Forced to spend much time during World War II in small towns outside his beloved Paris, Poulenc composed steadily in order to sustain himself through hardship and bouts of depression. His style underwent certain changes—a kind of neo-Romanticism in the 1940s and a lyrical religious infusion in his late years—but he always retained something of his original style, which perhaps most epitomized the ideals of Les Six (a group of brash young composers in Paris in the early 1920s). During these later years, his work alternated between years of composing and giving concerts.

Poulenc started working on his Cello Sonata in 1940 as part of a conscious effort to become more comfortable writing for solo string instruments. His work on this piece was ongoing for many years through the completion of his Violin Sonata in 1943, his first successful work for solo strings. With the technical expertise and advice of cellist Pierre Fournier, the Cello Sonata was completed by 1948 and despite Poulenc’s lack of confidence, it has become known as one of the most difficult and creative cello sonatas in the standard repertoire. The work includes frequent shifts in mood and requires a delicate balance between humor and melancholy. It was dedicated to Fournier; he and Poulenc performed it many times in the 1940s and '50s.

The first movement is in sonata form and consists of frequent shifts in mood, dynamics, and meter. The energy fluctuates suddenly between stormier Romantic gestures and lighter phrases. The soft, simple ending contrasts with this drama and confirms the humor of Poulenc’s writing.

Cavatine, the second movement, opens with a gentle, beautiful melody over rich, heavily pedaled tones in the piano. The melody darkens after this initial phrase with the texture turning breathy at times over a more animated piano accompaniment. The thick piano texture returns throughout the movement.

The Ballabile is energetic and danceable, as the name suggests, with playful responses between the cello and the piano. Nimble pizzicato sections alternate with smoother, connected phrases. The carefree energy continues throughout, and Poulenc writes several reminders to the performers to persist without slowing.

Lastly, the finale is introduced with a more serious and dramatic tone and heavy piano chords before opening up into a faster, leap-filled presto passage requiring agility from both performers. The seriousness of the previous movements is recalled in contemplative, lyrical sections before the drama of the opening returns in a final largo phrase.

—©Jane Vial Jaffe, Ainsley Berryhill