wimpel69
12-02-2014, 01:20 PM
EAC-FLAC link below. This is my own rip.
Booklet included. Do not share. Buy the original!
Please leave a "Like" or "Thank you" if you enjoyed this!
This is a neat and generous re-packaging of classic EMI recordings of
Francis Poulenc's concertos for piano, two pianos, organ and
harpsichord, as well as a suite from the ballet Les Biches and the
short Litanies for children's choir. A must-have for any lover of
Poulenc's music!
Georges Pr�tre (*1924) is one of the leading conductors of the last half of the
twentieth century, especially known for operatic conducting and performances of
French music. He studied trumpet as a boy, graduating from the Douai Conservatory.
Nazi occupation of Paris did not substantially interfere with the teaching activities of
the famous Paris Conservatory, where Pr�tre continued his musical studies. He took
First Prize in trumpet in 1944 and studied harmony with Henri Challan and Maurice
Durufl�. He began studying conducting with Andr� Cluytens, Pierre Dervaux, and
Richard Blareau. His conducting debut was in operetta, a fact that eluded biographers
since he used the assumed name of Georges Dherain.
His official conducting debut was at the Marseilles Opera in 1946, in Lalo's Le Roi d'Ys.
He spent a decade primarily in provincial French opera houses: Marseilles (1946-1948),
Lille (1948), Casablanca (1949-1951) and Toulouse (1951-1955). He was appointed
music director of the Op�ra-Comique in Paris in 1956, debuting with Richard Strauss'
Capriccio and conducting a wide variety of repertory there. He made his American
conducting debut at the Chicago Lyric Opera in 1958. By 1960, he had become well-
known and was selected by composer Francis Poulenc, who selected Pr�tre to conduct
the premiere of Le voix humaine (1959) and was highly esteemed for his
performances of Poulenc's full length opera Dialogues de Carmelites. He also led
the premiere of the Sept r�pons des t�n�bres (1963).
In 1959, he joined the staff of the Paris Op�ra, becoming music director in 1966.
He debuted at the Royal Opera House, Covent Garden (1961), the Metropolitan
Opera in New York (1965), and La Scala (1965). During this period he became a
conductor often requested by opera super-star Maria Callas. He frequently
returned to the Met and La Scala, especially known for his French repertory.
His concert conducting career also advanced during this period. Over the years he
conducted most of the important orchestras of Europe and America, and in 1962
was appointed deputy director of the Royal Philharmonic Orchestra. In 1971, the
Paris Opera's periodic political problems erupted into a huge backstage dispute
that closed the Op�ra for several months, during which Pr�tre left the company.
Since that painful experience, Pr�tre most frequently has worked outside of
France. He became principal guest conductor of the Vienna Symphony Orchestra
in 1986, holding that post through 1991, when he was named one of its honorary
conductors for life. In 1995, he became artistic director and principal conductor
of the Stuttgart Radio Symphony Orchestra. Among his world premieres are
Symphony No. 4 by Marcel Landowski (1988) and Concerto for 15 Soloists and
Orchestra by Fran�aix (1990).
In 1999, he conducted a major series of concerts in Paris in honor of the 100th
Anniversary of Poulenc's birth.
Music Composed by
Francis Poulenc
Played by
L'Orchestre de la Societ� du Conservatoire
The Philharmonia Orchestra
With
Maurice Durufl� (organ)
Gabriel Tacchino (piano)
Francis Poulenc (piano)
Jacques F�vrier (piano)
Aim�e van der Wiele (harpsichord)
And the
Maitrises d'enfants de la Radiodiffusion Francaise
Conducted by
Georges Pr�tre
Pierre Dervaux
Jacques Jouineau
"It�s a wonder we don�t get more recordings of Poulenc�s concertos, but why complain
when the three on this disc, dating from 1957 and 1961, are so enjoyable? I long treasured
the original LPs, and it�s good to have them back on this well-transferred offering in EMI�s
Great Recordings of the Century series. The Concert champ�tre is an affectionately
mocking look back at the age of Couperin, dressed up as Stravinsky wearing a suit of
humor. Written in 1920 for Wanda Landowska, it�s here played by Aim�e van de Wiele
with appropriately energetic dash. The two-piano concerto finds Poulenc and Jacques
F�vrier as the soloists, with the composer no virtuoso but playing adequately enough.
The music fascinates: the gamelan-influenced pianos at the end of the first movement
anticipate Messiaen�s forays into exotica, the slow movement has a lovely intimacy,
and the finale is one of those typical Poulenc cartoon-music romps. Both of these
concertos are in monophonic sound (EMI was a laggard in adapting to the age of stereo)
but are fully satisfying, solid, and immediate.
The Organ Concerto is in stereo. Something of a demonstration recording at the time
of its release, it still sounds good. Much of the work finds Poulenc in his archaic mode,
liberally mixed with mystical slow passages, stirring dramatic ones (the opening is a
real gut-grabber), inevitable reminiscences of Saint-Sa�ns� Organ Symphony, and
Stravinskian rhythmic devices. The fifth of its six sections even recalls the trotting
tunes heard at a merry-go-round. As always with Poulenc, an improbable stylistic
mixture works to great effect. Maurice Durufl�, who advised Poulenc on the organ
registrations and premiered the work, is the fine soloist, and Georges Pr�tre�s
conducting is a plus."
Classics Today
Download Link - https://mega.co.nz/#!PVwFnI7Z!xLAtqjKJIGbNREOPxHoHijgImJaMRn3oE1ktSHd GalA
Source: EMI Classics CD, 2009 (my rip!)
Format: FLAC(RAR), ADD Mono/Stereo, Level: -5
File Size: 644 MB (incl. artwork, booklet, log & cue)
Enjoy! Don't share! Buy the origina! Please leave a "Like" or "Thank you" if you enjoyed this! :)
Booklet included. Do not share. Buy the original!
