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 | | Poulenc was anxious to point out that the work was not simply the result of a “stream of consciousness”, but that the first and last movements were based on structures by Haydn and Saint-Saëns respectively. |
 | | Poulenc was never to lose his love of wind instruments, but there does appear to have been a mild rapprochement in the 1940s with the hitherto slighted strings, both in the Sonatas for violin and for cello with piano, and in orchestral works such as the Piano Concerto and, particularly, in the Sinfonietta of 1947. |
 | | Both the Flute Sonata and the Clarinet Sonata, the latter dedicated to the memory of Arthur Honegger, follow the early chamber works in their 3-movement, fast-slow-fast patterns, with a moderate first movement of almost religious serenity, a gentle middle one in a contrasting key, and a sprightly finale. |
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