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Track(s) taken from CDA67255/6

Trio for piano, oboe and bassoon


The Nash Ensemble
Recording details: January 1999
Henry Wood Hall, London, United Kingdom
Produced by Andrew Keener
Engineered by Antony Howell & Julian Millard
Release date: November 1999
Total duration: 12 minutes 56 seconds


'An altogether first-class collection of Poulenc's very individual chamber music output played with real sensitivity … .outstanding performances. The whole issue wins my enthusiastic recommendation: it bids fair to become the undisputed yardstick for the future.' (Gramophone)

'A set which will surely and deservedly be popular.' (BBC Music Magazine)

'Thoroughly excellent' (The Observer)

'Entrancing. It's hard to select the choicest treasures from this jewel box of Poulenc's most witty and vivacious, hauntingly melodic and touchingly heartfelt music, especially when it is played with such effervescence and devotion as here. The two masterpieces are the Sextet for Piano and Winds (1932) and the delectable "Mozartian" Trio for Piano, Oboe and Bassoon, played with dashing elan and soulful lyricism by the pianist Ian Brown and the Nash's brilliant wind principals. Richard Watkins's long-breathed account of the moving Elégie in memoriam Dennis Brain (1957) and Paul Watkins's noble-toned playing of the Cello Sonata (1940/48) are exceptional. But there is rapture, elation, zany high spirits in all of this music, dazzlingly played by the Nash Ensemble. Buy, buy, buy!' (The Sunday Times)

'It would be hard to imagine more consistently on-target presentations of Poulenc’s chamber music or more appropriate sound reproduction. Highly recommended' (Fanfare, USA)

'Thirteen pieces lovingly brought to life by the Nash Ensemble. For once, the word 'jewel-box' for the CD container sounds about right.' (BBC CD Review)

'Those who treasure performances of this music should hear this recording to discover the insights which the very best of today's musicians bring to these scores' (Classical Express)
In 1924 Poulenc was at work on his Trio for oboe, bassoon and piano. It was dedicated to Manuel de Falla, the Spanish composer who knew Paris well and also shared Poulenc’s London publisher. Completed at Cannes in 1926, it was, like all the music that occupied his thoughts for any length of time, a subject on which he kept his friends informed. He referred to the Trio in writing to André Schaeffner, André Cœuroy, Charles Koechlin and Igor Stravinsky, acknowledging the latter’s advice. The Trio, Poulenc’s first real success in the field of chamber music, retaining its youthful verve, was first played at the concert he gave with his friend Georges Auric in Paris on 2 May 1926.

from notes by Felix Aprahamian © 1999

En 1924, Poulenc travailla à son Trio pour hautbois, basson et piano, qu’il dédia à Manuel de Falla – compositeur espagnol qui connaissait bien Paris et avait le même éditeur londonien que Poulenc. Achevé à Cannes en 1926, ce Trio fut, comme toutes les pièces occupant ses pensées durant un certain temps, un incessant sujet de discussion avec ses amis. Il y fit ainsi référence dans des lettres à André Schaeffner, André Cœuroy, Charles Koechlin et Igor Stravinski, remerciant ce dernier pour ses conseils. Le Trio constitua le premier vrai succès de Poulenc en musique de chambre, tout de verve juvénile, il fut créé lors du concert que le compositeur et son ami George Auric donnèrent à Paris, le 2 mai 1926.

extrait des notes rédigées par Felix Aprahamian © 1999
Français: Hypérion

Im Jahr 1924 arbeitete Poulenc an seinem Trio für Oboe, Fagott und Klavier. Er widmete es Manuel de Falla, dem spanischen Komponisten, der Paris gut kannte und außerdem denselben Londoner Verleger wie Poulenc hatte. Das 1926 in Cannes fertiggestellte Werk war wie alle Musik, die Poulenc über einen längeren Zeitraum beschäftigte, ein Thema, über das er seine Freunde auf dem Laufenden hielt. Er hat das Trio in Briefen an André Schaeffner, André Cœury, Charles Koechlin und Igor Strawinski erwähnt und sich bei letzterem für dessen Rat bedankt. Das Trio, Poulencs erster echter Erfolg auf dem Gebiet der Kammermusik und ein Werk, das seinen jugendlichen Schwung bewahrt hat, wurde anläßlich des Konzerts uraufgeführt, das er mit seinem Freund Georges Auric am 2. Mai 1926 in Paris gegeben hat.

aus dem Begleittext von Felix Aprahamian © 1999
Deutsch: Anne Steeb/Bernd Müller

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