Poulenc: Organ Concerto / Concert Champetre

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Cat No: 8554241

Release Date: 12 January 1999

Label: Naxos - Nxc / Naxos Classics

Packaging Type: Jewel Case

No of Units: 1

Barcode: 636943424124

Genres: Classical

Composer/Series: POULENC

Description
Francis Poulenc(1899-1963)Organ Concerto in Gminor; Concert champ?¬tre Suite fran?ºaised'apr?¿s Claude GervaiseFrancis Pouleuc was born in Paris on 7th January 1899, the son of EmilePonlenc, a director of the pharmaceutical firm Poulenc Fr?¿res, and his wife,Jenny Royer. His musical tastes and gifts were drawn largely from his mother,an amateur pianist, who gave him his first piano lessons, when he was five,leading to study, three years later, with Mlle Boutet de Monvel, a niece ofCesar Franck. It was at the same period that he heard Debussy's Dansessacrees et profanes, a work that awoke in him an interest in that composerand a desire to explore the harmonic possibilities he suggested. By 1914 he haddiscovered the music of Schubert and of Stravinsky and now embarked on lessonswith the pianist Ricardo Vines, his teacher for the next three years. ThroughVines he met Erik Satie and Georges Auric, the first a strong influence on theearly form of his composition and the second, his near contemporary, a friendand adviser for many years. Moving in these circles, he met Honegger, Milhaud,Tailleferre, Manuel de Falla and, inevitably, Jean Cocteau, and made friendstoo with other writers, notably the poets Andre Breton, Louis Aragon and PaulEluard, a reflection of his wide reading and general cultural interests.After military service between [918 and 1921, Ponlenc, whosecompositions already included the early Rapsodie n?¿gre, dedicated toSatie, a number of piano works, including the Mouvements perpetuels, theTrois pastorales, a piano sonata for four hands, the Suite in C andImpromptus, as well as settings of Apollinaire and Cocteau, felt theneed for formal instruction in the techniques of composition. Already, in anarticle by the critic Henri Collet in 1920, he had been included as one of agroup of six contemporary composers, Les six, an arbitrary choice,according to Milhaud, himself included, together with Poulenc, Durey,Tailleferre, Honegger and Auric. The six had their origin as a group in a songrecital given in 1917 by Jane Bathori, at which all six were represented,although then generally associated as Les nouveaux jeunes. Thecollaboration of the group became a practical one, with concerts and, incomposition, with the piano pieces of the Album des six and, now withoutthe older composer Louis Durey, in Cocteau's extravaganza, Les maries de latour Eiffel, although they had much less in common than the famous Five ofRussian nationalism, whose popular labelling Collet had had in mind. Whileunited socially and professionally as musicians, as composers their interestssoon diverged.In 1921 Poulenc began lessons with Charles Koechlin, having previouslyfailed to find what he needed with Paul Vidal and Ravel. His career in the1920s brought collaboration with Dyagilev in the ballet Les biches, successfullystaged in Monte Carlo in 1924, and a growing national and internationalreputation. His name, in any case, had become widely known for his earlierpopular piano p
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