´óÏó´«Ã½

Donald Macleod looks at Poulenc’s precarious state of mind towards the end of his life.

Donald Macleod explores five aspects of Poulenc’s 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’s 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.

Contentment was never Poulenc’s state of mind for very long towards the end of his life: after suffering from insomnia for several years he had come to rely on barbiturates. Though his partner Louis was loyal and provided stability for him, the composer was full of self-doubt. In the final programme this week Donald Macleod looks at Poulenc’s search for peace in his final years.

Sonata for Flute and Piano (2nd Mvt)
Edmond Defrancesco, flute
Francis Poulenc, piano

Gloria
City of Birmingham Symphony Orchestra
Louis Frémaux, conductor

Élégie for horn and piano
Richard Watkins, horn
Ian Brown, piano

Sept Répons des Ténèbres (Mvts V-VI-VII)
Libby Crabtree, soprano
The Sixteen
´óÏó´«Ã½ Philharmonic
Harry Christophers, conductor