Francis Poulenc’s Sonata for Flute and Piano: A Performance and Interpretative Perspective

The article examines interpretive approaches to Francis Poulenc’s Sonata for Flute and Piano (1957) within the neoclassical chamber idiom. Reflecting on how a work is realized in performance, the author highlights the interplay of objective and subjective elements in interpretation. The sonata’s genre and stylistic profile is discussed in terms of its symphonic character, dramaturgical design, and thematic unity. The article also offers a comparative analysis of two recorded interpretations—by the duos Emmanuel Pahud (flute) / Éric Le Sage (piano) and Bruno Cavallo (flute) / Bruno Canino (piano)—considering contrasting approaches to overall form, intonational nuance, metrical and rhythmic pulse, timbral coloring, and dynamic shaping. The study argues that Poulenc’s Sonata for Flute and Piano embodies New French Classicism and exemplifies an instrumental form governed by an overarching dramaturgical arc. Special attention is given to performers’ reflective practice and to intonation as a key means of interpretation.