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Francis Poulenc FRANCIS POULENC COMPLETE CHAMBER WORKS www.conchord.co.uk London Conchord Ensemble CD 1 SONATA FOR CELLO AND PIANO (1940/1948) CD 2 SEXTET FOR PIANO, FLUTE, OBOE, CLARINET, BASSOON AND HORN (1932/1939) [1] Allegro ~ Tempo di Marcia 5’56 [1] Allegro vivace ~ Très vite et emporté 7’46 [2] Cavatine ~ Très calme 6’36 [2] Divertissement ~ Andantino 4’46 [3] Ballabile ~ Très animé et gai 3’26 [3] Finale ~ Prestissimo ~ Subito très lent 5’58 [4] Finale ~ Largo, tres librement ~ Presto subito ~ Largo 6’56 [4] UN JOUEUR DE FLUTE BERCE LES RUINES (1942) 1’07 SONATA FOR VIOLIN AND PIANO (1943) VILLANELLE FOR PICCOLO (PIPE) AND PIANO (1934) [5] Allegro con fuoco 6’24 [5] Modéré 2’04 [6] Intermezzo ~ Très lent et calme 5’39 [7] Presto tragico ~ Strictement la double plus lent 5’18 SONATA FOR HORN, TRUMPET AND TROMBONE (1922) [6] Allegro moderato ~ Grazioso 3’54 SONATA FOR FLUTE AND PIANO (1957) [7] Andante ~ Très lent 3’02 [8] Allegretto malincolico 4’08 [8] Rondeau ~ Animé 1’50 [9] Cantilena ~ Assez lent 3’57 SARABANDE FOR SOLO GUITAR (1960) [10] Presto giocoso 3’26 [9] Molto calmo e melanconico 3’30 SONATA FOR OBOE AND PIANO (1962) SONATA FOR TWO CLARINETS (1918) [11] Elegie ~ Paisiblement 5’03 [10] Presto 1’50 [12] Scherzo ~ Très animé 3’56 [11] Andante ~ Très lent 2’37 [13] Deploration ~ Très calme 4’08 [12] Vif ~ Vite avec joie 1’57 SONATA FOR CLARINET AND PIANO (1962) SONATA FOR CLARINET AND BASSOON (1922) [14] Allegro tristamente ~ Très calme ~ Tempo allegretto 5’33 [13] Allegro ~ Très rythmé 1’48 [15] Romanza ~ Très calme 5’01 [14] Romance ~ Andante très doux 3’03 [16] Allegro con fuoco ~ Très animé 3’20 [15] Finale ~ Très animé ~ Andante 3’08 78’50 [16] ÉLÉGIE FOR HORN AND PIANO 9’08 (IN MEMORY OF DENNIS BRAIN) (1957) TRIO FOR PIANO, OBOE AND BASSOON (1926) [17] Lent ~ Presto 5’06 [18] Andante con moto 3’24 [19] Rondo ~ Très vif 3’03 69’05 CREDITS FOREWORD Poulenc’s chamber music is a joy to record, particularly for a chamber ensemble like ours, that has developed from a core group of wind players. His writing for winds in CD 1 Tracks 1 - 4 CD 2 Tracks 1 - 4 particular is immensely idiomatic, and exploits to the Produced & Engineered by Alexander Van Ingen Produced by Andrew Keener full the strengths of each instrument. The music for Edited by Dave Rowell Engineer: Phil Rowlands Recorded 26th April 2006 Edited by Bill Sykes wind instruments also reflects the full range of Recorded 15th - 16th November 2002 Poulenc’s compositional personality and career, from the Tracks 5 - 7 insouciant mischief and wit of his early neo-classical Produced & Engineered by Alexander Van Ingen Tracks 5, 9, 16 Edited by Raphael Mouterde Produced & Engineered by Alexander Van Ingen phase, to the profundity of his last compositions, in Recorded 25th - 26th July 2005 Edited by Dave Rowell which something of the religious spirit of Dialogues des Recorded 13th July 2009 Carmélites can be heard. The sextet and trio for piano Tracks 08 - 13 and winds are the greatest written for their Produced by Andrew Keener Tracks 6 - 8 Engineer: Phil Rowlands Produced & Engineered by Richard Sutcliffe combinations of instruments. The late sonatas for oboe, Edited by Bill Sykes Edited by Richard Sutcliffe flute and clarinet, too, belong at the peak of the repertory: there surely is not Recorded 28th - 30th September 2001 Recorded 4th July 2011 another oboe sonata that is more concentrated, emotionally affecting, or perfectly Tracks 14 - 16 Tracks 10 - 12 attuned to the pastoral and elegiac qualities of the instrument. Produced by Andrew Keener Produced & Engineered by Alexander Van Ingen In ceding a special place to the music for winds, however, we would not want to Engineer: Phil Rowlands Edited by Matthew Bennett Edited by Bill Sykes Recorded 27th June 2011 overlook Poulenc’s other chamber music. The sonatas for violin and cello, for Recorded 26th February 2002 instance, are we feel consistently underestimated – perhaps because Poulenc Tracks 13 - 15 undervalued them himself. The slow movement of each has particularly memorable Produced & Engineered by Alexander Van Ingen Edited by Matthew Bennett qualities, whether they be the mysterious Spanish languor of the violin sonata’s Recorded 7th November 2011 central Intermezzo, or the solemnity and breadth of the cello sonata’s Cavatine, which has the inexorable pulse of a slow heartbeat. One can only speculate that the Tracks 17 - 19 price of French editions may have something to do with the unjustified neglect of Produced & Engineered by Chris Craker Edited by Bill Sykes this wonderful music on the concert platform. Recorded 31st March 2004 We owe a huge debt of thanks to David and Mary Bowerman, in whose beautiful hall this music was recorded. Julian Milford All recorded at the Music Room, Champs