POULENC Chamber Music PASCAL ROGE Sextour SONATE Trio PORTAL

ITEM 1.) Pascal Roge; Poulenc Chamber Music;

PLAY LIST: Sextuor pour piano, flute, hautbois, clarinette, basson et cor;

Sonate pour clarinette et piano;

Sonate pour flute et piano;

Sonate pour hautbois et piano;

Trio pour piano, hautbois et basson;

Total Timing: 72:12;

Pascal Roge, Piano;

Patrick Gallois, Flute;

Maurice Bourgue, Oboe;

Michel Portal, Clarinet;

Amaury Wallez, Bassoon;

Andre Cazalet, Horn;

???"This recording was made using B&W Loudspeakers";

Cover Illustration by Hilary McManus;

Liner (Program) Notes;

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HISTORICAL NOTE: "Francis Jean Marcel Poulenc (7 January 1899 - 30 January 1963) was a French composer & a member of the French group Les Six. He composed solo piano music, chamber music, oratorio, opera, ballet music, & orchestral music. Critic Claude Rostand, in a July 1950 Paris-Presse article, described Poulenc as "half monk, half delinquent" ("le moine et le voyou"), a tag that was to be attached to his name for the rest of his career. Poulenc was born in Paris in 1899. His father Emile Poulenc was a 2nd generation director of the Poulenc, & later Rhône-Poulenc, chemical corporation. His mother, an amateur pianist, taught him to play. He was a capable pianist & the keyboard dominated his early compositions. Later in his life, the loss of close friends, coupled with a pilgrimage to the Black Madonna of Rocamadour, led him to rediscover the Roman Catholic faith & resulted in compositions of a more sombre, austere tone. Poulenc was a member of Les Six, a loose-knit group of young French & Swiss composers (it also included Milhaud, Auric, Durey, Honegger & Tailleferre) who had links with Erik Satie, Jean Hugo & Jean Cocteau. He embraced the Dada movement's techniques, creating melodies more appropriate for Parisian music halls than the concert hall. He was identified with this group before he undertook his 1st formal musical training, with Charles Koechlin in 1921. Poulenc's music is fundamentally tonal; although he made use of harmonic innovations such as pandiatonicism, chromatically altered chords, & even 12-tone rows (in a few of his last works), Poulenc never questioned the validity of traditional tonic-dominant harmony. Lyrical melody pervades his music & underlies his important contributions to vocal music, particularly French art song. Poulenc's career as a composer can be divided into several periods. The 1st, which lasted through the 1920's, was the time when he was most closely associated with Les Six. Poulenc's most immediate influences during this period were Chabrier, Debussy, Satie, & Stravinsky, & he generally followed the irreverent, flippant aesthetic stance of Les Six with works such as Les Biches (1923), Concert Champêtre (1928), & Concerto for two pianos & orchestra (1932). Poulenc's religious reawakening in 1936 resulted in the creation of his 1st sacred pieces, Litanies à la Vierge Noire de Rocamadour (1936) & the Mass in G (1937); this trend toward "new dimensions & greater depth" in the composer's style was solidified by the song cycle Tel jour, telle nuit (1937) & Concerto in G minor for organ, strings, & timpani (1938). The remainder of Poulenc's career consisted of a "gradual deepening & distillation" of his basic style, & featured an increased concentration on sacred music & music for the stage, including Les Mamelles de Tirésias (1947), Stabat Mater (1950), Dialogues des Carmelites (1957), Gloria (1959), & Sept répons des ténèbres (1962). Among Poulenc's last major works is a series of sonatas for wind instruments & piano. He was particularly fond of woodwinds, & planned a set of sonatas for all of them, yet only lived to complete four: sonatas for flute, oboe, clarinet, & the Elégie for horn. Poulenc had only one piano student, Gabriel Tacchino, who has performed & recorded all his piano music, lending it a unique insight. Poulenc was a featured pianist in recordings, including some of his own songs (with Pierre Bernac, recorded in 1947; & Rose Dercourt) & the Concerto for Two Pianos (recorded in May 1957). He supervised the 1961 world premiere recording of his Gloria, which was conducted by Georges Prêtre. His recordings were released by RCA Victor & EMI. Poulenc's Perpetual Motion No. 1 (1918) is used in Alfred Hitchcock's Rope (1948). Poulenc was a member of a rich industrialist family; Rhône-Poulenc was & is one of the biggest chemical corporations in the world. Some writers consider Poulenc one of the 1st openly gay composers. His 1st serious relationship was with painter Richard Chanlaire, to whom he dedicated his Concert champêtre: "You have changed my life, you are the sunshine of my thirty years, a reason for living & working." He also once said, "You know that I am as sincere in my faith, without any messianic screamings, as I am in my Parisian sexuality." However, Poulenc's life was also one of inner struggle. Having been born & raised a Roman Catholic, he struggled throughout his life between coming to terms with his "unorthodox" sexual "appetites" & maintaining his religious convictions. Poulenc also had a number of relationships with women. He fathered a daughter, Marie-Ange, although he never formally admitted that he was indeed her father. Her mother, "Freddy" is the dedicatee of two of his pieces. He was also a very close friend of the singer Pierre Bernac, for whom he wrote many songs. Poulenc was profoundly affected by the death of friends. In 1923 he was "unable to do anything" for two days after the death from typhoid fever of his twenty-year-old friend, the novelist Raymond Radiguet. However, two weeks later he had moved on, joking to Sergei Diaghilev at the rehearsals he was unable to leave, about helping a dancer "warm up". Then in 1930 came the death of the young woman he had hoped to marry, Raymonde Linossier. While Poulenc admitted to having no sexual interest in Linossier, they had been lifelong friends. In 1936, Poulenc was profoundly affected by the death of another composer, Pierre-Octave Ferroud, who was decapitated in an automobile accident in Hungary. This led him to his 1st visit to the shrine of the Black Virgin of Rocamadour. Here, before the statue of the Madonna with a young child on her lap, Poulenc experienced a life-changing transformation. Thereafter, he produced a sizeable output of liturgical music or compositions based on religious themes, beginning with the Litanies à la vierge noire (1936) & including his opera Dialogues of the Carmelites (1956). In 1949, Poulenc experienced the death of another friend, the artist Christian Bérard, for whom he composed his Stabat Mater (1950). Other sacred works from this period include the Mass in G (1937), Gloria (1959), & Sept répons des ténèbres (1961–2). Poulenc died of heart failure in Paris on 30 January 1963 & is buried at the Père Lachaise Cemetery.";

HISTORICAL NOTE: "Pascal Rogé (Paris, 6 April 1951) is a French pianist. His playing includes the works of compatriot composers Saint-Saëns, Fauré, Debussy, Ravel, Satie, & Poulenc, among others. However, his repertoire also covers the German masters Haydn, Mozart, Brahms, & Beethoven. Rogé 1st appeared in public in 1960 with a performance of Claude Debussy's Preludes. He won the piano prize at the Paris Conservatory & worked for several years with Julius Katchen. At seventeen, he gave his 1st recitals in major European cities, landing an exclusive contract with Decca in the process. He has a particular affinity for French composers such as Debussy, Gabriel Fauré, Ravel & Poulenc. He also performs chamber works, with the Pasquier Trio, & with musicians such as Pierre Amoyal or Michel Portal, with whom he recorded Poulenc & Tchaikovsky. He gives recitals worldwide, in all the major centres. A friend of conductor Charles Dutoit, he is regularly invited to Canada to work with the Montreal Symphony Orchestra.";