C'est ma version préférée de cette superbe pièce de Poulenc, et Frank Leguérinel est le baryton idéal pour la chanter : voix souple et précise, intonations toujours parfaitement choisies, jusqu'à cette impeccable voix de fausset dans le final. Merci.
Very fine performance, and it's great having the score to look at, a solo keyboard reduction that gives the essentials plus a few unplayable cues from the full chamber score. As do most Poulenc fans, I love this little cantata, and for a time I was baffled as to why it was so infrequently performed in public. The answer came after I listened to one rather sub-par live performance on TH-cam: The often-tricky instrumental parts are manageable, as is the vocal writing, but all the performers have be agile and must scrupulously stick to the conductor's beat or the witty writing falls flat.
+Mezzotenor Indeed, I too was wondering why this piece is so seldom played, I only know this recording. I think the explanation you provide must be the reason it is rarely heard on stage.
+olla-vogala There is a wonderful recording with José van Dam and Kent Nagano conducting Poulenc (Bal masqué) + Ravel (Don Quichotte à Dulcinée) Ibert (4 chansons de Don Quichotte) and F. Martin (6 Monologe aus Jedermann)
+Les Ponts Musicaux Absolutely, I have that original 1990 disc. The couplings are interesting in themselves, e.g., Ibert including a rare use of harpsichord in the accompaniment. That "Bal Masqué" has the agile playing it needs, and I greatly appreciate van Dam's reluctance to ham it up and make the satire childish. Nagano has a couple slowish moments in the outer movements I'd have done differently. I wager the disc was part of the contract that brought together the conductor and cast for "Dialogues of the Carmelites," which recording, in my view, was part of the opera's transition into the permanent repertoire.
This comes from the excellent 5 CD series of Poulenc's complete chamber music under pianist Alexandre Tharaud (Naxos). Among the other pleasures are two performances of Babar, the Little Elephant (for speaker and piano), one each in French and English, both narrated by children; and the famous waltz that Poulenc wrote for Yvonne Printemps, Les chemins de l'amour, performed enchantingly by the legendary Danielle Darrieux. A great way to get familiar with this part of Poulenc's catalogue! :-) I also want to caution not to divide Poulenc's oeuvre so neatly into "before" and "after." Yes, the spiritual crisis of the mid-1930s led directly to the re-awakening of his Catholic faith, with consequences for his music both immediate (Litanies to the Black Virgin, Four Lenten Motets, Mass, Priez pour paix, etc.) and longer-term (Four Christmas Motets, Stabat Mater, Gloria, etc.); secular works, too (Dialogues of the Carmelites, Figure Humaine, Un soir de neige, Elegy for Horn and Piano). That he grew as a composer throughout his life cannot be denied, despite the fact that many people seemed determined to stereotype him as one of Les Six, and nothing more. When you really listen to his pre-1935 music, however, you sense a deep melancholy (as early as The Bestiary) and inner tension (Aubade), not to mention an edge of aggression amid all the wit and playfulness (this piece!). As with Liszt - another woefully misunderstood composer! - the worldly and the transcendental elements of his make-up interacted fruitfully. Still one of the most underrated and misunderstood of the great 20th century composers; but musicians and audiences know better, and continue to enjoy his music. Thank you. :-)
Some Poulenc masterpieces: 1. voice & chamber ensemble - LE BAL MASQUE; 2. voice & piano: TEL JOUR TELLE NUIT; 3. chorus a cappella: FIGURE HUMAINE (secular) / 4 MOTETS POUR UN TEMPS DE PENITENCE (sacred); 4. keyboard & orchestra: CONCERTO FOR 2 PIANOS or ORGAN CONCERTO; 5. chamber music: SEXTET or SONATA FOR FLUTE or SONATA FOR CLARINET; 6. opera: DIALOGUES DES CARMELITES 7. top masterpiece: DIALOGUES DES CARMELITES. Poulenc wrote A LOT of great music! :-)
![Francis Poulenc - Le bal masqué [With score]](http://i.ytimg.com/vi/kTqC28EKFFs/mqdefault.jpg)
![Francis Poulenc - Le bal masqué [With score]](/img/tr.png)
C'est ma version préférée de cette superbe pièce de Poulenc, et Frank Leguérinel est le baryton idéal pour la chanter : voix souple et précise, intonations toujours parfaitement choisies, jusqu'à cette impeccable voix de fausset dans le final. Merci.
