don't go bringing in Offenbach all the time every time I talk about how much I enjoy a piece!)

Hrm. The 4th quintet, dedicated I see to Oscar-Arthur Honegger's memory, intrigues especially, but... yes. Would like to know...

Heartfelt thanks to A.S for uploading Harsányi's symphony! I made a tape recording of it from French radio some twenty years ago, with the first few minutes missing, and have always thought that it is one of France's (and Hungary's) most brilliant, felicitous and colorful symphonies. Yet another major gap in the discography.

Just for the record...
Serge Nigg's Violin Concerto recorded by Christian Ferras was his first. A second violin concerto was composed in 2000.
Henry Barraud passed away in 1997.

Is anyone else having trouble opening the Charpentier file? I can downlod them but an error message appears half way through opening them.

Quote from: fr8nks on Thursday 17 May 2012, 13:03
Is anyone else having trouble opening the Charpentier file? I can downlod them but an error message appears half way through opening them.

I had the same problem but could solve it: rename the second file according to the right spelling (as far as I remember there is a "t" missing in Charpentier or so), then try it again and everything will work fine.

Quote from: Holger on Thursday 17 May 2012, 13:06

Quote from: fr8nks on Thursday 17 May 2012, 13:03
Is anyone else having trouble opening the Charpentier file? I can downlod them but an error message appears half way through opening them.

I had the same problem but could solve it: rename the second file according to the right spelling (as far as I remember there is a "t" missing in Charpentier or so), then try it again and everything will work fine.

Thanks Holger. That worked perfectly!

Quote from: ttle on Thursday 17 May 2012, 09:20
Heartfelt thanks to A.S for uploading Harsányi's symphony! I made a tape recording of it from French radio some twenty years ago, with the first few minutes missing, and have always thought that it is one of France's (and Hungary's) most brilliant, felicitous and colorful symphonies. Yet another major gap in the discography.

  You are welcome ;)  Especially, I like brilliant final movement of this symphony. I want to say many thanks for Miklos, provided us this nice work.

Hi all,

Fr8anks detected a fault in the Charpentier Symph 3 download file
I corrected it, by using the tip he got from Holger.

Shouldn't we call Holger the wizard in the future? I would never found out that this so easy to fix

Thanks,

Elroel

Quote from: Elroel on Thursday 17 May 2012, 15:56
Hi all,

Fr8anks detected a fault in the Charpentier Symph 3 download file
I corrected it, by using the tip he got from Holger.

Shouldn't we call Holger the wizard in the future? I would never found out that this so easy to fix

Thanks,

Elroel

;D
However, there is no magic behind, I just think about what I see and try to combine things. In this case, I was pretty sure something must be wrong with the file name because I downloaded both files and nevertheless, the extraction program told me to provide it with the second one as if it wasn't there.

Quote from: A.S on Thursday 17 May 2012, 14:52

Quote from: ttle on Thursday 17 May 2012, 09:20
Heartfelt thanks to A.S for uploading Harsányi's symphony! I made a tape recording of it from French radio some twenty years ago, with the first few minutes missing, and have always thought that it is one of France's (and Hungary's) most brilliant, felicitous and colorful symphonies. Yet another major gap in the discography.

  You are welcome ;)  Especially, I like brilliant final movement of this symphony. I want to say many thanks for Miklos, provided us this nice work.

Can I get the movements, please?

I agree with JimL- if available, would be interested.
Interested to see that the Boston Symphony under Ansermet gave its American premiere in 1953 :) (not its premiere- the Vienna Symphony under Bour headed a concert (http://www.wienersymphoniker.at/concert/pid/000000e9h58500010ea4) with it in Salzburg 26 June 1952, they keep good archives, not positive that was the premiere either but an interesting programme - hrm. Who's Mario Peragallo...)
I wonder if the work was published, too, and if not or if so, where the manuscript is... :) (but then I now often come to wonder such things.)

  I can't write about movement information, sorry.
  But thank you very much good information, Eric. I didn't know about US premier and Vienna performance :)

Music of Manuel Rosenthal
Better known as a conductor, but unlike Igor Markevitch, he kept composing.  He was best know for his light compositions, but wrote serious work as well.

(http://userserve-ak.last.fm/serve/252/503260.jpg)

(Any French speakers—if you can provide more details from the intro, I'll update this posting.)
1. Aesopi Convivium – (Orchestral Version)
C. Glenn(violin), E List (piano)
Philharmonic Orchestra of Paris, Conducted by Composer
December 1970 (Radio broadcast)

2-4:  Symphony # 1
Radio Strasbourg Symphony Orchestra
G. Tzipine, Conductor
September 16, 1969 (Radio broadcast)
I .  Allegretto Pastorale.
II.  Theme and Variations.
III. Rondo.

5. Pieta d'Avignon
Orchestre national de l'Office de Radiodiffusion Télévision Française (ORTF)
Conductor D. Chambrin
1973


From the collection of Karl Miller

Martin Anderson wrote a very good overview of his life which I am reproducing below:

Manuel Rosenthal, conductor and composer; born Paris 18 June 1904; twice married (two sons); died Paris 5 June 2003.

Manuel Rosenthal was one of the last living links with the musical Paris of the 1920s and 1930s, the Paris that was the home of Igor Stravinsky, that boasted Maurice Ravel - Rosenthal's teacher and friend - and hosted Sergei Diaghilev. For almost 70 years Rosenthal was France's most important conductor, fearlessly introducing modern music to reluctant audiences. And, although his name reached a wider public largely through the Offenbach orchestrations that formed his 1938 ballet Gaîté Parisienne, he was the composer of a substantial and distinguished body of music.

Rosenthal's beginnings were hardly auspicious. Born in 1904, the illegitimate son of a Russian woman and a propertied society figure, Manuel never knew his real father (though, aged 10, he once went to see where he lived, on a large estate at Saint-Cloud, west of Paris); his surname came from his stepfather. But his mother, Anna Devorsosky, was no ordinary woman: beginning in 1885, she had walked from Moscow to Vienna to escape the anti-Semitic pogroms, travelled to Palestine, where she married a pharmacist, walked back to Italy, and caught a train to Paris - she was a tough lady, and Manuel inherited something of that toughness.

His career took a number of unpredictable turns. His principal childhood interest was literature, and it was thought he might become a writer. But, like many young Jewish children, he was also taught the violin, beginning when he was six. So, when his stepfather died in 1918, on the day of the Armistice itself, and he found himself, at 14, head of the household, it was to the violin that he looked to feed his mother, sister and himself, and he earned a living playing in the theatre orchestras, café ensembles and other such groups, then commonplace all over Paris.

The violin seem to offer Rosenthal a career and so, at 16, he entered the Conservatoire as a violinist, though more out of a sense of obligation - at home he was discovering the pleasure of composing. When at the end of his first term a piece was required for a sight-reading exam, Rosenthal wrote a Sonatine for two violins and piano, and thought no more about it. Jules Boucherit, his violin teacher, was impressed and sent the score off to the Société Musicale Independante - one of the two main chamber-music societies, with a committee composed of such luminaries as Stravinsky, Ravel, Béla Bartók and Sergei Prokofiev.

A few weeks later Rosenthal received a letter telling him that his Sonatine would be performed at the SMI's 100th concert and at first assumed that someone was playing a practical joke on him. The reaction to the performance of his sonatina changed his life:

Quote
Everyone whistled and shouted; it was a terrible noise. So you can imagine that I was as pleased as Punch! When you're 17 and you do something you don't think much of (it wasn't anything serious for me) and they play it in public - and the hall was stuffed full because it was the 100th concert . . . People were shouting, "He's mad!" Well, that was really amusing! I thought: it's great fun, music!

A publisher took a shine to the Sonatine, and Rosenthal sent copies of that and other pieces to anyone he thought might be interested, or useful, including Ravel - who reacted with silence. At that point he was called up for national service and spent the next two years in uniform. On leave in Paris, he was invited to dinner by the pianist Madeleine d'Aleman, who arrived an hour later, explaining that she had been out at Montfort-l'Amaury, Ravel's home, accompanying Ravel songs to their composer. When she turned down an invitation to stay for dinner, Ravel asked why and, hearing Rosenthal's name, asked d'Aleman to apologise for his lack of response and to tell Rosenthal he was going to study with him. Since Ravel had had only two students before, Maurice Delage and Jean Huré (later Rosenthal's teacher of fugue and counterpoint), Rosenthal could hardly believe his luck.

