麻豆约拍

Donald Macleod looks at a turning point in Poulenc鈥檚 life, inspired by a visit to the shrine at Rocamadour, which led him back to the faith of his youth - Catholicism.

Donald Macleod explores five aspects of Poulenc鈥檚 personality and how they find expression in his music. 'In Poulenc there is something of the monk and something of the rascal' said the composer鈥檚 friend Claude Rostand - but there were other sources of inspiration that drove him. From the gregarious exploits of his youth to his serious engagement with Catholicism, from schmoozing in high society salons to the calm he sought at his country retreat and his struggles with depression, Donald surveys the life and music of a man full of contradictions.

鈥淥utwardly nothing happened, yet from that moment everything in the spiritual life of Poulenc changed鈥� 鈥� is how a friend of the composer recalled his visit to the shrine of the Black Madonna at Rocamadour after the death of a colleague. Donald Macleod explores the way in which Poulenc鈥檚 re-engagement with his father鈥檚 faith 鈥� Catholicism 鈥� in 1936, profoundly impacted his work, but also caused him anxiety.

Priez pour paix
Ann Murray, mezzo-soprano
Graham Johnson, piano

Litanies 脿 la Vierge Noire
The Sixteen
Harry Christophers, conductor

Stabat Mater
Carolyn Sampson, soprano
Cappella Amsterdam
Estonian Philharmonic Chamber Choir
Estonian National Symphony Orchestra
Daniel Reuss, conductor

Sonata for Two Pianos (3rd Mvt)
Roland P枚ntinen, piano
Love Derwinger, piano

Dialogues des Carm茅lites (Act II, Sc 4)
Josephine Barstow, soprano (Mother Marie of the Incarnation)
Catrin Wyn-Davies, soprano (Blanche)
Ryland Davies, tenor (Chaplain)
Sarah Tynan, soprano (Sister Constance of Saint-Denis)
Jane Powell, mezzo-soprano (Mother Jeanne of the child Jesus)
James Edwards, tenor (First Commissioner)
English National Opera Chorus and Orchestra
Paul Daniel, conductor