Hill, Sussex, UK. Cover image “Francis Poulenc - playing keyboard” courtesy of the Lebrecht Photo Library Headshots of Julian Milford, Maya Koch, Maximiliano Martin, Andrea de Flammineis by Patrick Allen Headshots of Daniel Pailthorpe and Emily Pailthorpe by SL Chai Rear booklet picture of Conchord with Citroen by James Gillham LAUGHTER THROUGH TEARS For all the sense of joie de vivre to be found in much of the music on this album, to suggest, as some biographers have, that his Sonata for Two Clarinets and the there is also an awareness that every joy is fleeting. Francis Poulenc lived most of following Sonata for Clarinet and Bassoon merely emulated Stravinsky’s astringent his life in material comfort, able to purchase a 16th-century mansion in Noizay, Le woodwind writing. It is true that Stravinsky’s Rite of Spring, with its sinuous Grand Coteau, where from 1927 he lived and composed most of this music. Yet there woodwind music, had excited Poulenc, but he had also been deeply impressed by was a price to Poulenc’s happiness. His early acquired wealth was due to both his Schoenberg’s Six Little Piano Pieces, Op. 19 which, he recalled, “stupified me by parents dying when he was in his teens. His mother, an accomplished pianist who their conciseness and their chromaticism”. And Pierrot Lunaire had impressed both shared her love of Mozart as she gave Poulenc his earliest lessons, died when he was Poulenc and Stravinsky: thus by the time Stravinsky’s Pribaoutki and Berceuses du 16, and his father, joint owner of the famous manufacturer of industrial chemicals, chat, both often said to have inspired Poulenc, were premiered in Paris on 20 died when he was 18. Orphaned when so young, Poulenc relied more than most on November 1918, Poulenc had already composed his Sonata for Two Clarinets eight the approbation and support of his friends, of whom he had many; the death of any months earlier. Yet Poulenc confessed that this and his early Piano Duet Sonata friend or colleague hit Poulenc particularly hard, even before 1936 when he were “little beginner’s works, rather faltering”, and he later revised those works rediscovered his Catholic faith following the violent demise of fellow-composer respectively in 1945 and 1939 to iron out those ‘faltering’ qualities. Pierre-Octave Ferroud in a car accident. It seems significant that nearly half of his Whatever their provenance, both Poulenc’s early duo sonatas in their final form chamber music works were dedicated not to a specific performer, but to the memory share an infectious sense of fun and virtuosity. His second duo sonata, for Clarinet of a recently deceased colleague or public figure. and Bassoon, was written in 1922 after he had started composition lessons with Yet Poulenc also had a mischievous and irresponsible side, never quite suppressed Charles Koechlin (having previously been essentially self-taught). Poulenc wrote to even late in his career. The critic Claude Rostand recognized this in his famous 1950 Koechlin in September reassuring him that “I cannot impress on you enough the description of the composer as “à la fois moine et voyou” (half monk and half lout). extent to which I have benefited from my study with you during the winter, from Certainly there was nothing monk-like about the teenage Poulenc. In 1917 his the point of view of counterpoint as well as harmony.” He added: “My Sonata for composing career started with the premiere of the bizarre Rapsodie nègre: with Clarinet and Bassoon is finished. I am pleased with it. The counterpoint is instrumentation inspired by Schoenberg’s Pierrot Lunaire, its title and nonsense sometimes quite amusing.” verse mischievously reflected the then current fad in Paris for “negro art”. Poulenc The Sonata for Horn, Trumpet and Trombone, also from 1922, very much shares the further thumbed his nose at the musical establishment by dedicating his “opus one” cod-courtly style of the brass music for his ballet Les biches. Poulenc dedicated this to the eccentric maverick Erik Satie, whose surreal ballet Parade received its first Sonata to his closest friend from childhood Raymonde Linossier. A lawyer by staging just seven months before the premiere of Rapsodie. training and a leading specialist in Orientalism, Linossier was a formidable That work caught the attention of no less a composer than Igor Stravinsky, who intellect. She had guided the young Poulenc in poetry and literature, introducing secured Poulenc his first publisher. No surprise, then, that there’s a strong stylistic him to Adrienne Monnier’s bookshop where he personally met many of the poets similarity between Poulenc’s earliest chamber works and those composed by whose work he would set in music including Max Jacob, Apollinaire, Paul Éluard and Stravinsky immediately after World War I.
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