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CHAN 9636
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CHAN 9636
Piano Music, Vol. 3

Poulenc: Piano Music, Vol. 3

The Classical Shop
release date: June 1998

Recorded in 24 Bit / 44.1Khz
album available as a Studio File
Originally recorded in 1997

Artists:

Eric Parkin

piano

Venue:

West Road Concert Hall, Cambridge



Producer:

Mike George



Engineer:

Ben Connellan



Record Label
Chandos

Genre:

Piano




Total Time - 68:20
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Piano Music, Vol. 3

   
Select Complete Single Disc for
 

FRANCIS POULENC

1 

Pastourelle

2:04
 

from Les Biches - two movements

6:37  
2 Rondeau 3:23
3 Andantino 3:14
 

Feuillets d'album

3:39  
4 1 Ariette 1:08
5 2 Rêve 1:12
6 3 Gigue 1:14
7 

Pièce brève sur le nom d'Albert Roussel

2:04
8 

Intermède

2:27
9 

Française

1:46
10 

Nocturne No. 1

3:12
  in C major - C-Dur - ut majeur  
11 

Nocturne No. 2 'Bal de jeunes filles'

1:29
  in A major - A-dur - la majeur  
12 

Nocturne No. 3 'Les cloches de Malines'

4:06
  in F major - F-Dur - fa majeur  
13 

Nocturne No. 4 'Bal fantôme'

1:21
  in C minor - c-Moll - ut mineur  
14 

Nocturne No. 5 'Phalènes'

1:28
  in D minor - d-Moll - ré mineur  
15 

Nocturne No. 6

3:32
  in G major - G-Dur - sol majeur  
16 

Nocturne No. 7

1:58
  in E flat major - Es-Dur - mi bémol majeur  
17 

Nocturne No. 8

1:58
  in G major - G-Dur - sol majeur  
18 

Valse

1:48
  in C major - C-Dur - ut majeur  
 

Five Impromptus

7:52  
19 1 Très agité 0:49
20 2 Allegro vivace 0:56
21 3 Très modéré 1:45
22 4 Violent 1:16
23 5 Andante 2:59
24 

Bourée, au pavillon d'Auvergne

1:55
25 

Caprice

4:30
 

Promenades

15:15  
26 1 A pied 1:24
27 2 En auto 1:02
28 3 A cheval 0:53
29 4 En bateau 1:10
30 5 En avion 3:02
31 6 En autobus 1:11
32 7 En voiture 1:54
33 8 En chemin de fer 0:49
34 9 A bicyclette 0:55
35 10 En diligence 2:26


Eric Parkin completes the last of his three volumes of Poulenc’s solo piano music. Eric parkin is a superb exponent of Poulenc’s piano music - this final volume in the set has been long awaited.

Poulenc’s self-doubt was particularly acute in relation to his piano music, but these doubts were balanced by the more positive side of his ambivalant attitude towards the instrument. His over-familiarity with the piano which he found burdensome is also the reason why his music for the instrument is so effective.

The ten Promenades dating from 1921 show the young composer experimenting with polytonality and polymetre.Likewise in the Five Impromptus we find more of the enfant terrible and less of his endearing side, but more of his later style is becoming evident.

The Nocturnes form one of the most representative collections of Poulenc’s piano music; the spikiness is now minimised and more integrated, allowing the melody to shine through. Though not strictly a cycle, this group does have a satisfying overall unity in spite of being written between 1929 and 1938.

Poulenc made piano transcriptions of a number of his orchestral and instrumental works.The Intermède and Caprice both originated as movements of Le bal masquè. The Intermède was concieved as an instrumental interlude, whereas the final Caprice originally included a vocal part.

Les biches, a ballet score for Diaghilev first produced in 1924 was Poulenc’s most public sucess. Although it is most often heard as an orchestral suite the composer arranged four ’Morceaux détachés for piano.

Four works on this album were originally published alongside works by other composers. The Calse was Poulenc’s contribution to a set of pieces by Les Six. Pastourelle was written for L’éventail de Jeanne, a one-act ballet. The witty and affectionate Pièce brève sur le nom d’Albert Roussel appeared as part of Hommage à Albert Roussel. Bourée au pavillion d’Auvergne belonged to a group of pieces by Milhaud and Ibert among others.

Feuillets d’album is a group of three pieces dating from 1933 and shows Poulenc’s expressive ability within a restricted time-scale. Française is based on music by the sixteenth-century compiler of dance-tunes and chansons, Claude Gervaise.

Although Poulenc may be regarded historically as one of the less important composers, he did have a particular voice. In the words of his teacher Koechlin. "You know how to be, sincerely and simply, yourself".

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*****
O Mussel

*****
K Huxley-robinson