He duly became the third and last of Ravel's students and, over the remaining 11 years of Ravel's life, a close friend. Ravel's teaching methods could be severe. Rosenthal once proudly turned up with a fugue in which, he thought, he had finally found his voice. Ravel read it through silently, picked it up, ripped it into pieces and threw the fragments into the fireplace. Rosenthal watched, horrified, then grabbed his coat and stormed out into the pouring rain.

He was sitting in the train, waiting for it to return to Paris, when there came a tap on the window. Ravel, standing the downpour, asked, "So you don't say goodbye to your teacher?" - and Rosenthal understood that he had his best interests at heart.

It was Ravel who was responsible, in 1928, for Rosenthal's conducting début, arranging for the Concerts Pasdeloup to put on an evening of Rosenthal's own music and insisting that the composer conduct. Rosenthal, who had never mounted the podium before, was beside himself with fear, but the results impressed Désiré-Emile Inghelbrecht and Rhené-Baton, the two most prominent French conductors of the day, who came backstage at the interval. "How long have you been conducting?" Inghelbrecht asked. "About an hour," Rosenthal answered.

Inghelbrecht thought enough of Rosenthal to appoint him his assistant when the Orchestre National de France was founded in 1934, although the relationship was fraught with tension: Rosenthal felt that he was being used as a dogsbody. But there were advantages, as when he assisted Arturo Toscanini in two concerts in 1934.

He continued to compose, largely chansons for various shows - and, to his later regret, marrying a chorus girl (a Mlle Troussier, in 1927) from one of them. Two operettas, Les Bootleggers (1932) and La Poule noire (1934-37), failed to generate much enthusiasm; a symphonic suite inspired by Joseph Delteil's Jeanne d'Arc (1934-36) showed a tougher creative character, and was followed by the oratorio St François d'Assise in 1937.

Rosenthal's breakthrough as a conductor came in 1936, when the Radio PTT - the forerunner of Radio France - set up its own orchestra and appointed him to its head. He now began a tireless crusade on behalf of contemporary music, conducting Ravel of course (though he had only a year to live) as well as Stravinsky, Bartók and other "difficult" composers - and Rosenthal's sharp tongue meant that he, too, could sometimes be difficult.

His championship of Stravinsky was soon to stand him in good stead. Roger Désormière, lacking time to undertake a commission, asked Rosenthal to take it on - the orchestration of a series of Offenbach numbers to form a ballet. Rosenthal reluctantly complied, only to find his score turned down by Leonid Miasine - Massine, the choreographer. He then suggested bringing in an arbitrator and proposed Stravinsky:

QuoteI asked him and he was good enough to say: "Since it is you who ask me, I'm happy to do it." So we go to his place with Miasine; the score is played to him - and Stravinsky takes Miasine by the collar, takes him toward the door of his flat and says: "But listen, that's marvellous - Leonid, if you turn this score down, you will probably turn down the biggest success of your career."

The subsequent worldwide success of Gaîté Parisienne was to assure Rosenthal a decent income for the rest of his career - though some hard years were yet to come.

Turning down an invitation from Serge Koussevitzky to join him at the Boston Symphony Orchestra, at the outbreak of the Second World War Rosenthal signed up, becoming a medical corporal, and was captured, spending nine months, in 1940-41, in captivity. On repatriation, as a Jew and now a member of the Resistance, he spent his time on the run from the police. He was composing all the while, using music to buoy up his spirits, as in the orchestral showpiece Musique de table:

Quote"My wife was ill in hospital, I had nothing to eat, I was all on my own, sad. And then all of a sudden the musician's imagination begins to work. I said to myself, this is the moment to act as if there were a huge meal. It was a tradition of Louis XIV, the musique pour les soupers du Roi of Delalande. So I imagined an enormous supper in the form of a concerto for orchestra. It's the most savant of my works!"

With the Liberation, Rosenthal took over the conductorship of the Orchestre National, continuing his missionary work on behalf of new music. In 1947 an invitation from Jack Hilton brought him and his orchestra to join Sir Thomas Beecham and his, the Royal Philharmonic, in a concert that filled the Harringay Arena with 13,500 listeners.

In 1948 he was appointed chief conductor of the Seattle Symphony Orchestra, multiplying the number of subscribers tenfold in his first season. But his tenure lasted only until 1951, when the prudish orchestral authorities discovered that the second "Mme Rosenthal", the soprano Claudine Verneuil, was not legally his wife and terminated his contract. Not until the following year did he divorce his first wife, leaving him and Claudine free to marry at last.
He spent much of the next few years working as a guest conductor, in North and South America, mainland Europe and the Nordic countries, the Middle East. In 1962 he became professor of conducting at the Paris Conservatoire, retaining the post until 1974; and a 1964 appointment saw him chief conductor of the orchestra in Liège for three years.

Before his very last years, when his sight began to go, old age hardly seemed to touch him. In his seventies he was a frequent visitor to North America, attracting especial praise for a triple bill of Satie's Parade, Poulenc's Les Mamelles de Tirésias and Ravel's L'Enfant et les sortilèges at the Metropolitan Opera in New York in 1981. He was 83 when he first conducted Wagner's Ring cycle, back in Seattle. In 1988 he introduced Debussy's Pelléas et Mélisande to a Russian audience. And his third recording of Gaîté Parisienne was made when he was 92. He was 93 when he told me:

QuoteI could go on conducting, though my right leg is dragging a bit. But you have to finish some time or other and let the young folk have their chance.

Rosenthal closed his career crowned in glory, regularly visited by researchers wanting to ask about the great names with whom he had rubbed shoulders almost a century before. He took some solace in the gradual rediscovery of his own music, though was peeved that it was the lighter scores that tended to attract attention. His 13 orchestral scores - among them a symphony, from 1949 - await regular performance, as do the five for chorus and orchestra, although the style, something akin to Poulenc with teeth, would certainly appeal to a wide audience. His response to the observation that his music was very French could have come from Ravel:

QuoteYes, but it was none of my doing - it just happened. I like things to be claire and I am, I think, quite formal. You should always know why you are doing what you are trying to do . . . A great musician must be careful to be himself.

Quote from: jowcol on Wednesday 23 May 2012, 14:40

Music of Manuel Rosenthal

(Any French speakers—if you can provide more details from the intro, I'll update this posting.)

1. Aesopi Convivium – (Orchestral Version)
C. Glenn(violin), E List (piano)
Philharmonic Orchestra of Paris, Conducted by Composer
December 1970 (Radio broadcast)

2-4:  Symphony # 1
Radio Strasbourg Symphony Orchestra
G. Tzipine, Conductor
September 16, 1969 (Radio broadcast)

5. Pieta d'Avignon
Orchestre national de l'Office de Radiodiffusion Télévision Française (ORTF)
Conductor D. Chambrin
1973

All are sourced from radio broadcasts, and I am unaware of any commercial release.

From the Collection of Karl Miller

Thx for this jowcol,

nothing special to say about the Aesopi Convivium (Le festin d'Aesope) besides it's a Theme and Variations.

The Symphony No.1 in C Major was written in 1949 and there is 3 Mvts :

I .  Allegretto Pastorale.
II.  Theme and Variations.
III. Rondo.

I will translate the rest next time

Theme and Variations and Rondo aren't really movement titles.  Or more precisely, they're only half-titles.  A full movement title is, e.g. Rondo: Allegro assai, or Scherzo: Vivace.  Can we have a little more of that here, considering that this forum may be the only source of information on these works for some of us?

Quote from: JimL on Thursday 24 May 2012, 15:38
Theme and Variations and Rondo aren't really movement titles.  Or more precisely, they're only half-titles.  A full movement title is, e.g. Rondo: Allegro assai, or Scherzo: Vivace.  Can we have a little more of that here, considering that this forum may be the only source of information on these works for some of us?

I would say it was a substantial improvement over what I had originally posted, and my thanks to Sicmu for the added info.   From what I gather, he was able to discern the titles from the broadcast-- and that is likely what the announcer said.   But as you've pointed out, there is always room for improvement.

I'm hoping that the general approach we are taking here is similar to a wiki, in that we add more information as it becomes available.  I know in my case I try to update my posts when additional information is  offered. (And corrections, for some of the stuff I've put that was wrong, ignorant, or a combination of the two!)   But if faced with the choice of not posting, or posting a work with less than complete movement titles, I'll always choose the latter, since by exposing the work, we are more likely to get more information from the members here.

Concur.

