Poulenc - Les Soirées de Nazelles FP. 84 [Gabriele Tomasello, piano] - プーランク ナゼールの夜会 ピアノ

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#プーランク #ピアノ #ナゼールの夜会

Francis Poulenc (1899-1963):
Les Soirées de Nazelles FP. 84
フランシス・プーランク ナゼールの夜会. ピアノ
Gabriele Tomasello, piano 2022. [with sheet music]

1. Preamble. 前奏曲 0:00
2. Cadence 2:11
3. Le comble de la distinction. 分別の極み 3:27
4. Le cœur sur la main. 手の上の心臓 4:43
5. La désinvolture et la discrétion 磊落と慎重と 7:09
6. La suite dans les idées 思索の続き 8:14
7. Le charme enjôleur. 口車の魅力 9:58
8. Le contentement de soi. 自己満足 12:22
9. Le goût du malheur. 不幸の味 13:31
10. L’alerte vieillesse. 老いの警報 16:30
11. Cadence. カデンツァ 17:42
12. Final. フィナーレ 19:24

This splendid suite (Poulenc's largest work for solo piano) was begun in 1930 with what became known as the Préambule and several of the variations, but was not taken up again until the summer of 1936. The entire work was finished on October 1. In a letter to Marie-Laure de Noailles, soon after he had begun the suite, Poulenc wrote that the music effectively paid homage to Couperin ("...a little folly... in the manner of Couperin's 'Folies francaises'..."). He further explained that each variation was inspired by his neighbours (at Noisay, where he lived), but instead of naming these individuals (as Elgar had done in his 'Enigma' set) Poulenc gave each movement "(for the most part) abstract titles."

What Poulenc's typically lighthearted description of his music does not mention is the mastery of his compositional technique - the work in encased within two brilliant movements, the opening Préambule and the Finale (the two longest movements, of broadly similar length), which 'reflect' rather than vary, subtly similar material/ The intervening variations are indeed to be enjoyed, but cumulatively they build to an impressive work of notable imaginative skill. Later, Poulenc revised the work, and omitted several of the variations.


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