Glorious and achingly expressive. Four courses of French music commences with D’un matin de printemps (Of a Spring Morning) by Lili Boulanger, a lively and multicoloured miniature by a composer of enormous potential, who tragically died at the age of 24. Debussy’s three-part Nocturnes comprises Nuages (Clouds), Fêtes (Festivals) and Sirènes (Sirens). Debussy scores the work for large orchestra – including triple winds, two harps and percussion – providing a rich and varied sound palette. Ravel’s Pavane pour une infante défunte (Pavane for a Dead Princess) is a minor miracle, while Poulenc’s Gloria, which is for orchestra, chorus and soprano soloist, is glorious in every respect. Poulenc spices up the liturgical text with jazz chords and ‘blue’ harmonies but leaves room for moments of poignancy – no surprise for a composer who was equally at home in the cabaret, concert hall, opera house and church.