Quote from: jowcol on Thursday 24 May 2012, 16:25

Quote from: JimL on Thursday 24 May 2012, 15:38
Theme and Variations and Rondo aren't really movement titles.  Or more precisely, they're only half-titles.  A full movement title is, e.g. Rondo: Allegro assai, or Scherzo: Vivace.  Can we have a little more of that here, considering that this forum may be the only source of information on these works for some of us?

I would say it was a substantial improvement over what I had originally posted, and my thanks to Sicmu for the added info.   From what I gather, he was able to discern the titles from the broadcast-- and that is likely what the announcer said.   But as you've pointed out, there is always room for improvement.

I'm hoping that the general approach we are taking here is similar to a wiki, in that we add more information as it becomes available.  I know in my case I try to update my posts when additional information is  offered. (And corrections, for some of the stuff I've put that was wrong, ignorant, or a combination of the two!)   But if faced with the choice of not posting, or posting a work with less than complete movement titles, I'll always choose the latter, since by exposing the work, we are more likely to get more information from the members here.

Some might think I'm being pernickety, but to me Theme and Variations and Rondo are movement titles; Jim's "other halves" are not parts of movement titles; they are tempo directions.  Of course, I agree about more information being better than less, but if one is to take matters to a logical conclusion then how are we to caption movements which include multiple changes in tempo direction? And in the case of a theme and variations, should members feel under an obligation to include the tempo direction of the theme and every variation separately?

The tempo directions are part of the movement titles.  In fact, in first and second movements they are the entire movement title, and are, IMHO essential information, more important to know than "Scherzo" or "Finale".  In a theme and variations, it would be nice to have the tempo of each variation, but I'd be satisfied with just the theme.  In the case of a movement with an introduction, or several tempo changes, just the tempo of the introduction and the main body of the movement, or the prime tempo would suffice.  I don't need every little "poco meno mosso" and "a tempo".

Quote from: JimL on Friday 25 May 2012, 16:26
The tempo directions are part of the movement titles.  In fact, in first and second movements they are the entire movement title, and are, IMHO essential information, more important to know than "Scherzo" or "Finale".  In a theme and variations, it would be nice to have the tempo of each variation, but I'd be satisfied with just the theme.  In the case of a movement with an introduction, or several tempo changes, just the tempo of the introduction and the main body of the movement, or the prime tempo would suffice.  I don't need every little "poco meno mosso" and "a tempo".

I'm sorry to disagree, Jim; movements in multi-movement works, such as symphonies, are not obliged to have 'titles'.  A title is a title and a tempo direction is a tempo direction.  I acknowledge the first movement of a classical symphony may often be referred to as the 'allegro' but that doesn't make it a 'title' -- it's merely a convention arising from the fact that very many of them had 'allegro' as a tempo direction.  Still, we are getting off topic here...

Be that as it may, the more important information is the tempo indication.  One doesn't have to know that it is a finale by being told.  We can figure it out from where it is.

(usually. apparently some people are, I gather, in doubt as to whether some Schubert last movements even of early works - e.g. piano sonatas  - for example; and perhaps Szymanowski's first quartet too; - were intended to be finales... but yes, the point holds. :) )

Belatedly on Loucheur, there's this information on his symphonies @ Wikipedia -
3 symphonies : n° 1 (1929-1933 ; 1re exécution complète aux Concerts Colonne le 15 décembre 1936 ; révisée en 1969) – n° 2 (1944 ; Paris, 15 février 1945), n° 3 (1971 ; Paris, 17 octobre 1972)
and also an article by René Dumesnil on the 2nd symphony in Le Monde, March 4 and 5 1945, is referred to. If a microfiche of this article is at the library, maybe it has movement indications or other information that may be useful to fill out one's knowledge? (Also, the 2nd symphony was published by Salabert in 1958- hopefully someone can track down a copy of the score somewhere. :) ) (All 3 of his symphonies are listed in Durand/Salabert/Eschig's- Salabert specifically- back-catalog. Hrm. And a cello concerto, and other works...)

JimL- Of course sometimes all that tempo indication at the heading of the first page of the finale is, is e.g. Quarter note=46. :) (Finale of Sorabji's Jami Symphony.)

britishcomposer, merci! :)

QuoteLouis Vierne -  Symphonie en la & Spleens et détresses.

Elroel, thanks for sharing this wonderful recording. I've treasured my copy of this LP for years and continue to enjoy the music very much. Personally, I prefer Vierne's symphony to Dukas' stylistically similar and more widely-played one, though I like the Dukas just fine as well.

I made a copy of the CD recording of the Vierne symphony for my own use when it was on the radio once but look forward of course to listening to the Tzipine. I am a little confused by something about the work itself though it's hardly unprecedented- it's his opus 24 but seems only to have been published posthumously? ...
Agreed- thanks!!

Quote from: Elroel on Friday 18 May 2012, 15:00
Hi everybody,

The Index to French Music is renewed.
I think this is the easier way to view.
There is a remark about the date and time of the latest update.

Elroel

Elroel-- Thanks for all of your hard work and recent posts.

I am wondering about Alexandre Tansman-- you have him listed as French. (With good reason.) We have another work of his posted in the Polish section, where he was born. (According to the Wikipedia Bio, he always referred to himself as a Polish composer, even though he spoke French at home.  He also spent time in the US.

Short Question-- Where do I put a Tansman work I'm ripping?

More philosophical QuestioN:

I'm wondering if it would help us to use the Tagging feature in Simple Machines to show more than one nationality, and enable searches  by tagged fields.   This way, you could launch a search for all "French Composers" and it would return people like Tansman with more than one nationality.  It would also remove the need to maintain indexes by hand, and we could also apply tags for period, type , etc.  So you could say "Show me all chamber works b y  early 20th century German Composers"   It would also require a poster to provide more info, but I THINK we can have a form for postings.

That sounds great, but retagging all of the existing  postings would be a lot of work-- and We'd likely want to make sure that the feature works as they say  on a small set before doing a major retagging effort.


Something to ponder...

I'm curious about the first movement of the Vierne.  I have the performance on YouTube, and according to that, the first movement is Grave - Allegro con molto, which makes absolutely no sense to me (Allegro with much what?)  I thought it might be Allegro con MOTO (with motion) or Allegro molto, or Allegro con molto something.  Is it just Allegro molto, and Omar made an error on his YouTube notes?  BTW, you can get the tempo for the Scherzo there.

The tempo indications for the first movement are: Grave; Allegro molto

Guess I'll have to post a comment to Omar on that YouTube.

Thanks for the Saint-Saens though for some reason the volume is REALLY low. A pass through Audacity fixes it up though, and it sounds good...

Are there any new leads on the movements of the Gouvy Symphony #4?  Now that I can split it, I'd like to have them.

hrm. not yet, but I wonder...
Published by Richault in the 1850s; anyone here who's also interested have access to UCLA (Los Angeles) library? (There are also copies of the score in one form or another at British Library St. Pancras and Bavarian State Lib.)

I just downloaded the Gounod concerto for piano-pedalier.  What a riot!  I was wondering if anybody can get the tempo indication for the 2nd movement scherzo.  I've sent a message to the pianist on his website, but haven't heard anything back yet.

Hrm. The Gounod is called Suite concertante according to Charles-Gounod.com (http://www.charles-gounod.com/vi/oeuvres/instrum/index.htm) and was published in 1888. I haven't heard it (will give a listen) and will see what I can find out too...

According to IMSLP (http://imslp.org/wiki/Suite_concertante_(Gounod,_Charles)), the second movement is an Allegro con fuoco.

I believe the Gounod Concerto in E-flat and the Suite Concertante are two separate works, Eric.  The movements listed on IMSLP aren't the same as the ones given for the concerto, although they do keep the same order.  E.g. the finale for the suite is Vivace, whereas the finale of the concerto is Allegretto pomposo.

Interesting. The only work for pedal-piano and orchestra I think I see listed at the very large worklist at the Gounod site is the suite concertante... hrm.
I see Prosseda dates the concerto to 1889 and seems to be claiming that it is a different work from the Suite concertante. What I'd like (on principle...) is some evidence of the authenticity/provenance of this work whose modern premiere he says he is giving... (was it published? Did he find a manuscript? Where? ...) but... outside of the area of this forum I suppose...

I did seem to see the two works listed separately on a different website.  When I get home I'll see if I can find it and post the link.

