Aubade for piano and 18 instruments

Francis Poulenc (1899-1963) Aubade ('concerto choréographique'), for piano and 18 instruments (1929) 1. Toccata: Lento et pesante. Molto animato 2. Récitatif: Les Compagnes de Diane (Larghetto) 3. Rondeau: Diane et ses compagnes. Allegro. Entrée de Diane. Più mosso. Sortie de Diane. 4. Presto: Toilette de Diane 5. Récitatif: Introduction à la Variation de Diane (Larghetto) 6. Andante: Variation de Diane (Andante con moto) 7. Allegro féroce: Désespoir de Diane 8. Conclusion: Adieux et départ de Diane (Adagio) Gintaras Janusevicius, piano Plathner's Eleven Symphony Orchestra / Alon Sariel Since 5 years "Plathner's Eleven" Concert Series, directed by Lithuanian pianist Gintaras Janusevicius, is one of most famous concert series in Hanover and one of most remarkable students' project in the world. This recording is part of their anniversary concert, where almost 120 musicians took part. More information online on http://www.facebook.com/plathners11 Alon Sariel (Conductor), Gintaras Janusevicius (Piano), Jimena Vicente Alvarez & Öncü Ucar (Flutes), Doga Sacilik & Rafael Aguilar (Oboes), Macdara O Seireadain & Jordi Juan Perez (Clarinets), Daniel Mazaki & Withold Furmanowicz (Bassoons), Algirdas Janusevicius (Trumpet), Felix Klieser, Yeon Sun Oh (Horns), Lindsay McLay & Mihyung Oh (Violas), Rebekka Wittig & Robert Jackson (Cellos), Maximilian Weller & Marko Munjin (Double-Basses), Kai Altendorf (Timpani). Poulenc's Aubade is a curious if charming blend of piano concerto, ballet, and chamber salon piece. The work's unconventional makeup and manageable scale were in some part determined by its origins: It was commissioned by Poulenc's friends (and noted patrons and salon hosts) Marie-Laure and Charles de Noailles. A concert version was premiered December 1, 1929 in the couple's townhouse, followed by a full stage version on January 21, 1930. Aubade is segmented into eight movements: Toccata, Récitatif, Rondeau, Presto, Récitatif, Andante, Allegro féroce, and Conclusion (Adagio). Given its hybrid structure, it is less a strict piano concerto than a modern cousin to Rameau's opéra-ballets in the galant style. That said, Poulenc fashioned his musical materials with great care and sophistication, blending themes which borrow from such sources as Stravinsky's Le Sacre du printemps and Petrushka, as well as Mozart's keyboard works. Poulenc also incorporates two melodies from earlier minor piano works—a Sérénade from Trois pièces (1928) and the Première nocturne (1929)—which serve to unify the various strands of Aubade. The music alternates between Stravinskian percussiveness and Mozartean lyricism, at the same time incorporating several brass fanfares, gracious eighteenth century rondos and moments of Lisztian grandiosity. Poulenc described Aubade as "amphibious," implying that the role of protagonist is more or less shared between the onstage woman dancer and the pianist in the orchestra pit. The ballet is a series of tableaux said to be inspired