Cette musique me bouleverse et me fait mal, c'est mon enfance qu'on me rappelle.
very nice very swag i like it
Very fine performance, and it's great having the score to look at, a solo keyboard reduction that gives the essentials plus a few unplayable cues from the full chamber score. As do most Poulenc fans, I love this little cantata, and for a time I was baffled as to why it was so infrequently performed in public. The answer came after I listened to one rather sub-par live performance on TH-cam: The often-tricky instrumental parts are manageable, as is the vocal writing, but all the performers have be agile and must scrupulously stick to the conductor's beat or the witty writing falls flat.
+Mezzotenor Indeed, I too was wondering why this piece is so seldom played, I only know this recording. I think the explanation you provide must be the reason it is rarely heard on stage.
+olla-vogala There is a wonderful recording with José van Dam and Kent Nagano conducting Poulenc (Bal masqué) + Ravel (Don Quichotte à Dulcinée) Ibert (4 chansons de Don Quichotte) and F. Martin (6 Monologe aus Jedermann)
+Les Ponts Musicaux Absolutely, I have that original 1990 disc. The couplings are interesting in themselves, e.g., Ibert including a rare use of harpsichord in the accompaniment. That "Bal Masqué" has the agile playing it needs, and I greatly appreciate van Dam's reluctance to ham it up and make the satire childish. Nagano has a couple slowish moments in the outer movements I'd have done differently. I wager the disc was part of the contract that brought together the conductor and cast for "Dialogues of the Carmelites," which recording, in my view, was part of the opera's transition into the permanent repertoire.
This comes from the excellent 5 CD series of Poulenc's complete chamber music under pianist Alexandre Tharaud (Naxos). Among the other pleasures are two performances of Babar, the Little Elephant (for speaker and piano), one each in French and English, both narrated by children; and the famous waltz that Poulenc wrote for Yvonne Printemps, Les chemins de l'amour, performed enchantingly by the legendary Danielle Darrieux. A great way to get familiar with this part of Poulenc's catalogue! :-) I also want to caution not to divide Poulenc's oeuvre so neatly into "before" and "after." Yes, the spiritual crisis of the mid-1930s led directly to the re-awakening of his Catholic faith, with consequences for his music both immediate (Litanies to the Black Virgin, Four Lenten Motets, Mass, Priez pour paix, etc.) and longer-term (Four Christmas Motets, Stabat Mater, Gloria, etc.); secular works, too (Dialogues of the Carmelites, Figure Humaine, Un soir de neige, Elegy for Horn and Piano). That he grew as a composer throughout his life cannot be denied, despite the fact that many people seemed determined to stereotype him as one of Les Six, and nothing more. When you really listen to his pre-1935 music, however, you sense a deep melancholy (as early as The Bestiary) and inner tension (Aubade), not to mention an edge of aggression amid all the wit and playfulness (this piece!). As with Liszt - another woefully misunderstood composer! - the worldly and the transcendental elements of his make-up interacted fruitfully. Still one of the most underrated and misunderstood of the great 20th century composers; but musicians and audiences know better, and continue to enjoy his music. Thank you. :-)
It was nice seeing the score to this
Francis Poulenc's masterpiece according to Guy Sacre.
Some Poulenc masterpieces: 1. voice & chamber ensemble - LE BAL MASQUE; 2. voice & piano: TEL JOUR TELLE NUIT; 3. chorus a cappella: FIGURE HUMAINE (secular) / 4 MOTETS POUR UN TEMPS DE PENITENCE (sacred); 4. keyboard & orchestra: CONCERTO FOR 2 PIANOS or ORGAN CONCERTO; 5. chamber music: SEXTET or SONATA FOR FLUTE or SONATA FOR CLARINET; 6. opera: DIALOGUES DES CARMELITES 7. top masterpiece: DIALOGUES DES CARMELITES. Poulenc wrote A LOT of great music! :-)
I remember finding this piano solo version of this piece and now can't find it...help anyone?
nevermind! If you're interested let me know and I'll forward to you!
Hiii, can you send it to me?? It would be useful! :3
@@lluiscalvet329 sure what's your email?
@@licoricestic lluiscalvetpey@gmail.com
Is this originally for piano solo??
No but it was arranged for piano and he uses this score so you can see all parts in a non transposing instrument and its easier to read :)
Blake Sorenson Oh, it's a transcription! Thanks for telling
Yawn. La version originale avec Poulenc au piano et Bernac est la lame qui tranche cette guimauve d’interprétation.