No, I'm pretty much convinced they're either different works or different versions of the same work by now :) (one published in 1888, one from  or published in 1889, or so claimed, in the case of the Concerto for which one has a recording but no manuscript or published material or anything else so far, not even an unsourced and poorly done typeset :) ) -I at least and for one will accept that they're not the same :)

Tell you what I'm gonna do.  I'm gonna take a look at IMSLP's score and see if the Suite is in E-flat.  If it isn't, case closed, they're not the same work.  If it is, I'll play my DL.  I may have lost a step or two at sight reading, but I'm still good enough to tell if what I'm hearin' ain't the same as what I'm seein'!

;D

Done!  Not even close!  The suite is in A Major.  Wonder where the MS or score for the concerto was found?  I've inquired at the pianist's website.  Let's see how long it takes him to (or IF he'll) respond.

Quote from: eschiss1 on Monday 10 October 2011, 15:37
Re Gédalge - the symphony no.3 (in F, not D minor) is at IMSLP, which should help with the movement titles problem. See http://imslp.org/wiki/Symphony_No.3_(G%C3%A9dalge,_Andr%C3%A9) (http://imslp.org/wiki/Symphony_No.3_(G%C3%A9dalge,_Andr%C3%A9)). Glad to have this and the concerto (also uploaded at IMSLP) to hear! (Though your movement titles for the concerto are quite different from "ours" (those at IMSLP) - which are
Moderato maestoso
Andante
Allegro poco a poco accelerando. )

It sure sounds to me like the Gédalge Piano Concerto is in C minor, not C Major.  Unless a vast swath of the first movement is to be ignored as an introduction.  If you look at the score, the signature is 3 flats, and that is C minor.  It only switches to C Major at the very end of the movement.

Thank you for the Jaell poested today.Her cello sonata is one of the nicest musical utterings I know.

JimL- thanks re the Gédalge.
About Magnard- Hymne à la Justice of course is op.14, the score is at IMSLP (in I think a reprint of the 1903 score).

While looking for the tempo designation for the Marteau Violin Concerto (to no avail, alas!) I found this interesting little tidbit.  In 1892 Jules Massenet composed a violin concerto for Marteau.  Is there any more information on this work?

Wait, we have the Marteau violin concerto now?
The whole short-score is at IMSLP here (http://imslp.org/wiki/Violin_Concerto,_Op.18_(Marteau,_Henri)) but you know that already and are just testing me right? (btw I am just joking about that last part quite entirely)- and the movements are

Allegro risoluto - Allegro energico, ma non troppo.
Adagio
Finale (Rondo). Allegro con fuoco, ma non troppo.

One problem with only having the reduction is- well, I for one had no idea it was so long (great in the sense of time). I expect from the Marteau I've heard (the 3 string quartets for instance) it probably is great though. I look forward to listening. Thanks!

Sorry Eric, I only went about 3 pages deep into the search before throwing up my hands, hoping to find a YouTube performance or the IMSLP score.  Right now, I'm intent on that Massenet violin concerto.  I never even knew he composed one.  I've never seen any reference to it until now.  Any chance it survived the wars?

I apologize for the peevish way I put that. You'd think I was depressed or something (it's been a wonderful weekend...) I don't know offhand of a Massenet violin concerto; while I am not very familiar with his operatic music I'm still intrigued. (The opera I like best tends to be by composers whose instrumental music I already appreciate- Nielsen's Saul & David, Schoenberg, Prokofiev's Fiery Angel (especially!)... - Mozart may have thought of himself as an operatic composer fi... anyway... very very offtopic though I like thinking about it, somewhere else perhaps... - will have a look for that Massenet concerto. Perhaps RISM lists it; will try there first unless you already have and I would be wasting my time... :) )
Ah. No, nothing in RISM with solo violin intersect Massenet; just violin solos from operas (e.g. Manon- actually, I'm thinking of Thaïs, but it's Manon that they list*g* ), a Gavotte with violin, things like that, and not many of them... (with some composers the RISM database has a lot of items listed and I do mean a lot- I think Hans Huber is one such - others- not so many. As a general principle- I have mentioned this already in another topic but worth bumping that topic somewhere- it's good to keep a list of resources on hand to remember for tasks like this; sometimes even the whole list will not serve for any one task but a good list will improve the chance of solving some problems, whether it's finding a scanned score, or improving a worklist, track-listing a piece, improving a composition/publishing date- all that dorky stuff we're proud (I'm proud) to like to do... )

Goss mentions the Massenet concerto of ca.1892 here (http://books.google.com/books?id=929lNk1fqXoC&pg=PA306) , so assuming she's not quoting Wikipedia, it's not -just- Wikipedia...  Less likely to be quoting Wikipedia is this (http://books.google.com/books?id=PXcuAAAAMAAJ&pg=PA25), written in 1908. So whoever wrote that Wikipedia bit didn't pull it out of their hat. As does happen, of course (well, probably is referenced- I should check, to be fair :( ) Still no idea if it survives but will keep looking for a bit (here for a little more today then out for a few hours :) . I wonder who has most of Massenet's manuscripts- maybe BNF? ... )

Apparently so - BNF lists 26,412 manuscripts of Massenet (counting music, letters, etc.) in their catalog (probably not scanned yet if they even plan to do so with any of them, but still, that's a good number.

There seems to be a number of references to a Massenet VC on the net, but all with the same wording, possibly from the same source...
http://books.google.co.uk/books?id=929lNk1fqXoC&pg=PA306&lpg=PA306&dq=n+1892+Jules+Massenet+composed+a+violin+concerto+for+Marteau&source=bl&ots=EY53Q_WHV3&sig=veXRDT4SBsAwzpBLmfsYpXMKDKQ&hl=en&sa=X&ei=ovACUNG0IaPN0QXA0LSDBw&ved=0CFYQ6AEwAQ#v=onepage&q=n%201892%20Jules%20Massenet%20composed%20a%20violin%20concerto%20for%20Marteau&f=false (http://books.google.co.uk/books?id=929lNk1fqXoC&pg=PA306&lpg=PA306&dq=n+1892+Jules+Massenet+composed+a+violin+concerto+for+Marteau&source=bl&ots=EY53Q_WHV3&sig=veXRDT4SBsAwzpBLmfsYpXMKDKQ&hl=en&sa=X&ei=ovACUNG0IaPN0QXA0LSDBw&ved=0CFYQ6AEwAQ#v=onepage&q=n%201892%20Jules%20Massenet%20composed%20a%20violin%20concerto%20for%20Marteau&f=false)
...However, Grove doesn't list it, so either the information is wrong or the work is lost (although Grove's listing includes lost works).
Hmmmmm!

The only concertante pieces I have listed for Massenet are the Piano Concerto in Eb and Fantaisie for cello and orchestra. And the Meditation...

No reference to anything lost or anything that could be orchestrated or whatever (in fact the ONLY violin piece is the Meditation from Thais)

"It's a mystery.  And I don't like mysteries.  They give me a bellyache, and I've got a whopper right now." - Capt. James T. Kirk of the Starship Enterprise.

- From "The Man Trap" written by George Clayton Johnson

Eric, any chance you could help me with the movements of the Machavariani PC?  I can't even find Fyrexia's YouTube of it, with the score.

Oh- sorry!!!... did try to find out re the Machavariani Piano concerto. Will keep trying but no joy so far. There seems to have been a Franz Konwitchny (apologies for spelling) conducted recording back when, I found out, maybe eBay has a scan of its back cover- that sometimes helps?... (though I sometimes find that those track listings on those back covers are inaccurate, unsurprisingly. Well, nothing works all the time- The Human Condition- Hush, Eric, just Hush now... and apologies for putting that in the wrong cat-egory. (Mrow :) ) Would fix but- (agh, bad joke.)

BTW the conductor in the Marteau VC is our old pal Werner Andreas Albert, not W.A. Albrecht.

Re the Machavariani, does anybody know where Tony is?  That YouTube is GONE.

Many thanks to allison for those two enchanting piano concertos by JAËLL.  Superb! :) :)

Re Marteau: from the Yale Worklist (http://www.library.yale.edu/cataloging/music/marteau.htm)  (itself taken from a 1984 book) the op.35 duplication seems to be no typo, whatever its source. Lots of works listed there that haven't made it to the IMSLP list; will have to fix that. The Sinfonia gloria naturae is given op.30; it, like the symphony no.1 mentioned in a German journal, seems to date from ca.?1922 (premiered in that year...), so... probably the same year.) The WoO list contains some interesting seeming stuff too including another string quartet...

Does anyone know more about the Thirion 2nd symphony (B minor)? It seems to have been published by either Durand or Eschig (in some form, probably just a reduction which is the form in which their site lists it now), to have occupied him between 1914 and 1919 or so, and been premiered sometime in or before 1921 - that much I think I have so far... seems a good piece.

