He referred to the Trio in writing to André Schaeffner, André Cœuroy, Charles Koechlin and Igor Stravinsky, acknowledging the latter’s advice. Completed at Cannes in 1926, it was, like all the music that occupied his thoughts for any length of time, a subject on which he kept his friends informed. It was dedicated to Manuel de Falla, the Spanish composer who knew Paris well and also shared Poulenc’s London publisher. In 1924 Poulenc was at work on his Trio for oboe, bassoon and piano. The first was composed in 1918 for two clarinets the second in 1922 for clarinet and bassoon and the third, also in 1922, for horn, trumpet and trombone. Three sonatas for wind instruments alone are the earliest works here, each with three short movements: two brisk ones enclosing an Andante. The dedications of these thirteen works are typical of a musician much loved by a wide circle of friends. These works, written between 19, from Poulenc’s twentieth to his penultimate year, are by a composer with a wealthy background who always earned his keep by music. But the sequence is not presented chronologically. Here Poulenc’s chamber music provides thirteen items: sixteen tracks on CD1 and eighteen on CD2, all ‘easy listening’, and beguiling in contrasts if heard seriatim. Yet he struggled and succeeded with several large-scale works which, in the year of his centenary, have reached as wide an audience as the piano pieces, songs and wind music. Similarly, his own shortness of musical breath made him a naturally considerate composer of wind music.
Like his other musical mentor, Stravinsky – who found him his first publisher – Poulenc composed at the piano, and his pianistic fluency is evident in the keyboard parts of his chamber music. On the other hand, he soon showed that he was not devoid of heart, even if he remained short of musical breath and, like his elderly friend Erik Satie, tended to write music in short, repeated fragments. So his early work often reflected the café-concert, music-hall and circus. Francis Poulenc was the Benjamin and enfant terrible of Les Six, the erstwhile group of Parisian composers who were supposed to be in reaction against the more personally expressive or picturesque music of their seniors.
#POULENC SARABANDE PRESTI SERIES#
The Nash Ensemble gave a series of concerts of Poulenc's music at the Wigmore Hall earlier this year to great critical acclaim and Hyperion are delighted to be able to present this wonderful collection on this, Poulenc's centenary year. From the jazzy, bitonal passages of the Sonata for Clarinet and Bassoon and the Sonata for Horn, Trumpet and Trombone which has been described as 'Pergolesi with his wig awry' (Roger Nichols, Grove) to the profound beauty of his last three sonatas for wind. (展开全部) This collection of the complete chamber music of Poulenc shows the varying styles that he employed. This collection of the complete chamber music of Poulenc shows the varying styles that he employed.
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