List of solo piano compositions by Francis Poulenc Poulenc in the early 1920s. Francis Poulenc 1899-1963 Piano Works.
Very, very dry. The wit in the piano music of is so lightly ironic and so slightly sarcastic that it is fairly etiolated and frankly eviscerated. Because if, the suave and sensitive French virtuoso, cannot breathe life into 's piano music in this recording from 1986, who can? Has turned in full-throated discs and full-blooded recordings and his performances have been models of how to be a passionate pianist and still be French at the same time.
- Erik Satie Early Piano Works Rar Extractor. Maurice Ravel and Francis Poulenc. Because his music was ahead of his time and regarded as timeless.
- Apr 13, 2010 Dvorak: Piano Works (4 CDs) [FLAC, CUE, LOGS. Francis Poulenc (1899 – 1963) (1).
Piano Works Mall East Rochester
And yet even is defeated by the indefatigably dry. Les Soirees de Nazelles are nonsensical. The Novelettes are too long. The Pastourelle from L'eventail de Jeanne is too hard. The Mouvements perpetuels never get going. The Valse limps.
Piano Works Farringdon
The Improvisations evaporate. And the closing Trois pieces, the ne plus ultra of 's pianistic art, is, even in 's magnificent and monumental performance, as dry and dusty as Ozymandios.
Decca's early digital sound was as good as early digital sound ever got, which is to say, kind of clear and sort of warm.
‘A soupcon of Schubert, a sprinkling of Stravinsky, a generous helping of Chopin, a dash of Schumann, a sprig of Satie and a few drops of Ravel.’ Such amusing estimates diminish Poulenc’s engaging magic, the way his alternating blague and nostalgia are woven into so many wry and affectionate taunts and tributes. Such quality and elusiveness would have emerged more successfully in this second volume of Olivier Cazal’s Poulenc cycle if his performances had not been so relentlessly one-sided.
A dazzling but unsubtle virtuoso, he revels in terms such as violent, brusque presser and triple fortissimo (the Fourth and Second Impromptus respectively). But his raging climax to Melancolie is Lisztian and unstylish and if he is fortissimo and tres anime in ‘Carillon’ from the delightful Suite francaise he is hardly tres gai. Harsh and overly volatile he fails to convey how Poulenc’s more subjective demands can suggest the widest and most elegant variety of responses. The ‘Final’ from Les soirees de Nazelles (Poulenc’s keyboard masterpiece) packs a bruising punch, very much for those who like Poulenc taken by storm rather than stealth.
The recordings faithfully capture the impact of Cazal’s attack but, despite the bargain price, there is no comparison here with the complete Poulenc sets of Pascal Roge (Decca) and Paul Crossley (Sony).'