Music of Jacques Ibert
(http://media.web.britannica.com/eb-media/61/67461-004-3ACE0EB9.jpg)

1.  Cello Concerto
M Marchesini (vic)
Orch de l'Assoc de Concerts Oubradous
Feb 25, 1974

2. Angelique- Farce en un Ache
H. Nagorsen, G. Sibera, L. Masson, M. Sieyes, O. Turn,
P.-M Pegaud, L. Hagen-William, L. Dachary, C Vierne
October 25, 1976

3.  Capriccio
Orch Nice-Cote-d'Azur, R. Chevreux Cond.
October 19, 1972


All are from radio broadcasts.

From the collection of Karl Miller

From the Wikipedia Bio:


Jacques François Antoine Ibert (15 August 1890 – 5 February 1962) was a French composer. Having studied music from an early age, he studied at the Paris Conservatoire and won its top prize, the Prix de Rome at his first attempt, despite studies interrupted by his service in World War I.

Ibert pursued a successful composing career, writing (sometimes in collaboration with other composers) seven operas, five ballets, incidental music for plays and films, songs, choral works, and chamber music. He is probably best remembered for his orchestral works including Divertissement (1930) and Escales (1922).

As a composer, Ibert did not attach himself to any of the prevalent genres of music of his time, and has been described as an eclectic. This is seen even in his best-known pieces: Divertissement, for small orchestra is lighthearted, even frivolous, and Escales (1922) is a ripely romantic work for large orchestra.
In tandem with his creative work, Ibert was the director of the Académie de France at the Villa Medici in Rome. During World War II he was proscribed by the pro-Nazi government in Paris, and for a time he went into exile in Switzerland. Restored to his former eminence in French musical life after the war, his final musical appointment was in charge of the Paris Opera and the Opéra-Comique.

Biography
Early years
Ibert was born in Paris. His father was a successful businessman and his mother was a talented pianist who had studied with Antoine François Marmontel and encouraged the young Ibert's musical interests. From the age of four, he began studying music, first learning the violin and then the piano. After leaving school, he earned a living as a private teacher, as an accompanist, and as a cinema pianist. He also started composing songs, sometimes under the pen name William Berty. In 1910 he became a student at the Paris Conservatoire, studying with Emile Pessard (harmony), André Gedalge (counterpoint) and Paul Vidal (composition).[1] Gédalge also gave him private lessons in orchestration; Ibert's fellow-students at these private classes included Arthur Honegger and Darius Milhaud.[2]

Ibert's musical studies were interrupted by the outbreak of World War I, in which he served as a naval officer. After the war he married Rosette Veber, daughter of the painter Jean Veber. Resuming his studies, he won the Conservatoire's top prize, the Prix de Rome at his first attempt, in 1919.[2] The prize gave him the opportunity to pursue further musical studies in Rome. In the course of these, Ibert composed his first opera, Persée et Andromède (1921), to a libretto by his brother-in-law, the author Michel Veber, writing under the pen name "Nino".[3]

Composer and administrator
Among Ibert's early orchestral compositions were La Ballade de la geôle de Reading, inspired by Oscar Wilde's poem, and Escales (Ports of call), inspired by his experiences of Mediterranean ports while he was serving in the navy.[4] The first of these works was played at the Concerts Colonne in October 1922, conducted by Gabriel Pierné; the second was performed in January 1924 with Paul Paray conducting the Orchestre Lamoureux. The two works made Ibert an early reputation both at home and abroad. His publisher Alphonse Leduc commissioned two collections of piano music from him, Histoires and Les Rencontres, which enhanced his popularity.[2] Rencontres. In 1927 his opéra-bouffe Angélique was produced; it was the most successful of his operas, a musical farce, displaying eclectic style and flair.[3]

In addition to composing, Ibert was active as a conductor and in musical administration. He was a member of professional committees, and in 1937 he was appointed director of the Académie de France at the Villa Medici in Rome. Ibert, with the enthusiastic support of his wife "threw himself wholeheartedly into his administrative role and proved an excellent ambassador of French culture in Italy."[2] He held the post until the end of 1960, except for an enforced break while France and Italy were at war during World War II.

Later years
The war years were difficult for Ibert. In 1940 the Vichy government banned his music and he retreated to Antibes, in the south of France, and later to Switzerland and the Haute-Savoie. In August 1944, he was readmitted to the musical life of the country when General de Gaulle recalled him to Paris. In 1955 Ibert was appointed administrator of the Réunion des Théâtres Lyriques Nationaux, which ran both the Paris Opera and the Opéra-Comique. After less than a year, his health obliged him to retire. Shortly afterwards he was elected to the Académie des Beaux-Arts.[2]

Ibert died in Paris aged 71, and is buried at Passy Cemetery in the city's 16th arrondissement.

Music
Ibert refused to ally himself to any particular musical fashion or school, maintaining that "all systems are valid", a position that has caused many commentators to categorise him as "eclectic".[3] His biographer, Alexandra Laederich, writes, "His music can be festive and gay ... lyrical and inspired, or descriptive and evocative ... often tinged with gentle humour...[A]ll the elements of his musical language bar that of harmony relate closely to the Classical tradition."[2] The early orchestral works, such as Escales, are in "a lush Impressionist style",[5] but Ibert is at least as well known for lighthearted, even frivolous, pieces, among which are the Divertissement for small orchestra and the Flute Concerto.[5]

Ibert's stage works similarly embrace a wide variety of styles. His first opera, Persée et Andromède, is a concise, gently satirical piece. Angélique displays his "eclectic style and his accomplished writing of pastiche set pieces".[3] Le roi d'Yvetot is written, in part in a simple folklike style. The opéra bouffe Gonzague is another essay in the old opera bouffe style. L'Aiglon, composed jointly with Honegger, employs commedia dell'arte characters and much musical pastiche in a style both accessible and sophisticated.[2] For the farcical Les petites Cardinal the music is in set pieces in the manner of an operetta. By contrast Le chevalier errant, a choreographic piece incorporating chorus and two reciters, is in an epic style.[3] Ibert's practice of collaborating with other composers extended to his works for the ballet stage. His first work composed expressly for the ballet was a waltz for L'éventail de Jeanne (1929) to which he was one of ten contributors, others of whom were Ravel and Poulenc. He was the sole composer of four further ballets between 1934 and 1954.[2]

For the theatre and cinema, Ibert was a prolific composer of incidental music. His best-known theatre score was music for Eugéne Labiche's Un chapeau de paille d'Italie, which Ibert later reworked as the suite Divertissement. Other scores ranged from music for farce to that for Shakespeare productions. His cinema scores covered a similarly broad range. He wrote the music for more than a dozen French films, and for American directors he composed a score for Orson Welles's 1948 film of Macbeth, and the Circus ballet for Gene Kelly's Invitation to the Dance in 1952.[

Have been unable to unpack the Ibert downloads with WINZIP.  Any suggestions what other Microsoft utility will work please?

Richard Moss

Apologies for my earlier note re unpacking Ibert - I meant the Marteau downloads in .7z format.

Richard

Sorry for that, I guess you need the freeware 7zip utilities for that.

Due to size limitations at mediafire (the VC lasts 46 mins.)  I had to put it
into a split archive and unfortunately haven't got any RAR-archiver which
seems to be more common for that task.

I wholeheartedly recommend 7-zip, it's a great freeware alternative
http://www.7-zip.org/

If nothing else, it works for the occasional 7z file such as this one.

Well, it doesn't help those of us on macs, unfortunately. Can someone re-up it with a standard .rar or .zip?

Quote from: TerraEpon on Friday 20 July 2012, 18:52
I wholeheartedly recommend 7-zip, it's a great freeware alternative
http://www.7-zip.org/

If nothing else, it works for the occasional 7z file such as this one.

a quick search for 7zip on iOS showed me that there is IZArc
   http://www.izarc.org/ios.html (http://www.izarc.org/ios.html)
which should be able to handle 7zip files

Pres d'un Source (for strings) by Ayme Kunc
(http://www.geocities.co.jp/MusicHall/6119/museum/kunc/kunc.jpg)
1.Radio  Intro
2. Pres d'un Source

Ricercata de Paris
Alexandre Brussilovski, Cond.

Radio Broadcast, Date Unknown

From the collection of Karl Miller


This is the first of two French works for strings from a radio broadcast.

I've only been able to dig up the following snippets on Kunc in English.

