
Most of the secular choral works of Francis Poulenc have enjoyed respectable treatment on disc–but not for awhile. This newcomer not only is equal to
These performances represent one of the unchallenged peaks in the history of French song on disc. Since the day they were issued in 1963, Régine
Bernard Haitink’s somewhat stogy tempo for the opening movement of Poulenc’s Gloria (Gloria in excelsis deo) initially raises fears of a dull performance to come.
Paul Taffanel’s Wind Quintet is a lovely, tuneful work beautifully written for the ensemble, and full of interesting sonorities for the five players. It sounds
Here is yet another superlative recording that some collectors may inadvertently pass over–even chamber music enthusiasts. After all, cello sonatas aren’t everyday fare, and these
This is an excellent disc on all fronts. Pianist Lambert Orkis, a real chamber music pro, provides the unifying thread that ties together and makes
Midori and pianist partner Robert McDonald tear into Poulenc’s melodramatic Violin Sonata with unbridled ferocity, clearly enjoying the opportunities offered to display reckless excesses of
Poulenc’s a cappella motets are such great pieces it’s unfortunate that we don’t hear them sung (or recorded) more often. It’s not that more choirs
Poulenc’s ballet Les animaux modèles is typically delightful, and it has enjoyed very few recordings. This one is proficient but somewhat lacking in sheer character.
This enticing collection for the most part contains very fine performances by the piano duo Quattro Mani. Best of all is the Milhaud Concerto No.