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Francis Poulenc

 
Music Encyclopedia: Francis (Jean Marcel) Poulenc
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(b Paris, 7 Jan 1899; d there, 30 Jan 1963). French composer. His background gave him a musical and literary sophistication from boyhood, and he was already a publicly noted composer by the time he took lessons with Koechlin (1921-4): such works as his Apollinaire song cycle Le bestiaire (1919) and Sonata for two clarinets (1918) had shown the Stravinsky-Satie inclinations that assure him a place among Les Six. His ballet Les biches (1924), written for Dyagilev, established his mastery of the emotions and musical tastes of the smart set, opening a world of suavity and irony that he went on to explore in a sequence of concertante pieces: the Concert champêtre for harpsichord, the Aubade with solo piano and the Concerto for two pianos.

Around 1935 there came a change in his personal and spiritual life, reflected in a sizable output of religious music, a much greater productivity and an important contribution to French song (from this time he gave recitals with the baritone Pierre Bernac). Yet the basis of his style was unchanged: Stravinsky, Fauré and contemporary popular music continued to be his sources, even in the devotional music (Litanies à la vierge noire for female voices and organ) and the larger sacred works (Stabat mater, Gloria). The songs include four cycles. But his output of instrumental music, apart from the many piano pieces of a private character, continued to be modest: his most important later orchestral piece is the G minor organ concerto with strings and timpani (1938), which journeys between Bach and the fairground, while his main chamber works were the sonatas for flute, oboe and clarinet.

Music for the stage also continued to occupy him. There was another ballet, Les animaux modèles (1942), scores for plays and films, and a new departure into opera, begun with the absurd Apollinaire piece Les mamelles de Tirésias and pursued with more seriousness in his deeply felt tragedy of martyrdom, Dialogues des Carmélites (1957), as well as a setting of Cocteau's telephone monologue La voix humaine (1959).

works:
Operas
  • Les mamelles de Tirésias (1947)
  • Dialogues des Carmélites (1957)
  • La voix humaine (1959)
Other dramatic music
  • Les biches, ballet (1924)
  • Aubade, pf, 18 insts (1929)
  • Les animaux modèles (1942)
  • incidental music for 11 plays
  • 5 film scores
Orchestral music
  • Concert champêtre, hpd, orch (1928)
  • Conc. d, 2 pf, orch (1932)
  • Conc., g, org, str, Timp (1938)
  • 8 others
Choral music
  • Litanies à la vierge noire (1936)
  • Mass, G (1937)
  • Figure humaine (1943)
  • Stabat mater (1950)
  • Quatre motets pour le temps de Noël (1952)
  • Gloria (1959)
  • Sept répons des ténèbres (1961)
Solo vocal music
  • 7 works with ens incl. Le bestiaire (1919), Cocardes (1919), Le bal masqué (1932), La dame de Monte Carlo (1961)
  • c50 works with pf, incl. Trois poèmes de Louise Lalanne (1931), Cinq poèmes (1935), Tel jour, telle nuit (1936-7), Fiançailles pour Rire (1939), La fraîcheur et le feu (1950), La courte paille (1960)
  • Colloque (1940), 2vv
Chamber and instrumental music
  • Sextet, wind qnt, pf (1939)
  • Vn Sonata (1943)
  • Vc Sonata (1948)
  • Fl Sonata (1956)
  • Cl Sonata (1962)
  • Ob Sonata (1962)
Piano music
  • over 30 works, incl. Trois mouvements perpétuels (1918), Promenades (1921), [6] nocturnes (1938), [15] improvisations (1959), Les soirées de Nazelles (1936)

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Biography: Francis Poulenc
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Francis Poulenc (1899-1963) was in many ways the most "typical" of the group of French composers known as Les Six, and he represents a trend of 20th-century music that is characteristically French.

Francis Poulenc was born in Paris to a family that was artistic, musical, and affluent. His mother was a fine pianist, and Francis began lessons at the age of 5. Later he studied with Ricardo Vines, a friend of Claude Debussy and Maurice Ravel who had played the first performances of much of their piano music. While still in his teens Poulenc met Erik Satie, who left a permanent mark on his musical ideals.

When Poulenc was 18, he wrote Rapsodie nègre baritone, string quartet, flute, and clarinet. Its lighthearted irreverence and music-hall atmosphere established his right to be a charter member of Les Six when the group was formed a few years later. He spent most of his life in Paris, except for concert tours that included several trips to the United States after World War II, where he accompanied baritone Pierre Bernac, who specialized in singing his songs.

Poulenc's gift was lyric; he was at his best when he was setting words to music. As the composer of over 150 songs with piano accompaniment, he is perhaps the most important songwriter of his time. He usually set the verses of poets he knew: Guillaume Apollinaire, Jean Cocteau, Paul éluard, and Max Jacob; he performed the same service for these poets that Debussy did for the symbolists. Poulenc's early set of songs, Cocardes (1919), written to Cocteau's poems, suggest the Paris streets. The accompaniment, consisting of cornet, violin, bass drum, and trombone, resembles the little street bands that still play there. A later cycle, Tel jour, tel nuit (1937), celebrates the quiet pleasures of life with sincerity and directness.