Aymé Kunc
From Wikipedia, the free encyclopedia

Aymé Kunc (born Toulouse, 1877 – died there, 1958) was a French composer and administrator, director of the Toulouse Conservatory from 1914 until 1944. He won second prize alongside Maurice Ravel in the Prix de Rome competition of 1902; until 1907 he was the orchestra chief at the Théâtre Apollo in Paris. In 1914 he took over leadership of the Toulouse Conservatory, in which capacity he served for thirty years.

Beginning in 1996, the Association Aymé-Kunc has promoted the composer's music, and has recorded a number of his works, including the Messe de Sainte-Cécile.


Aymé Kunc (1877-1958)
A French conductor, composer and educator. Born in Toulouse, 20 January 1877 as the 10th child of 12 children. His father held a degree with his research on church music and worked at the Toulouse Cathédral. His mother also had studied piano with César Franck in Paris Conservatory. Needless to say his first musical lesson was from his parents. In 1894, he obtained the first prize at piano class in Toulouse Conservatory and entered Paris conservatory where he also obtained the first prizes on the classes of piano, solfège, and harmony. Then he started to learn composition with Charles Lenepveu from 1985. He had subscribed The Roman Prize (Prix de Rome) for 5 times, and in 1902 he obtained the first prize with his cantata 'Alcyone'. Although he had gone back to France in 1907 after 4 yesrs of life in Rome, and took up the director's post of Apolo theater in Paris, he moved out Paris to Toulouse in proportion to the request for the director's post of Toulouse Conservatory where he kept the position until 1944, and played an important role to raise the level of musical concern in there by conducting the first performance of Richard Wagner's 'Parsifal'. He was chosen a member of Academy of Beaux-Arts in 1949. He died in Toulouse, 13 February 1958.

By the way one of his brothers (hrm, I did not realize before that there were at least 12 children...) Pierre Kunc (1865-1941) has some biographical information available that may lead to something supplementary also (see Wikipedia-Fr here (http://fr.wikipedia.org/wiki/Pierre_Kunc)); Pierre and their father, I think, have some works scanned at IMSLP.  I don't know more at present unfortunately.

Le Bal du Destin (Ballet, 1954) by   Jean-Yves Daniel-Lesur
(http://static.bbci.co.uk/music/images/artists/542x305/a89b3bc1-50e3-4325-a60b-3b4b3fd775b9.jpg)

Office de Radiodiffusion-Télévision Française (ORTF),
Georges Tzipine, Conductor
Radio Broadcast, October 18, 1965
From the collection of Karl Miller

As far as I can determine (not knowing any French...), this is the complete ballet, as it runs over 40 minutes, and the suite is only supposed to run for 23 minutes.


Before I go any further, let me say I really like this work, and would be interested in anyone as has any Lesur they can share.  He reminds me somewhat of Koechlin, whom I adore, as well as "Petrushka"-era Stravinsky.   It is interesting that he as a member of a movement that was trying to place a more human voice to what was being developed in the Avante-Garde, and Virgil Thompson described the style as Neo-impressionism.

I did a quick search on youtube, and found another work I like (although quite differnent) called the Suite Mediévale, which pretty much lives up to its name.  For some reason, I can't stop listening to the second link below:
http://www.youtube.com/watch?v=lhB0c-cGuOU (http://www.youtube.com/watch?v=lhB0c-cGuOU)
http://www.youtube.com/watch?v=_QSPm4mY7Kc (http://www.youtube.com/watch?v=_QSPm4mY7Kc)

He wrote a Dance Symphony in 1958 that I still need to listen to. 
http://www.youtube.com/watch?v=QpGOXi_Bg-I (http://www.youtube.com/watch?v=QpGOXi_Bg-I)

I guess the worst I can say about him is that what I've heard is episodic in nature, but some incredible color, strong rhythms, and some memorable lyric moments.  As he was an organist, I'll also be wanting to check out anything he's written for organ.

With all that out of the way, this is whatever else I've been able to dig up on him.  Any other insights are welcome.



Here is one blurb I found:
Jean-Yves Daniel-Lesur, composer
Born: November 19, 1908, in Paris
Died: July 2, 2002, in Paris
Studied composition with: the organist-mystic Charles Tournemire

Co-founded: the group La Jeune France in 1936 with fellow composers Olivier Messiaen, André Jolivet, and Yves Beaudrier, who were attempting to re-establish a more human and less abstract form of composition

Other accomplishments: professor of counterpoint at the Schola Cantorum; director of the Opéra National de Paris from 1971-1973; administrator for Radio France, the Orchestre de Paris, the Paris Conservatoire; in 1973 appointed Inspector General for Music at the Ministry of Cultural Affairs

Le cantique des cantiques: his best-known work


Another blurb:
Jean-Yves Daniel-Lesur, known often simply as Daniel-Lesur (November 19, 1908 – July 2, 2002) was a French organist and composer. His mother, Alice Lesur, was an accomplished composer in her own right; some of her music was even published.

Daniel-Lesur was a student of Charles Tournemire. In 1935 he became a professor of counterpoint at the Schola Cantorum under its new director, Nestor Lejeune.

The following year he co-founded the group La Jeune France along with composers Olivier Messiaen (with whom he would remain a lifelong friend), André Jolivet and Yves Baudrier, who were attempting to re-establish a more human and less abstract form of composition. La Jeune France developed from the avant-garde chamber music society La spirale, formed by Jolivet, Messiaen, and Daniel-Lesur the previous year.

That same year he, together with Jean Langlais and Jean-Jacques Grunenwald, gave the first performance of Olivier Messiaen's La Nativité du Seigneur.





This is a machine translation from a German Wiki



Jean Yves Daniel Lesur (eigentl. Daniel Jean Yves Lesur, * 19. November 1908 in Paris; † 2. July 2002 ebenda) was a French organist and composer.

The son of the Komponistin Alice Lesur studied de of Paris at the Conservatoire harmony teachings with Jean Gallon and Kontrapunkt with Georges Caussade. Besides it had piano instruction with arm and Ferté and organ and composition instruction with Charles Tournemire, whose assistant at Sainte Clotilde was he from 1927 to 1937. From 1937 to 1944 it was organist of the Benediktinerabtei Sainte Marie.

1935 became Daniel Lesur professor for counterpoint to the Schola Cantorum. it created 1936 with Yves Baudrier, André Jolivet and Olivier Messiaen the Groupe Jeune France, which used itself contrary to the prevailing Neoklassizismus for a expressiven composition style. From 1957 to 1961 he was a director of the Schola Cantorum. Beginning of the 1970er years was he inspector general for music at the French ministry for education and cultural.

Daniel Lesur composed operas, ballet, organ works, choir works and songs.

Here is some more information on Samuel Sandmeier:

Born in 1932, titular organist and composer at Valentigney in Montbéliard, he studied piano with Robert Trimaille (licensee of Ecole Nationale Superieure de Paris) together with Jean  Claude Risset [a much better known avant-garde composer], then with Ms. BASCOURET, professor in the same school. He then turned to the organ, attended the summer organ academies and studied the instrument with Michael STRICKER (Strasbourg) and Michel Chapuis (Paris).

He gave many organ and chamber music concerts in France, Germany, Switzerland, in particular concerts of Baroque music in trio with J. François ALIZON (recorder, Strasbourg) and Niels FERBER (baroque oboe, Geneva) both graduates of the Academy of Basel. He studied writing (harmony, counterpoint ...) with Robert BREARD (Rome Prize) and Jean-Louis GHENT (director of the conservatory of Dijon).

His Concerto for Violin and Orchestra was first performed in 2002 at the International Festival of Music by Alexandre BRUSSILOWSKI Besancon. (Duration: 30 minutes)

The 1st String Quartet was premiered in Mexico in 1999 and broadcast by Mexican radio (duration: 21 minutes).

The Sonata for violin and piano was first performed at the "musicales internationales " of the department Hautes-Alpes by Otfrid NIES, first violin and professor at the University of Kassel (21 min).

Many premieres with the collaboration of teachers of the conservatories Belfort, Montbéliard and Besançon ...


Translated by Google, edited by me.

Source:
http://uncm.asso.free.fr/compositeurs.php?ordre=nom (http://uncm.asso.free.fr/compositeurs.php?ordre=nom)

Thank you!

I've added a couple of pieces by Léon Ernest Boëllmann (1862-1897). The Symphony in F is especially enjoyable.

.. and the same performance was already uploaded by me here (http://www.unsungcomposers.com/forum/index.php/topic,1543.msg20448.html#msg20448) almost a year ago!  :) Thanks very much for the Dialogue Fantasie.

