Francis Poulenc wrote chamber music during all phases of his long career, and this complete recording divides his chamber output logically. The sonatas for solo instrument and piano all date from the later part of his career; the "Violin Sonata," valued by the performers but oddly disrespected by the CD booklet annotator here, is the earliest, dating from 1943. All these works are together on the first CD; on the second are earlier pieces for various ensembles, along with oddities like the "Villanelle for pipe and piano," a fine example of 1930s hypersimplicity originally intended for a homemade pipe but here inexplicably played on a piccolo, which defeats the entire ...
Francis Poulenc wrote chamber music during all phases of his long career, and this complete recording divides his chamber output logically. The sonatas for solo instrument and piano all date from the later part of his career; the "Violin Sonata," valued by the performers but oddly disrespected by the CD booklet annotator here, is the earliest, dating from 1943. All these works are together on the first CD; on the second are earlier pieces for various ensembles, along with oddities like the "Villanelle for pipe and piano," a fine example of 1930s hypersimplicity originally intended for a homemade pipe but here inexplicably played on a piccolo, which defeats the entire purpose. That's one of the few complaints applicable to this set, which contains several unknown gems along with Poulenc standards like the "Flute Sonata," with its entrancing slow movement. Hear the jocular "Sonata for horn, trumpet, and trombone" of 1922 CD 2, tracks 6-8. That and other early works show how soon Poulenc's distinctively melancholy yet tuneful personality appeared, and it persisted even after his music began to show signs of confrontation with the likes of Stravinsky and even Schoenberg one work, the "Élégie for horn and piano" of 1957, dedicated to the memory of Dennis Brain, is partially serial. Some of the sonata-form movements, from different phases of Poulenc's work, start with an imported style but then revert to Poulenc's lyrical mode for the second subject. This is especially amusing in the "Violin Sonata"'s first movement, where an especially acerbic opening is balanced by a second subject area that's straight out of the music halls. The London Conchord Ensemble doesn't quite get the popular side of Poulenc's style the aspect captured in the famous characterization of the composer as half monk, half lout, but the musicians have excellent control over a large variety of material, and the key slow movement of the "Flute Sonata" is very beautifully done. The music was recorded on various occasions over a ten-year period, but the studio location remained constant, and there are no problems with the sound. Recommended for any Poulenc lover.
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Editorial Reviews
All Music Guide - James Manheim
Francis Poulenc wrote chamber music during all phases of his long career, and this complete recording divides his chamber output logically. The sonatas for solo instrument and piano all date from the later part of his career; the "Violin Sonata," valued by the performers but oddly disrespected by the CD booklet annotator here, is the earliest, dating from 1943. All these works are together on the first CD; on the second are earlier pieces for various ensembles, along with oddities like the "Villanelle for pipe and piano," a fine example of 1930s hypersimplicity originally intended for a homemade pipe but here inexplicably played on a piccolo, which defeats the entire ...