Poulenc's two operas differ strikingly from each other. Les Mamelles de Tirésias (1944) is a risqué, surrealist farce; Les Dialogues des Carmélites (1957) is a serious and moving account of the spiritual development of a nun during the French Revolution. His religious choral works, particularly the Litanies à la Vierge noire (1936) and a Stabat Mater (1950), are frequently performed. He also wrote numerous piano solos, a sonata for two pianos, and concertos for piano, two pianos, organ, and harpsichord. Among chamber works there are sonatas for various instruments and piano and a sextet for piano, flute, oboe, clarinet, bassoon, and horn.

Poulenc avoided large, dramatic gestures. He accepted his natural limitations and was content to write music in the spirit of the composers he most admired: Wolfgang Amadeus Mozart, Frédéric Chopin, Debussy, and Igor Stravinsky.

Further Reading

A book-length study of Poulenc is Henri Hell, Francis Poulenc (trans. 1959). There is a short biographical study and analysis of his work in Joseph Machlis, Introduction to Contemporary Music (1961).

Additional Sources

Bernac, Pierre, Francis Poulenc: the man and his songs, London: V. Gollancz, 1977.

Poulenc, Francis, My friends and myself: conversations with Francis Poulenc, London: Dobson, 1978.

Poulenc, Francis, Selected correspondence, 1915-1963: echo and source, London: V. Gollancz, 1991.

Britannica Concise Encyclopedia: Francis Jean Marcel Poulenc
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(born Jan. 7, 1899, Paris, Fr. — died Jan. 30, 1963, Paris) French composer. In his teens he studied piano with Ricardo Viñes (1875 – 1943). Influenced by Erik Satie, Poulenc and five other like-minded young composers became known as Les Six. Poulenc wrote piano compositions, orchestral music, and chamber music, but he is best known for his vocal music, including many admired songs, the operas The Breasts of Tiresias (1944), Dialogues of the Carmelites (1956), and La voix humaine (1958), and such sacred choral works as Mass in G Major (1937), the Stabat Mater (1950), and the Gloria (1959), reflecting his devout Catholicism.

For more information on Francis Jean Marcel Poulenc, visit Britannica.com.

Dictionary of Dance: Francis Poulenc
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Poulenc, Francis (b Paris, 7 Jan. 1899, d Paris, 30 Jan. 1963). French composer. He was a member of the avant-garde composers' group Les Six, who together wrote the music for Börlin's Les Mariés de la Tour Eiffel, a surrealist ballet performed by Les Ballets Suédois in 1921. He also wrote the music for Nijinska's Les Biches (1924) and Aubade (1929) and for Lifar's Les Animaux modèles (1942). Poulenc's orchestral writing has also been used for dance purposes, including his Concerto in G minor for Organ, Strings, and Timpani, which Tetley took for Voluntaries (1973), and his Gloria, which MacMillan used for his 1980 ballet of the same name.

French Literature Companion: Francis Poulenc
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Poulenc, Francis (1899-1963). French composer. An important member of the group known as ‘Les Six’, Poulenc composed chamber, choral, and stage music, including ballets, incidental music for plays (by writers such as Anouilh, Salacrou, and Cocteau), and film music. He possessed a unique lyrical gift and made great use of mimicry and parody in his music. Poulenc wrote a number of compositions based on works by Éluard, Apollinaire (for instance the opéra bouffe Les Mamelles de Tirésias, 1947), and Cocteau (most importantly the opera La Voix humaine, 1959). Much of his music can be placed in the 19th-c. salon tradition.

[Kerry Murphy]

 
Columbia Encyclopedia: Francis Poulenc
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Poulenc, Francis (fräNsēs' pūlăNk'), 1899-1963, French composer and pianist. He was one of Les Six, a group of French composers who subscribed to the aesthetic ideals of Erik Satie. The spontaneity and lyricism of Poulenc's style are best adapted to small forms-piano pieces such as Mouvements perpétuels (1918) and songs. Also outstanding are the ballet Les Biches (1924); Concert Champêtre (1929), for harpsichord and orchestra; the Mass in G (1937), for chorus and organ; Litanies à la Vierge noire (1936), for women's choir and organ; the Intermezzo in A Flat Major (1944), for piano; and the Concerto in G Minor for organ, strings, and percussion (1938). His operas are Les Mamelles de Tirésias (1947) and Dialogues des Carmélites (1957).
Artist: Francis Poulenc
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Francis Poulenc
  • Period: Modern (1910-1949)
  • Country: France
  • Born: January 07, 1899 in Paris, France
  • Died: January 30, 1963 in Paris, France
  • Genres: Ballet, Chamber Music, Choral Music, Concerto, Keyboard Music, Miscellaneous Music, Opera, Orchestral Music, Vocal Music

