+nicksatie You're very welcome! It's always reminded me of Ravel's Valses Nobles et Sentimentals. I can now see the Prokofiev in it now that you mention it!
I looked it up on Wikipedia. He's Basque and Spanish but that makes Ravel... by far the greatest French composer to ever have come out of Spain. Sincerely, Charles.
Hi toothless, did we mention Gay. But I don't think it came from his mother side. But I do love the Swish parts, Left Bank, if you know what I mean? Swishing down Pigalle with "nom du gare." As T.S. Elliot said, "Lumber, lumber, lumber. Mince, mince, mince. Lumber, lumber. Mince, mince. Lumber, lumber. Mince! Lumber mince, lumber mince, lumber mince." Blessings, dear toothless toe. Charles le Faux.
Some of Poulenc's finest work in my estimation. He took Satie's piano works, turned them into orchestral pieces, and then back into piano miniatures. How else to describe Poulenc's achievement here!
J'ai exactement cet enregistrement avec Rogé sur disque... fascinant... surtout Poulenc, le compositeur qui m'a ouvert le monde entier de la musique moderne.
Un génie ! Poulenc sait tout faire , c'est une éponge : il passe d'un style à un autre dans la même mesure . J en profite il semble faire une citation de Mélancolie vers 1:46. Le seul qui est au dessus est Debussy ...
Hallo Charles Davis. I do know Poulenc's organ concerto, but I'm afraid I hate the organ! It's his piano music that delights me. Oh, and his flute sonata.
Charles: Good to make your acquaintance! In love nearly all 20th century French piano music. If you don't know the work already, try also Ravel's Le Tombeau de Couperin. So beautifully touching because it covers a lot of sorrow.
J’ai vu & entendu des fontaines de lait chocolaté jaillir de son paradis, sans rire les étoiles ont commencé à discuter et ont cessé de défiler et nous de nous saisir de leurs ors dès l’aurore. Le soleil s’est étourdi et la lune, remuée, s’est camouflée derrière un pan de nuages en forme de barbapapa, c’est merveilleux ne le crois-tu pas ?
Thank you for posting this wonderful work, and for your informative notes. One correction: Poulenc did not later "[omit] several of the variations," but merely indicated a sizable optional cut (Nos. 4, 5 & 6) in the new edition of the published score. He told pianist Gabriel Tacchino, who studied with him, that when he recorded the piece, he was to make the cut (for some reason Poulenc had taken a dislike to this work). While Tacchino respected the composer's wishes, others have included all the numbers, as Pascal Rogé does here. UPDATE (2022). It turns out Poulenc actually did make a cut in the new edition of the score: in the Final (Finale), at the double bar on p 29 (20:40 in this performance), he expunged a substantial amount of music that had been printed in the original edition. The first, and so far as I know only pianist to record the full original text is Antony Gray, on his splendid 5CD set of Poulenc's complete solo piano music. The abridgement shortens the playing time of the Final by about one-third -- Rogé's traversal of the shortened text of the Final takes 3'53"; Gray's restored version runs 6'01: ruclips.net/video/kEQtJwwAbaA/видео.html
Poulenc is really brilliant. My choir sang "Les Tisserands" in quarantine style. Write this down in the research. You will love it for sure: Corale Novarmonia - Les Tisserands (F. Poulenc)
This into is like from a modern prog death metal band. I actually hear it in 4/4 rather than in 3/4. Like intro bar + 8/4 + 8/4 + 2/4 + 9/4 (or 8/4 + 1/4) + 5/4 (3/4 + 2/4) + 5/4 and then normal 3/4, If I try counting it in 3/4 it just doesn't sound right to me and I can't move to it. I guess it is written in 3/4 for easier reading for performer. 0:24-0:30 is so cool.
I think he may have been the illegitimate son of Maurice Ravel and Edith Piaf. What do you think? Long live those who love the music of the night and the "Left Bank" of Paris. CVD
For God's sake. Poulenc is Poulenc. Not a blend or imitator. Cannot think of a composer who was able to express so much human joy and despondece in his compositions. He defies comparison!
