Francis Poulenc(1899-1963)
       Solo Piano Works

Melancolie(1940)
Trois mouvements perpetuels(1918)
Suite francaise d'apres Claude Gervaise(1935)
Francaise d'apres Claude Gervaise(1939)
Piece breve sur le nom d'Albert Roussel(1929)
Badinage(1934)
Les soirees de Nazelles(1930/36)
Humoresque(1934)
Valse-improvisation sur le nom de Bach(1932)
Cinq impromptus(1920)-Revised 1939 edition
Presto in B flat major(1934)

Naxos 8.553930
Volume 2
Recorded 1995
Olivier Cazal, Piano
TT 61:46

In Part 1 my recommendation was against acquiring Volume 1 of Olivier
Cazal's traversal of the solo piano works of Poulenc.  I found his
performances lacking much of the Poulenc idiom to the point where even
the low Naxos price is no inducement to purchase.

Cazal's performances are much better in Volume 2, and I'm at a loss to
explain why.  Volume 1's lack of nuance, sensuality, and zest for life
are largely turned around by Cazal in Volume 2; the sound is also richer
and more vital.  A different reviewer, covering both volumes, also found
Cazal much better in Volume 2 but did not offer any reasons.  Since the
performances in both releases take place in the same small time-frame with
all conditions apparently the same as well, there isn't any reason to
offer.  Reasons or not, Volume 2 is highly worthy music-making and well
deserves a spot in the Poulenc enthusiast's music library.

Below are some musings about specific works and the performances on the
program:

Melancolie - I am surprised!  The performer needs to give this music
sensuality, grace, and a dreamy atmosphere; Cazal gives it just that in
a lovely and appropriately urgent reading.  I am hard-pressed to explain
the wide swing from the performances in Volume 1.  To further confuse
matters, the sound quality is much better; this time it is vivid with fine
richness.  However, there is no difference in the two volumes concerning
dates, location, instrument, producers, or engineers.  Whether this is all
an aberration from the first track or a wonderful sign of things to come
will soon unfold.

Trois mouvements perpetuels - Although the first two movements convey much
reward, it's the last which most wins my heart as it alternates between
Poulenc's love/exuberance for life and his aching sexual imagery.  As in
the "Melancolie", Cazal again excels with the most nervous sexual energy I
could imagime.  Also, the rhythm from his bass line in the first movement
is stunning.

Suite francaise - Cazal continues at his best, as he invests the fast
movements with much elan and the slower ones with mystery and depth.
I especially like his mesmorizing sixth movement(Sicilienne).  My sole
reservation is that a lighter touch would have been beneficial in the
spirited last movement Carillon.

Piece breve sur le nom d'Albert Roussel - This is a brief piece
particularly when performed by Cazal.  Poulenc's contribution to a
multi-composer homage to Roussel is quite witty, rather sly, and full of
life's pleasures.  Cazal is more harsh than anything else, and his fast
speed cuts off most of the music's lyricism.  Switch to Gabriel Tacchino
and the wit and exuberance are in full supply with a tempo just a little
slower than Cazal's.

Badinage - Another short piece with two primay themes; the first bustles
along while the second has a lovely and cheerful melody.  I love the way
Cazal motorizes the first theme, and his second theme is as lovingly
presented as in any other version.  Most important, Cazal fully captures
Poulenc's zest for life, a quality not often in evidence in Cazal's Volume
1.

Les soirees de Nazelles - Representing Poulenc's ideas about time spent
in the coutryside of France, this work is hardly just a good-natured romp
in the idyllic country.  It consists of a Preambule, eight variations,
a Cadence, and a Finale.  The work is easily the most extended of the
program, taking up over twenty minutes of disc space.

We can tell from the Preambule that Poulenc is all over the emotional
field; he ranges from his easy-going and sensual salon style to the
extremes of remorse, exuberance, and playfulness.  The 1st variation
couldn't be more playful or coy as Poulenc teases us at every turn.  The
2nd variation takes us completely into Poulenc's sensual world of multiple
climaxes, and the 3rd variation is quick-silver and exciting.  The 4th and
5th variations evoke more sexual urges with the 4th beginning in brutal
fashion.  The 6th and 8th variations are filled with an astringent wit and
playful nature.  For strikingly gorgeous and poignant music, the 7th
variation is especially rewarding.

Cazal does fine work in Les soirees de Nazelles.  He conveys the wide
emotional breadth of the Preambule, and his playful nature is well on
display in the 1st variation.  Sensuality holds no problem for Cazal as
evidenced by his urgent 2nd variation, and the 3rd variation finds Cazal
streaking through the keyboard with an alternately delicate and robust
exuberance and excitement.  In the 5th variation, Cazal's nervous sexual
energy seems to have an electric current at its roots and is very different
from the slow and sultry representation by Paul Crossley.  Cazal easily
captures the playful and humorous elements of the 6th and 8th variations,
and his 7th variation is the most heart piercing I've heard.

Humoresque - Anyone who might be skeptical of Poulenc's zest for living
need only listen to his Humoresque.  The thrill of life springs out of the
score, and the less cheerful passages just indicate that Poulenc takes life
with all its warts, angst, and foreboding.

My favorite version of Humoresque comes from Gabriel Tacchino on EMI.
His fast but not frantic reading best displays Poulenc's energized
approach to existence.  Versions from Pascal Roge and Paul Crossley are
slower than Tacchino's and don't have his lift.  Cazal certainly offers
lift in his 'speeding bullet' performance.  Due to its frantic pace and
some heavy-handed playing, Cazal is no match for Tacchino.  However, I do
prefer him to Roge and Crossley as I feel he does convey the music's
essential energy.

Cinq impromptus - These pieces are not among Poulenc's most popular,
because he is experimenting with bitonality.  Each is rewarding,
particularly the Tres modere and Andante movements.  In Tres modere,
Poulenc takes us from a sprightly gait to motorized determinations to the
wonder of discovery; Cazal isn't very good here as his motor isn't purring
well and his wonder is much too blatant.  However, he's sensational in the
Andante with his incisive display of the music's contrasts through
bitonality.

Don's Conclusions - Skip Cazal's Volume 1 and go directly to Volume 2.
This would be a fine choice at premium price; at the Naxos price, it's
a steal.  The other reviewer I mentioned earlier felt that the music in
Volume 2 is superior to Volume 1.  I don't really agree with that; it
is Cazal who is making the difference.  Non-competitive in Volume 1 and
inspirational in Volume 2, I wouldn't bet a dime on what Cazal will give
us in Volume 3.

Don Satz