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Ulster Orchestra, Yan Pascal Tortelier - Francis Poulenc, Jacques Ibert, Darius Milhaud: Orchestral Works (1992) [Re-Up]

Posted By: Designol
Ulster Orchestra, Yan Pascal Tortelier - Francis Poulenc, Jacques Ibert, Darius Milhaud: Orchestral Works (1992) [Re-Up]

Francis Poulenc: Les biches, Suite; Jacques Ibert: Divertissement;
Darius Milhaud: Le Boeuf sur le Toit, La Creation du Monde (1992)
Ulster Orchestra, conducted by Yan Pascal Tortelier

EAC | FLAC | Tracks (Cue&Log) ~ 295 Mb | Mp3 (CBR320) ~ 156 Mb | Scans ~ 57 Mb
Genre: Classical | Label: Chandos | # CHAN 9023 | Time: 01:08:10

This programme of 1920s French music is in the hands of a conductor who gets right into the spirit of it, and plenty of spirit there is too. Apart from the Ibert, this is ballet music, and that work too originated as a theatre piece, having been incidental music for Eugene Labiche's farce The Italian Straw Hat. Poulenc's unfailingly fresh and bouncy suite from Les biches is very enjoyable although Chandos's warm and resonant recording takes some of the edge off the trumpet tone that is so central to the writing. The geniality of it all makes one forget that this is remarkable music in which (as Christopher Palmer's booklet essay points out) the twentieth-century French composer evokes eighteenth-century fetes galantes through the eyes of that greatest of nineteenth-century ballet composers, Tchaikovsky.

Ulster Orchestra, Howard Shelley - Daniel Steibelt: Piano Concertos Nos. 3, 5 & 7 (2016) [Re-Up]

Posted By: Designol
Ulster Orchestra, Howard Shelley - Daniel Steibelt: Piano Concertos Nos. 3, 5 & 7 (2016) [Re-Up]

Daniel Steibelt - Piano Concertos Nos. 3, 5 & 7 (2016)
Ulster Orchestra; Howard Shelley, piano & conductor

EAC | FLAC | Image (Cue&Log) ~ 261 Mb | Mp3 (CBR320) ~ 185 Mb | Artwork included
Genre: Classical | Label: Hyperion | # CDA68104 | Time: 01:19:56

Howard Shelley and the Ulster Orchestra return for a second volume in Hyperion’s new Classical Piano Concerto series. Daniel Steibelt—the man who dared to challenge Beethoven and lost—ruled the keyboards of northern Europe for a quarter of a century, his own concertos as sensationally popular as their composer was ostentatious.