Crystal Hall, Oboe, Karl Rzasa, Bassoon, Adam Marks, Piano
I. Presto; II. Andante; III. Rondo
During
the 1920s Poulenc consciously began to pursue a neo-Classical ideal, fashioning
many of his works in the molds of Stravinsky and late Debussy. In his Trio for
piano, oboe and bassoon—the composer's first true chamber work—he imitated the
French Baroque style, with its emphasis on clarity, balance, simplicity and a
generous dose of humor. In a letter to the critic Claude Rostand, Poulenc
admitted that "I love my Trio because it sounds clear and it is well
balanced."
The Trio, which is cast in a traditional three-movement form is imbued with
elegant symmetries throughout. As Poulenc acknowledged, the first movement
rather self-consciously emulates Haydn, while the Rondo draws from the Scherzo
of Saint-Saëns' Piano Concerto No. 2. Yet a sly sense of humor is never far
beneath the surface. Early in the first movement, the oboe and bassoon play a
mocking variation on the military bugle call "Taps," as angular piano
chords provide a jazzy foundation that suggests Duke Ellington. The Andante is
Mozartian in character, while the Rondo is brisk and whimsical.
Classical Music | Ensemble Music
Francis Poulenc
Trio for Piano, Oboe, and Bassoon
PlayRecorded on 08/11/2010, uploaded on 01/13/2011
Musician's or Publisher's Notes
Crystal Hall, Oboe, Karl Rzasa, Bassoon, Adam Marks, Piano
I. Presto; II. Andante; III. Rondo
During the 1920s Poulenc consciously began to pursue a neo-Classical ideal, fashioning many of his works in the molds of Stravinsky and late Debussy. In his Trio for piano, oboe and bassoon—the composer's first true chamber work—he imitated the French Baroque style, with its emphasis on clarity, balance, simplicity and a generous dose of humor. In a letter to the critic Claude Rostand, Poulenc admitted that "I love my Trio because it sounds clear and it is well balanced."The Trio, which is cast in a traditional three-movement form is imbued with elegant symmetries throughout. As Poulenc acknowledged, the first movement rather self-consciously emulates Haydn, while the Rondo draws from the Scherzo of Saint-Saëns' Piano Concerto No. 2. Yet a sly sense of humor is never far beneath the surface. Early in the first movement, the oboe and bassoon play a mocking variation on the military bugle call "Taps," as angular piano chords provide a jazzy foundation that suggests Duke Ellington. The Andante is Mozartian in character, while the Rondo is brisk and whimsical.
More music by Francis Poulenc
Sonata for Flute and Piano
Sonata for Cello and Piano
Hommage à Edith Piaf
Mon cadavre est doux comme un gant, from Fiançailles pour rire
Les soirées de Nazelles
Fiançailles pour Rire
Les chemins de l'amour
Concerto for Two Pianos and Orchestra
Piano Concerto in C sharp minor, FP 146
Three Novelettes for piano
Performances by same musician(s)
String Quartet No. 11 in f minor, Op. 95, Serioso
Flute Quartet No. 1 in D Major
Excerpts from The Catherine Wheel
Piano Quartet in E flat major, op. 47
Langsamer Satz
Trio in E-flat Major for Horn, Violin, and Piano Op. 40
Clarinet Trio, Op. 114
Passacaglia, after Handel’s Suite No.7 for Harpsichord
Crisantemi
String Quartet No. 9
Classical Music for the Internet Era™