Correction --

I've added another piece by Léon Ernest Boëllmann (1862-1897). The Symphony in F that Mark previously uploaded is especially enjoyable.

Saraband- Symphonic Poem with Chorus (1907) by Jean Roger-Ducasse
(http://www.geocities.co.jp/MusicHall/6119/museum/rogerducasse/ducasse.jpg)

ORTF,  Conducted by A Girard
Radio Broadcast   Feb 2, 1969

From the collection of Karl Miller

If you like the last movement of Debussy's Nocturnes (Sirenes), you will very likely appreciate this work.


I've unearthed a couple of blurbs about the composer.

Short Bio:
A French composer and an educator. Formal name is Jean Jules Aimable Roger-Ducasse. He was born in Bordeaux on the 18th of April in 1873. After a basic musical education in his birthplace, he moved to Paris in 1892 and entered Paris Conservatory to study music under Emile Pessard, Gabriel Fauré, and Andre Gédalge. He was particularly influenced by Faure. After the three years of trials, he obtained the second prize of Prix de Rome in 1902 with his cantata "Alcyone". Then he succeeded the position, from Fauré, of the professor of composition class in Paris Conservatory. Later on, he also succeeded Paul Dukas's orchestration class in 1935 (because of the former professor's death). From 1909, he was appointed as the director of the department of singing in Paris educational committee. His compositional diction can be characterized as typical latter romantic idiom inheriting his teachers (such as G. Fauré or C. Saint-Saëns) dictions with hints of impressionistic colorations in harmonic content. He died in Taillan on the 19th of September in 1954.


Wiki Bio:

Jean Jules Amable Roger-Ducasse (Bordeaux, 18 April 1873 — Le Taillan-Médoc (Gironde), 19 July 1954) was a French composer.

Biography
Jean Roger-Ducasse studied at the Paris Conservatoire with Emile Pessard and André Gedalge, and was the star pupil and close friend of Gabriel Fauré. He succeeded Fauré as professor of composition, and in 1935 he succeeded Paul Dukas as professor of orchestration. His personal style was firmly rooted in the French school of orchestration, in an unbroken tradition from Hector Berlioz through Camille Saint-Saëns. Among his notable pupils are Jehan Alain, Claude Arrieu, Sirvart Kalpakyan Karamanuk, Jean-Louis Martinet, and Francis George Scott.

Compositions
Roger-Ducasse wrote music in nearly all classical forms, and was particularly known for his operatic stage works and orchestral compositions. These include:
•   Au Jardin de Marguerite, 1901-1905 Based on an episode in Goethe's Faust
•   Sarabande, 1907 Symphonic poem with chorus.
•   Suite française, Concerts Calonne, Paris, 1907
•   Marche française, 1914
•   Nocturne de printemps, 1920
•   Nocturne d'hiver, 1921
•   Epithalame for orchestra, 1923
•   Orphée mimodrame lyrique, Opéra Garnier, June 1936 Based on his own libretto, closely following the Greek myth. The production was mounted by Ida Rubinstein.
•   Cantegril, comédie lyrique, Paris Opéra-Comique, 6 February 1931. His most ambitious work, with thirty-two demanding roles, was directed by Masson and Ricou with Roger Bourdin as Cantegril.
•   Petite Suite
•   Variations sur un thème grave ("Pleasant Variations on a serious theme") for harp and orchestra.
•   Ulysse et les sirènes ("Odysseus and the Sirens"), 1937

His piano pieces and chamber music are also noteworthy. He composed a piano quartet, a Romance for cello and piano, and two string quartets; the second, his swan song, debuted 24 May 1953, at the Château de la Brède.

Roger-Ducasse wrote only one work for organ, entitled Pastorale, a masterpiece rarely played in France. Written in 1909 and published by Éditions Durand, it is a challenging virtuoso showpiece. The work has been eclipsed by more recent compositional styles, nevertheless it has remained popular with performers in the United States.

Like Paul Dukas and Maurice Duruflé, Roger-Ducasse was severely self-critical, destroying music that did not meet his exacting standards.

Jean Louis Martinet : Symphonie en hommage à Jean Philippe Rameau (création)
(http://michelbaron.phpnet.us/martinet-s-brihat.jpg)
ON ; M. Rosenthal
(1964-creation)
From the collection of Karl Miller
Radio Broadcast- possibly 1964


Note:  I've haven't been able to find much about Martinent in English, and what little I did was not able to shed much light on this symphony-- I found a French website that did not list this one, but an "In Memoriam" written in 1962-3.  I would describe this work as somewhat turbulent and dramatic, but definitely tonal and approachable,  and also quite engaging.


There is only a brief Wikipedia entry about him in English

Jean-Louis Martinet
Jean-Louis Martinet (born 8 November 1912, Sainte-Bazeille,died 20 December 2010[1]) is a French composer. He studied at the Schola Cantorum with Charles Koechlin and at the Conservatoire de Paris with Jean Roger-Ducasse and Olivier Messiaen. He also studied privately with René Leibowitz. In 1971 he was appointed professor at the Conservatoire de musique du Québec à Montréal.[2]


However, if you speak French, this may be of more use:
http://www.musimem.com/martinet-autobio.htm (http://www.musimem.com/martinet-autobio.htm)

Aubade for Strings (Op. 89) by Marcel Mihalovici
(http://claude.torres1.perso.sfr.fr/GhettosCamps/Clandestinite/FrontNationalDeLaMusique/MihaloviciMarcel/MihaloviciMarcel1964.jpg)
ORTF, Andre Girard, Cond.
Radio Broadcast, Date unknown

From the collection of Karl Miller


A Romanian by birth, but "considered" to be a French Composer. 

Wikipedia Bio

Marcel Mihalovici (Bucharest, 22 October 1898 – Paris, 12 August 1985) was a French composer born in Romania. He was discovered by George Enescu in Bucharest. He moved to Paris in 1919 (at age 21) to study under Vincent d'Indy. His works include his Sonata number 1 for violin and piano (1920), Mélusine opera (1920, libretto by Yvan Goll), his 1st string quartet (1923), 2nd string quartet (1931), Sonata number 2 for violin and piano (1941), Sonata for violin and cello (1944), Phèdre Opera (1949), Étude in two parts for piano and instrumental ensemble (1951) and Esercizio per archi (1960). Many of his piano works were first performed by his wife and renown concert pianist Monique Haas.

Mihalovici was the original composer for the music of Samuel Beckett's Cascando (1962). His Fifth Symphony features a soprano singing a setting of a Beckett poem, and he used Krapp's Last Tape as the basis for a small opera, Krapp, ou, La dernière bande. His memories of their friendship are recounted in the collected work Beckett at Sixty A Festschrift by John Calder, Calder and Boyars (1967).

Symphonie pour courdes  by Pierre Dervaux
(http://s.dsimg.com/image/A-150-858480-1287315829.jpeg)
ORTF, Conductor  Andre Girard
May 2, 1969
Radio Broadcast

From the collection of Karl Miller

Wiki Bio:


Pierre Dervaux (born January 3, 1917 in Juvisy-sur-Orge, France; died February 20, 1992 in Marseilles, France) was a French operatic conductor, composer, and pedagogue. At the Conservatoire de Paris, he studied counterpoint and harmony with Marcel Samuel-Rousseau and Jean and Noël Gallon, as well as piano with Isidor Philipp, Armand Ferté, and Yves Nat. He also served as principal conductor of the Opéra-Comique (1947-53), and the Opéra de Paris (1956-72). In this capacity he directed the French première of Poulenc's Dialogues des Carmélites. He was also Vice-President of the Concerts Pasdeloup (1949-55), President and Chief conductor of the Concerts Colonne (1958-92), Musical Director of the Orchestre des Pays de Loire ((1971-79) as well as holding similar posts at the Quebec Symphony Orchestra (1968-75), where he collaborated with concertmaster Hidetaro Suzuki, and the Nice Philharmonic (1979-1982).

He taught at the École Normale de Musique de Paris (1964-86), the Conservatoire de musique du Québec à Montréal (1965-72) and was also president of the jury of the international conducting competition in Besançon.

Dervaux composed two symphonies, two concertos, a string quartet, a trio and several songs.

In addition to the Légion d'honneur, Dervaux also received the Ordre national du Mérite.

His recordings include: L'Enfance du Christ (Berlioz) in 1959, Les pêcheurs de perles (Bizet) in 1961, and Istar, Wallenstein and La Forêt enchantée (d'Indy) in 1975.

