Zéphyros Winds
“Francis Poulenc Festival” on the Poulenc Centenary
Under the patronage of H.E. Françoise and Mrs. Bujon de l’Estang
Embassy Seriesa
La Maison Française
Washington, DC
With James Lent, piano
January 8, 1999
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All-Poulenc Program
Sonata for Clarinet and Piano
Élégie for French Horn and Piano
Trio for Oboe, Bassoon, and Piano
Sonata for Flute and Piano
Sextet for Piano and Winds
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Review
The Washington Post, 1/11/99
At La Maison Française, The Perils of Poulenc
By Edmund Morris
As the musical memoirist Ned Rorem remarked on WETA-FM’s “Performance Today” last week, Francis Poulenc (1899-1963) was “the sum of his contradictions.” France’s subtlest composer since Ravel, Poulenc had the misfortune to look like a lumpish comedian and sound like a brass instrument, at least when he talked. This, plus his love of musical horseplay, has often caused him to be misperceived as something of a clown. A spate of Poulenc performances around the world, in honor of his centennial on Jan. 7, should help correct that injustice.
A three-day Poulenc Festival was offered by the Washington Embassy Series at La Maison Francaise Thursday through Saturday. It confined itself to songs and chamber compositions, all of them delicately proportioned, and thus gave little indication of Poulenc’s larger mastery, as exemplified, for example, in his darkly powerful church music.
Still, there was enough poised melody (Poulenc’s particular gift), to enchant the ear, not to mention silken textures and harmonies whose sweetness, like that of Northern French apples, was always tinged with acid.
Nadine Jeong-Eun Hur’s performance of the 1956 Flute Sonata on Thursday evening captured this piquancy. There is a little codetta (Poulenc had Mozart’s ability to end with perfect promptness) in which the flute flickeringly arpeggiates the triad of E major, while the pianist’s left hand does the same in E minor. The shivery discord dissolves in less than a second, but the precision with which Hur and her partner, the mercurial James Lent, brought it off was exemplary.
Hur and Montone are members of the Zephyros Wind Quintet. Their three young colleagues, Michael Aaron Bepko (clarinet), Douglas Quint (bassoon) and James Roe (oboe) did stellar work Thursday evening, before a black-tie audience. Bepko’s flawless tone in the Clarinet Sonata (1962) persuasively suggested that his instrument, of all others, is the one best suited to Poulenc’s characteristic cool arches of melody.
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