Naxos’ first-rate edition of Poulenc’s complete chamber music continues with this very fine collection of shorter pieces and song cycles for voice and small ensemble. Baritone Franck Leguérinel turns in a smashing performance of Le Bal masqué from its manic opening Air de bravoure to the hysterical falsetto antics in the closing Caprice. He’s equally fine in Le Bestiaire, but the cruel vocal line and harmonic acerbities of the Max Jacob songs prove less congenial, though he’s no less stylistically assured.
Francis Poulenc reportedly felt uncomfortable writing for piano and strings and had harsh things to say about both the violin and cello sonatas, remarks duly parroted by critics and biographers ever since. And yet the fact remains that they are his most ambitious, lengthiest, and emotionally complex chamber works. As so often happens in these circumstances, it’s much easier to regurgitate received opinion than it is to actually listen to the music and take it on its own terms.
Naxos' triumphant march through Poulenc's complete chamber music continues with this latest release containing, among a host of smaller items, a smashing performance of the magnificent Sonata for Two Pianos, one of the composer's greatest large works in any medium. Alexandre Tharaud and Francis Chaplin play beautifully…hypnotically seductive in the slow introduction and third movement, while the faster music has the right rhythmic skittishness and crisp articulation. The other outstanding performance here is the Sonata for horn, trumpet, and trombone. This awkward but charming piece has seldom sounded better balanced and more natural (not to mention in tune), and it's very well recorded in a warm acoustic. The other pieces are trifles, but no less enjoyable for that. Another winner.
Oresteïa [1966] for children's choir, mixed choir and instrumental ensemble, for solo baritone and percussionist soloist on Greek texts from Aeschylus. Kassandra is an independent work, but it is obligatorily interpreted when one plays Oresteïa (which includes three other parts: Agamemnon, Choéphores, Euménides). Spiros Sakkas gives an unheard of interpretation, alternating head and chest. Because the soothsayers are always double beings, between reason and delirium.