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Works of Igor Stravinsky [22cd] ~ Igor Stravinsky  (8)
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Francis poulenc
www.bbc.co.uk/proms
Experience the BBC Proms this summer. Tickets on the day for £5.
On this CD:
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Sextet for Piano and Wind Quintet
Composed by Francis Poulenc
Performed by Nash Ensemble
with Ian Brown
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Sonata for Violin and Piano
Composed by Francis Poulenc
with Leo Phillips, Ian Brown
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Sonata for Two Clarinets
Composed by Francis Poulenc
with Richard Hosford, Michael Harris
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Sonata for Horn, Trumpet and Trombone
Composed by Francis Poulenc
with Richard Watkins, John Wallace, David Purser
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Sonata for Cello and Piano
Composed by Francis Poulenc
with Paul Watkins, Ian Brown
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Sonata for Cello and Piano
Composed by Francis Poulenc
with Richard Hosford, Ian Brown
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Sonata for Oboe and Piano
Composed by Francis Poulenc
with Gareth Hulse, Ian Brown
-
Sonata for Clarinet and Bassoon
Composed by Francis Poulenc
with Richard Hosford, Ursula Leveaux
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Sonata for Flute and Piano
Composed by Francis Poulenc
with Philippa Davies, Ian Brown
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Villanelle
Composed by Francis Poulenc
with Philippa Davies, Ian Brown
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Elégie
Composed by Francis Poulenc
with Richard Watkins, Ian Brown
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Sarabande
Composed by Francis Poulenc
with Craig Ogden
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Trio for Oboe, Bassoon and Piano
Composed by Francis Poulenc
with Gareth Hulse, Ursula Leveaux, Ian Brown
Product Description
Amazon.co.uk Review
Here's nearly two and a half hours of unadulterated listening pleasure. The chamber output of Frenchman Francis Poulenc (1899-1963) spans some four decades and more, from the tartly modernist cavortings of the very Stravinskian Sonata for two clarinets (1918), via the insouciant charms of both the Trio for oboe, bassoon and piano (his first big chamber success from 1926) and Sextet (1932-9) as well as the substantial, deeply felt wartime sonatas for violin and cello, to the three sonatas for woodwind he penned in his twilight years (including the deliciously tuneful, deservedly popular Flute Sonata of 1957). There's a healthy sprinkling of comparative rarities, too, not least the poignant little Sarabande for solo guitar (1960) as well as the even briefer, haunting Villanelle (1938) for piccolo and piano. Not only do the members of the Nash Ensemble bring an abundant technical flair to everything they survey, they also don't miss out on that peculiar mix of the frothy, madcap and sublime that are such trademarks of Poulenc's inimitable mode of expression. 1999, this composer's centenary year, furnished no more rewarding haul than this immaculately produced Hyperion anthology, which must receive the heartiest of welcomes. --Andrew Achenbach
Here's nearly two and a half hours of unadulterated listening pleasure. The chamber output of Frenchman Francis Poulenc (1899-1963) spans some four decades and more, from the tartly modernist cavortings of the very Stravinskian Sonata for two clarinets (1918), via the insouciant charms of both the Trio for oboe, bassoon and piano (his first big chamber success from 1926) and Sextet (1932-9) as well as the substantial, deeply felt wartime sonatas for violin and cello, to the three sonatas for woodwind he penned in his twilight years (including the deliciously tuneful, deservedly popular Flute Sonata of 1957). There's a healthy sprinkling of comparative rarities, too, not least the poignant little Sarabande for solo guitar (1960) as well as the even briefer, haunting Villanelle (1938) for piccolo and piano. Not only do the members of the Nash Ensemble bring an abundant technical flair to everything they survey, they also don't miss out on that peculiar mix of the frothy, madcap and sublime that are such trademarks of Poulenc's inimitable mode of expression. 1999, this composer's centenary year, furnished no more rewarding haul than this immaculately produced Hyperion anthology, which must receive the heartiest of welcomes. --Andrew Achenbach
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