I love Poulenc. He is the only composer whose music makes me laugh (I mean this in the best possible way, his jokes are much funnier than Haydn's) and he can also make me immensely sad. This concerto has the best of him I think.
Erik Satie smiled in one of his pictures which is ironic because he composed some of the most brooding, dark and existential dread - inducing music out there.
I completely agree. The changes in direction are a tad giddying at times but it makes for a rollercoaster of a piece which absolutely hits a prime sweet spot so far as my taste is concerned. You should try it set to Liam Scarlett's ballet, Asphodel Meadows, which takes it to yet another level.
Having visited Bali multiple times over the past 35 years I can hear so much Gamelan influence here in the first movement. Love how he marries that with western music. A most beautiful piece. Inspired.
Gamelan was also an influence in Hindemith's great Sonata for Two Pianos, and also in several works by Benjamin Britten, notably The Prince of the Pagodas (ballet) and Death in Venice (opera). Poulenc's ability to absorb many different kinds of music and make something uniquely his out of all the influences was extraordinary.
A wonderful performance with Poulenc and Jacques Février on the pianos. Too, musically and historically, THE archival recording to have, despite what others you might also like. THANK YOU, ONCE AGAIN, for great pieces and your discernment in putting those up in the most outstanding of performances.
I truly love the context Poulenc reveals here in his obvious experience with the history of piano repertoire and his ability to find a contemporary response to the place of France in the world of classical music in 1932. Whilst being still stylistically conservative there is endless personal wit, grace, style and fun in this work. He was right in sensing he was entering the period of greatness and self awareness in the composing of this work. So smashing to hear the composer with lifelong friend/ colleague together in this recording. A true delight!
is it just me who falls apart at 14:50 I love that part so much, amidst all the chaos :0 actually, I can't tell you how many times I've listened to this in the past months, it's just absolutely out of this world :)
That's why it felt like the performance sounds like it's played like an improvisation in some parts.. when I read Poulenc himself played this then that's when it made sense. Really interesting when the composer him/herself plays his/her works.
As with some other Poulenc's pieces, this one shows his reverence and irreverence (sort of his "Saint" and "sinner" duel personality). I love that about him. Another trait is his use of short phrases and strong, frequent cadences. That sometimes bothers me but, heck, I love his music. As always, thanks for the upload. I'm so grateful for your hard work.
That's quite obviously the concerto Poulenc sort of "quotes" in the 2nd movement. No idea why the description mentions the 467's slow movement, which obviously has absolutely nothing to do with Poulenc's slow movement.
This is wonderful It's fascinating to hear the echoes of Mozart; and I also hear direct quotes of his (later) sextet for piano & winds, or rather, the sextet feels like a translation or variation of this piece for the smaller ensemble. There are not just direct quotes of motifs, but also the sequences of harmonies and tempi are similar. I would love to see a direct comparison. Thank you for posting both!
The dates of composition usually given for the two pieces are actually somewhat misleading. The Concerto for Two Pianos was written in 1932; the original version of the Sextet dates from 1931-32 (and was premiered 1n 1933). However, Poulenc was not happy with the Sextet, and in 1939 revised it, though apparently the overhaul was a matter of form and organization, not of the actual musical content; 1939 is the date usually assigned to the piece. So the two works were actually conceived contemporaneously, and it's not surprising that they bear a family resemblance.
Recorded in 1957. Coincidentally that was the same year stereophonic disks, records we called them, were mass produced for the first time. I was 8 years old and I remember hearing it demonstrated. Made a big impression...and the quality was actually quite good! 🤗 I only wish my hearing was still that good!
Viene quasi da pensare che la perfezione d'eloquio raggiunta da Mozart nella sua breve vita, finisse per dare sui nervi a molti fra neoclassici e simili!... Non è certo questo il caso di Poulenc, il quale invece non esita a porre nel mezzo di tanti apporti eterogenei, molte personali note sensibili... In tanti non esiterebbero a parlare di animuccia sentimentale... Quest'animuccia però, bisognerebbe riflettere, ebbe il coraggio di porsi impertinentemente di fronte alla magniloquenza di Wagner e dei post-romantici... Io trovo una certa sincerità d'espressione, rara nel panorama neoclassico, magari rannicchiata sorridente fra le pieghe di una graffiante ironia demistificatoria... Forse il salisburghese (e non genericamente il suo tempo) rappresentavano quest'ancora di salvezza per Poulenc?!?... Molte grazie e molti complimenti per aver postata questa pregevole edizione di questa bella e sorridente opera!
Poulenc's songs but this crazy dance hall concerto . What is he doing . I used to love this . The slow movement e all know and love but the opening is sozany , pop-music sounding I dont get his strategy .So many tunes thrown at us - it changes mood every few second notlike an intelligent boulez but just madcap . Thats what hw 1st movement is madcap ! I'll find my way back to this .
It is exactly people like you who Poulenc is mocking and poking fun at ! Hahaha those who naïvely , arrogantly think they know it all. Congrats Poulenc! Job well done! Gets right under the purist mule's skins!!! 😂😂😂😂 With love and peace 🕊️❤😜