@@musicclasical Poulenc was always entirely open about the many composers whose music influenced him, and expressed his gratitude. He had an extraordinary gift for taking rhythmic, melodic or other elements from other people's works and transforming them into "200% Poulenc" (as he once put it). The opening of his Gloria reworks a piano piece by his beloved musical "father" Stravinsky, and the ostinato underlying the final scene of Dialogues of the Carmelites is likewise "lifted" from the opening of Oedipus Rex. He reminds me in this regard of Handel, with the difference that in the latter's case the era in which he lived took a somewhat different view of what constituted originality.
Poulenc's music now makes the most amount of music out of all classical composers after Ravel became public domain, so its not like he is truly overshadowed. And you disrespect of serial music would have been frowned upon by Poulenc himself, who, along with Messiaen, were huge fans of the music of Berg.
Obviously this is a mixed music: Préambule is too chopin Cadence is too bach no.1 is too rachmaninoff no.2 is too scriabin no.3 is too schumann no.4 is too liszt no.5 is too scriabin no.6 is too haydn no.7 is too ravel no.8 is too prokofiev Cadence is too bach Final is too schumann and chopin and debussy
![Noob To Max With DRAGON REWORK In Blox Fruits [FULL MOVIE]](http://i.ytimg.com/vi/LnBMOinoOvA/mqdefault.jpg)
![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](/img/1.gif)
Superb music! Every time I'm in Paris, I visit his grave......
fantastic, my God it's like he's a perfect blend of satie and prokofiev. two of my favourites.. thank you for uploading.
+nicksatie You're very welcome! It's always reminded me of Ravel's Valses Nobles et Sentimentals. I can now see the Prokofiev in it now that you mention it!
I think it's a bit like Ravel only because they're both French, all those French composers sound a little alike. Wonderful, though.
Ravel was actually spanish.
I looked it up on Wikipedia. He's Basque and Spanish but that makes Ravel... by far the greatest French composer to ever have come out of Spain. Sincerely, Charles.
Hi toothless, did we mention Gay. But I don't think it came from his mother side. But I do love the Swish parts, Left Bank, if you know what I mean? Swishing down Pigalle with "nom du gare." As T.S. Elliot said, "Lumber, lumber, lumber. Mince, mince, mince. Lumber, lumber. Mince, mince. Lumber, lumber. Mince! Lumber mince, lumber mince, lumber mince." Blessings, dear toothless toe. Charles le Faux.
Some of Poulenc's finest work in my estimation. He took Satie's piano works, turned them into orchestral pieces, and then back into piano miniatures. How else to describe Poulenc's achievement here!
uhhh! Just Poulenc! It's certainly his own style!
J'ai exactement cet enregistrement avec Rogé sur disque... fascinant... surtout Poulenc, le compositeur qui m'a ouvert le monde entier de la musique moderne.
Un génie ! Poulenc sait tout faire , c'est une éponge : il passe d'un style à un autre dans la même mesure . J en profite il semble faire une citation de Mélancolie vers 1:46. Le seul qui est au dessus est Debussy ...
These really are sublime. And so beautifully played!
This music is new to me. What a wonderful discovery!
Hallo Charles Davis. I do know Poulenc's organ concerto, but I'm afraid I hate the organ! It's his piano music that delights me. Oh, and his flute sonata.
Thanks Alan; I'll be sure to give a listen. CVD
Charles: Good to make your acquaintance! In love nearly all 20th century French piano music. If you don't know the work already, try also Ravel's Le Tombeau de Couperin. So beautifully touching because it covers a lot of sorrow.
4:32 the theme texture and rythm of that piece reminds to me the Chopin Prelude in A flat Major...
J’ai vu & entendu des fontaines de lait chocolaté jaillir de son paradis, sans rire les étoiles ont commencé à discuter et ont cessé de défiler et nous de nous saisir de leurs ors dès l’aurore. Le soleil s’est étourdi et la lune, remuée, s’est camouflée derrière un pan de nuages en forme de barbapapa, c’est merveilleux ne le crois-tu pas ?
This certainly brightened my day.