Please leave a "Like" or "Thank you" if you enjoyed this!
This is a neat and generous re-packaging of classic EMI recordings of
Francis Poulenc's concertos for piano, two pianos, organ and
harpsichord, as well as a suite from the ballet Les Biches and the
short Litanies for children's choir. A must-have for any lover of
Poulenc's music!
Georges Pr�tre (*1924) is one of the leading conductors of the last half of the
twentieth century, especially known for operatic conducting and performances of
French music. He studied trumpet as a boy, graduating from the Douai Conservatory.
Nazi occupation of Paris did not substantially interfere with the teaching activities of
the famous Paris Conservatory, where Pr�tre continued his musical studies. He took
First Prize in trumpet in 1944 and studied harmony with Henri Challan and Maurice
Durufl�. He began studying conducting with Andr� Cluytens, Pierre Dervaux, and
Richard Blareau. His conducting debut was in operetta, a fact that eluded biographers
since he used the assumed name of Georges Dherain.
His official conducting debut was at the Marseilles Opera in 1946, in Lalo's Le Roi d'Ys.
He spent a decade primarily in provincial French opera houses: Marseilles (1946-1948),
Lille (1948), Casablanca (1949-1951) and Toulouse (1951-1955). He was appointed
music director of the Op�ra-Comique in Paris in 1956, debuting with Richard Strauss'
Capriccio and conducting a wide variety of repertory there. He made his American
conducting debut at the Chicago Lyric Opera in 1958. By 1960, he had become well-
known and was selected by composer Francis Poulenc, who selected Pr�tre to conduct
the premiere of Le voix humaine (1959) and was highly esteemed for his
performances of Poulenc's full length opera Dialogues de Carmelites. He also led
the premiere of the Sept r�pons des t�n�bres (1963).
In 1959, he joined the staff of the Paris Op�ra, becoming music director in 1966.
He debuted at the Royal Opera House, Covent Garden (1961), the Metropolitan
Opera in New York (1965), and La Scala (1965). During this period he became a
conductor often requested by opera super-star Maria Callas. He frequently
returned to the Met and La Scala, especially known for his French repertory.
His concert conducting career also advanced during this period. Over the years he
conducted most of the important orchestras of Europe and America, and in 1962
was appointed deputy director of the Royal Philharmonic Orchestra. In 1971, the
Paris Opera's periodic political problems erupted into a huge backstage dispute
that closed the Op�ra for several months, during which Pr�tre left the company.
Since that painful experience, Pr�tre most frequently has worked outside of
France. He became principal guest conductor of the Vienna Symphony Orchestra
in 1986, holding that post through 1991, when he was named one of its honorary
conductors for life. In 1995, he became artistic director and principal conductor
of the Stuttgart Radio Symphony Orchestra. Among his world premieres are
Symphony No. 4 by Marcel Landowski (1988) and Concerto for 15 Soloists and
Orchestra by Fran�aix (1990).
In 1999, he conducted a major series of concerts in Paris in honor of the 100th
Anniversary of Poulenc's birth.
Music Composed by
Francis Poulenc
Played by
L'Orchestre de la Societ� du Conservatoire
The Philharmonia Orchestra
With
Maurice Durufl� (organ)
Gabriel Tacchino (piano)
Francis Poulenc (piano)
Jacques F�vrier (piano)
Aim�e van der Wiele (harpsichord)
And the
Maitrises d'enfants de la Radiodiffusion Francaise
Conducted by
Georges Pr�tre
Pierre Dervaux
Jacques Jouineau
"It�s a wonder we don�t get more recordings of Poulenc�s concertos, but why complain
when the three on this disc, dating from 1957 and 1961, are so enjoyable? I long treasured
the original LPs, and it�s good to have them back on this well-transferred offering in EMI�s
Great Recordings of the Century series. The Concert champ�tre is an affectionately
mocking look back at the age of Couperin, dressed up as Stravinsky wearing a suit of
humor. Written in 1920 for Wanda Landowska, it�s here played by Aim�e van de Wiele
with appropriately energetic dash. The two-piano concerto finds Poulenc and Jacques
F�vrier as the soloists, with the composer no virtuoso but playing adequately enough.
The music fascinates: the gamelan-influenced pianos at the end of the first movement
anticipate Messiaen�s forays into exotica, the slow movement has a lovely intimacy,
and the finale is one of those typical Poulenc cartoon-music romps. Both of these
concertos are in monophonic sound (EMI was a laggard in adapting to the age of stereo)
but are fully satisfying, solid, and immediate.
The Organ Concerto is in stereo. Something of a demonstration recording at the time
of its release, it still sounds good. Much of the work finds Poulenc in his archaic mode,
liberally mixed with mystical slow passages, stirring dramatic ones (the opening is a
real gut-grabber), inevitable reminiscences of Saint-Sa�ns� Organ Symphony, and
Stravinskian rhythmic devices. The fifth of its six sections even recalls the trotting
tunes heard at a merry-go-round. As always with Poulenc, an improbable stylistic
mixture works to great effect. Maurice Durufl�, who advised Poulenc on the organ
registrations and premiered the work, is the fine soloist, and Georges Pr�tre�s
conducting is a plus."
Classics Today
Download Link - https://mega.co.nz/#!PVwFnI7Z!xLAtqjKJIGbNREOPxHoHijgImJaMRn3oE1ktSHd GalA
Source: EMI Classics CD, 2009 (my rip!)
Format: FLAC(RAR), ADD Mono/Stereo, Level: -5
File Size: 644 MB (incl. artwork, booklet, log & cue)
Enjoy! Don't share! Buy the origina! Please leave a "Like" or "Thank you" if you enjoyed this! :)