Francis Poulenc (1899-1963)
Les Biches – orchestral suite (1924)
Darius Milhaud (1892-1974)
Le Boeuf sur le toit, Op. 58 (1920)
La Création du monde, Op. 81 (1923)
Jacques Ibert (1890-1962)
Divertissment (1930)
Ulster Orchestra/Yan Pascal Tortelier
rec. 1991, Ulster Hall, Belfast, UK
Presto CD
Chandos CHAN9023 [68]

This is a re-issue of an attractive trio of pieces exuding Gallic wit and charm, all written in the 1920s Jazz Age.

Poulenc’s suite from Les Biches makes an arresting opening, its alternating scrambling, skipping and swooning sections, some classical pastiche, some “Parisian chic” street music, all making a very enjoyable, contrasting combination. The Ulster Orchestra brass are fully up to the considerable demands made on their agility and the music is packed with good tunes. Just occasionally there are distant echoes of Stravinsky in this predominately jolly, genial work and Tortelier’s piquant, sprightly way with it accentuates that. The finale is an exuberant riot of orchestral colour.

Riotousness is also the hallmark of the Introduction to Ibert’s Divertissment, the only piece here without origins in ballet music, and again I would say the influence of The Rite of Spring is evident throughout – although this is a much more humorous composition, full of musical jokes and not above those of the more vulgar, slapstick variety. The spooky Nocturne, louche Waltz – with sliding, sneering trombone – and pompous Parade are capped by a folie bergère type of romp in the finale, complete with police whistle – all great fun.

Milhaud’s Le Boeuf sur le toit with its clashing polytonalism and ever-shifting, syncopated Brazilian dance rhythms is always enjoyable and it is played here with verve and spirit – and considerably faster – nearly four minutes, in fact – than the other version on my shelves, by Ronald Corp and the New London Orchestra on the Helios label, though Tortelier slows right down for the dreamy central section. I think Tortelier’s urgency much more apt than Corp’s almost somnolent pace and had not realised how much livelier it could sound when better conducted.

His La création du monde is his tribute to the jazz which bowled him over first in London then in Harlem, prominently featuring a smoky saxophone, melding Afro-American riffs and rhythms with Bach, in a manner which prompts some to designate the work as Milhaud’s masterpiece.

A full but succinct note by Christopher Palmer provides essential historical and musical context. This is a highly desirable compilation of some of the best music of its type and era, undemanding but wholly entertaining.

Ralph Moore

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