Thank you for posting this wonderful work, and for your informative notes. One correction: Poulenc did not later "[omit] several of the variations," but merely indicated a sizable optional cut (Nos. 4, 5 & 6) in the new edition of the published score. He told pianist Gabriel Tacchino, who studied with him, that when he recorded the piece, he was to make the cut (for some reason Poulenc had taken a dislike to this work). While Tacchino respected the composer's wishes, others have included all the numbers, as Pascal Rogé does here. UPDATE (2022). It turns out Poulenc actually did make a cut in the new edition of the score: in the Final (Finale), at the double bar on p 29 (20:40 in this performance), he expunged a substantial amount of music that had been printed in the original edition. The first, and so far as I know only pianist to record the full original text is Antony Gray, on his splendid 5CD set of Poulenc's complete solo piano music. The abridgement shortens the playing time of the Final by about one-third -- Rogé's traversal of the shortened text of the Final takes 3'53"; Gray's restored version runs 6'01:
ruclips.net/video/kEQtJwwAbaA/видео.html
Any ideas where that "restored version" might be? Is it available for purchase or is it basically just the original manuscript?
@@FabienProxTrm It was presumably published in the original edition, so there must be copies in various libraries.
Poulenc is really brilliant. My choir sang "Les Tisserands" in quarantine style. Write this down in the research. You will love it for sure:
Corale Novarmonia - Les Tisserands (F. Poulenc)
Bravo maestro Poulenc. Greetings from CDMX
really nice stuff ... :-)
This into is like from a modern prog death metal band. I actually hear it in 4/4 rather than in 3/4. Like intro bar + 8/4 + 8/4 + 2/4 + 9/4 (or 8/4 + 1/4) + 5/4 (3/4 + 2/4) + 5/4 and then normal 3/4, If I try counting it in 3/4 it just doesn't sound right to me and I can't move to it. I guess it is written in 3/4 for easier reading for performer.
0:24-0:30 is so cool.
vers 1:42 citation de mélancolie un autre chef d'oeuvre de Poulenc
Cool
So stunning, queer, tender, beautiful ahhhh just amazing
Poulenc just gives me such joy
@@OctopusContrapunctus SAAAAAME!!!
i see poulenc likes to get straight to the point
1:20, 10:14, 16:19
I think he may have been the illegitimate son of Maurice Ravel and Edith Piaf. What do you think? Long live those who love the music of the night and the "Left Bank" of Paris. CVD
From what one can read of Ravel, I'd say highly unlikely ! But perhaps you weren't entirely serious, Charles ...
strange that this was Poulenc's least favorite of his own solo piano works
What was his favorite?
Cadance sounds like Baroque
Unmistakably French
For God's sake. Poulenc is Poulenc. Not a blend or imitator. Cannot think of a composer who was able to express so much human joy and despondece in his compositions. He defies comparison!
Maybe not imitator but composers were influencing and/or influenced by other composers as well
@@musicclasical Poulenc was always entirely open about the many composers whose music influenced him, and expressed his gratitude. He had an extraordinary gift for taking rhythmic, melodic or other elements from other people's works and transforming them into "200% Poulenc" (as he once put it). The opening of his Gloria reworks a piano piece by his beloved musical "father" Stravinsky, and the ostinato underlying the final scene of Dialogues of the Carmelites is likewise "lifted" from the opening of Oedipus Rex. He reminds me in this regard of Handel, with the difference that in the latter's case the era in which he lived took a somewhat different view of what constituted originality.
10:13
Rogé....
Pas de concurrence sur la musique de Satie et de Poulenc !!!
7:48
10:42
ispirato
How in the hell were composers like Franck and Poulenc overshadowed by f'ing Shoenberg and his ilk? Meh.
Forreal tho
Poulenc's music now makes the most amount of music out of all classical composers after Ravel became public domain, so its not like he is truly overshadowed. And you disrespect of serial music would have been frowned upon by Poulenc himself, who, along with Messiaen, were huge fans of the music of Berg.
Franck was dead long before Poulenc became known.
Obviously this is a mixed music:
Préambule is too chopin
Cadence is too bach
no.1 is too rachmaninoff
no.2 is too scriabin
no.3 is too schumann
no.4 is too liszt
no.5 is too scriabin
no.6 is too haydn
no.7 is too ravel
no.8 is too prokofiev
Cadence is too bach
Final is too schumann and chopin and debussy
And yet it is all - as the composer once said about another work of his - "200% POULENC." :-)
帅哥 真够瞎说的
@@LiLi-qf7mf 是的，所有美丽的事物通常都是荒谬的