Concerto pour trio d'anches et orchestra  by Noël Gallon
(http://www.geocities.co.jp/NatureLand/5390/impressionist/gallon/gallon.jpg)

Trio Daraux
ORTF, Conducted by E Bigot
October 6, 1962
Radio Broadcast

From the collection of Karl Miller

I'd characterize this work as fairly light and playful-- although a  bit introspective in the middle.


Wiki Bio:

Noël Gallon (11 September 1891 - 26 December 1966) was a French composer and music educator. His compositional output includes several choral works and vocal art songs, 10 preludes, a Toccata for piano, a Sonata for flute and bassoon, a Fantasy for piano and orchestra, an Orchestral Suite, and the lyrical drama Paysans et Soldats (1911).

Born in Paris, Gallon was the younger brother of composer Jean Gallon with whom he studied harmony at the Paris Conservatoire. In 1910 he won the Prix de Rome with the cantata Acis et Galathée. In 1920 he joined the faculty of the conservatoire as a professor of solfège. He began teaching counterpoint at the school in 1926 . His many notable students include such well-known composers as Claude Arrieu, Tony Aubin, Jocelyne Binet, Gerd Boder, Paul Bonneau, Pierre Dervaux, Maurice Duruflé, Henri Dutilleux, Ulvi Cemal Erkin, Lukas Foss, Jean Hubeau, Paul Kuentz, Paule Maurice, Xian Xinghai, Olivier Messiaen, and René Saorgin.

Quote from: jowcol on Tuesday 31 July 2012, 19:33
Jean Louis Martinet : Symphonie en hommage à Jean Philippe Rameau (création)
[...]
Note:  I've haven't been able to find much about Martinent in English, and what little I did was not able to shed much light on this symphony-- I found a French website that did not list this one, but an "In Memoriam" written in 1962-3.  I would describe this work as somewhat turbulent and dramatic, but definitely tonal and approachable,  and also quite engaging.
[...]
However, if you speak French, this may be of more use:
http://www.musimem.com/martinet-autobio.htm (http://www.musimem.com/martinet-autobio.htm)

Since the list of his works was provided by the composer himself, it is definitely reliable. I cannot find the reference right now but I have always thought that the "In Memoriam" symphony and the "Symphonie en hommage à Jean-Philippe Rameau" were one and the same. What troubles me is that the movements of the "In Memoriam" do not quite match the description of the latter (http://boutique.ina.fr/audio/PHD07008870/jean-louis-martinet-symphonie-en-hommage-a-jean-philippe-rameau-creation.fr.html). My guess is that the "In Memoriam" is a revised, final version of the Rameau symphony but I shall try to check it.

Music of Yves Baudrier

(http://www.musicologie.org/Biographies/b/baudrier.jpg)

1. Eleanora Symphonic Poem after Poe
2. Radio Outro
ORTF, Andre Girard
Radio Broadcast, Date Unknown

3. Radio Intro
4. Le musicien dans la cité : poème cinématographique
ORTF, Daniel Chabrun
Radio Broadcast, Date Unknown

From the collection of Karl Miller

Baudrier as also a member of  La Jeune France-- (along with Jolivet and Lesur)  a group that tried to put a more "human" and mystical spin on what was brewing up in modernism, and led towards a style that Virgil Thompson called "Neo-Impressionism".

I've found very little about Baudrier in English.

The first work,  Eleonora, suite symphonique pour ondes martenots et petit orchestre d'après un poème d'Edgar Poe, was written in 1938 and used the Ondes Martenot pretty heavily-- I'd have to describe it as eerie-- but if it's dedicated to Poe I wouldn't have it any other way.

The second work was a cinemagraphic poem for an imaginary movie, in 12 continuous movements,  portraying a composer wandering  in Paris.  It was originally written in 1937, and revised twice more, ( in 1947, and in 1964 for a TV special).  I'm not sure which version this is.

Your contributions to the Downloads here at UC are simply amazing, jowcol. There's some extremely rare music that you upload here, and the bios and piece descriptions are very informative. Your latest uploads in the French department are very interesting and enjoyable. Keep up the good work :)!

Thanks, although none of this would have been possible without Karl Miller, who provided me with a LOT of material to share here.  He is a strong advocate that music like this (which is not commercially supported) needs to be shared for it to stay alive, and the worse "collections" of this type of music are the ones that don't share, and worse yet, are on media that is deteriorating over time.

All I've been doing is "ripping" the sources he sends, and trying to add a little information about each artist or work.  (I would hesitate to call this research-- it is more like "Scrap Booking"- it's a matter of what I can find a a few minutes).  I still have a couple more discs of less well known  French composers to share, so stay tuned! 

Thanks for being so unselfish, jowcol. Gosh, what would we do without Karl Miller (or you, of course ;D)!

Symphony 2 by Elsa Barraine
(http://upload.wikimedia.org/wikipedia/commons/thumb/7/7c/Elsa_Barraine_1940.jpg/290px-Elsa_Barraine_1940.jpg)

Orchestra Nationale, P. de Frietas-Branco
Radio broadcast, Feb 5, 1952
From the collection of Karl Miller

NOTE: This is evidently a different performance than the Barraine 2nd already posted.

Wikipedia Bio on Barraine:

Elsa Jacqueline Barraine (13 February 1910 – 20 March 1999) was a French composer. Born in Paris, she was the daughter of cellist Alfred Barraine. She studied with Jean Gallon (harmony), Abel Estyle (piano), George Caussade (Fugue), and Paul Dukas (composition) at the Conservatoire de Paris. She won first prize for both harmony (1925) and piano accompaniment (1927) from the conservatory.[1]

In 1929 Barraine won first prize at the Prix de Rome for her cantata La Vierge guerrière; having received second prize at the contest the year before for her Heracles à Delpes. From 1936-1939 she was the directorof vocal music for Radiodiffusion-Télévision Française. During World War II she was an active member of the Front National des Musiciens which resisted German occupation. From 1944-1946 she was director of the Orchestre National de France and music director of the record label and music publishing house Le Chant du Monde. She participated in the Association des musiciens progressistes in 1949 along with Serge Nigg, Roger Desormiere, Louis Durey, and Charles Koechlin.[1]

Barraine joined the faculty of the Conservatoire de Paris in 1953, initially as a teacher of harmony. She later taught musical analysis at the conservatoire from 1969-1973. She served as the Director of Music at the French Ministry of Culture from 1972-1974.[1]

Tableaux Hindous by Jean Hubeau
(http://www.geocities.co.jp/NatureLand/5390/impressionist/hubeau/hubeau.jpg)

ORTF,  Conductor E. Bigot
Radio Broadcast, Date Unknown

From the collection of Karl Miller

WOW!!

I really, really, really love this work!  Of all of the esoteric ORTF broadcasts I've been posting over the last couple of weeks, this one is the winner! 
It sounds to me like a very organic blend of late 19th century orientalism, early 20th Century impressionism, and a couple inspirational passages that Vaughan Williams or Bax would have approved of.  Wonderful orchestration, some haunting melodies.. I've been unable to listen to anything else for the last couple of days.

I have not been able to find much on the web about this work or when it was written, but I'd have to nominate Hubeau as the Unsung Composer of the Month^TM.

(or course, your mileage may vary...)

Wikipedia Bio:

Jean Hubeau (22 July 1917 – 19 August 1992) was a French pianist, composer and pedagogue.

Admitted at the age of 9 years to the Conservatoire National Supérieur de Musique et de Danse de Paris, he studied composition with Paul Dukas, piano with Lazare Lévy, harmony with Jean Gallon, and counterpoint with Noël Gallon. He received a first prize in piano in 1930 at 13 years.

In 1934, he received the second Prix de Rome with his cantata The legend of Roukmani (first prize was awarded to Eugène Bozza). The following year, he was honored by Louis Diémer.

In 1941, when Claude Delvincourt was appointed director of the Conservatoire, Hubeau was appointed to the vacancy left by Delvincourt at the head of the Music Academy in Versailles. In addition, he took the post of professor of chamber music of the Paris Conservatory from 1957 to 1982 where he trained many students such as Jacques Rouvier, Géry Moutier, Olivier Charlier and Sonia Wieder-Atherton.

He was also a pianist known especially for his recordings of Gabriel Fauré, Robert Schumann and Dukas, which are recognized as benchmark versions.

The Hubeau is a really cool piece ;D! I wonder what else he composed besides the cantata mentioned. Thanks as always, jowcol!

E. Bigot is Eugène Bigot (1888-1965).