Biography

Francis Poulenc was the leading composer of Les Six, the French group devoted to turning music away from Impressionism, formality, and intellectualism. He wrote in a direct and tuneful manner, often juxtaposing the witty and ironic with the sentimental or melancholy. He heavily favored diatonic and modal textures over chromatic writing. His music also shows many elements of pandiatonicism, introduced around 1920 by Stravinsky, whose influence can be heard in some of Poulenc's compositions, such as the religious choral work, Gloria. Poulenc is regarded as one of the most important twentieth century composers of religious music, and in the realm of the French art song he is also a major voice of his time. Poulenc was also a pianist of considerable ability.

Poulenc was born into a wealthy family of pharmaceutical magnates. The agrochemical giant Rhone-Poulenc is the present-day corporation started by his forebears. His mother was a talented amateur pianist who began giving him piano lessons at age five. Later Poulenc studied with a niece of César Franck, and then with the eminent Spanish virtuoso Ricardo Viñes, for whom he would later write music.

At age eighteen, Poulenc wrote Rapsodie Nègre for baritone and chamber ensemble, which made him an overnight sensation in France. The young composer served in the military during the years 1918-1921, during which time he composed the popular Trois Mouvements Perpétuels (1918).

By 1920, Les Six -- Georges Auric, Arthur Honegger, Darius Milhaud, Germaine Tailleferre (the sextet's lone female representative), Louis Durey, and Francis Poulenc -- had begun making its impression on the music world. In 1923, Poulenc wrote the ballet Les Biches, which Diaghilev staged the following year with great success, the public finding its mixture of lightness, gaiety, and occasional moments of sentimentality irresistible. Poulenc continued writing at a fairly prolific pace in the late 1920s and early 1930s, producing many piano compositions, songs and other works. In 1935, he rekindled his friendship with baritone Pierre Bernac, thus launching a productive and enduring professional relationship. He also returned to the Roman Catholic Church that year when close friend Pierre-Octave Ferroud was killed in an automobile accident. Thereafter he wrote many important works of a religious nature, the first of which were Litanies à la Vierge Noire, for soloists, chorus and organ, and Mass in G for mixed a cappella chorus, both from 1936.

During the war, Poulenc remained in German-occupied France, writing music of an antiwar or defiantly anti-Nazi bent, sometimes writing songs on texts by banned authors, such as Lorca. He also wrote a ballet Les Animaux Modèles (1940-1941), Sonata for violin and piano (1942-1943; rev. 1949) dedicated to Lorca, and the masterful Figure Humaine (1943), a choral cantata which is a hymn to freedom.

In the postwar years, Poulenc turned out his Sinfonietta (1947) and Piano Concerto (1949), both not entirely successful. In the period 1953-1956, Poulenc produced his most ambitious work, the opera Dialogue of The Carmelites, considered by many the greatest French opera of the twentieth century.

Poulenc finished his last opera in 1958, La Voix Humaine, a work whose lone character talks (sings) on the phone to her deserting lover for the work's 45-minute length. Notable also in this period is his Gloria (1959), a work shorn of sanctimony and rich in communicative simplicity and fervent religiosity. Poulenc's last major work was his Sonata for Oboe and Piano in 1962, dedicated to the memory of Prokofiev, whom he had befriended in the 1920s. Poulenc died suddenly of a heart attack. ~ Robert Cummings, All Music Guide

Discography

Francis Poulenc plays the Piano Music of Satie & Poulenc

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Poulenc par Poulenc

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Wikipedia: Francis Poulenc
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This article is about the composer. For the French pharmaceutical company, see Rhône-Poulenc.


Francis Jean Marcel Poulenc (French pronunciation: [fʀɑ̃sis ʒɑ̃ maʀsɛl pulɛ̃k]; January 7, 1899 – January 30, 1963) was a French composer and a member of the French group Les Six. He composed music in all major genres, including art song, chamber music, oratorio, opera, ballet music, and orchestral music. Critic Claude Rostand, in a July 1950 Paris-Presse article, described Poulenc as "half monk, half delinquent" ("le moine et le voyou"), a tag that was to be attached to his name for the rest of his career. [1]

Contents

Biography

Early life

Poulenc was born in Paris in 1899. His mother, an amateur pianist, taught him to play and music formed a part of family life. He was a capable pianist[2] and the keyboard dominated much of his early compositions. He also, throughout his career, borrowed from his own compositions as well as those of Wolfgang Amadeus Mozart and Camille Saint-Saëns. Later in his life, the loss of some close friends, coupled with a pilgrimage to the Black Madonna of Rocamadour, led him to rediscover the Roman Catholic faith and resulted in compositions of a more sombre, austere tone.

Career

Poulenc was a member of Les Six, a group of young French and Swiss composers (comprising himself along with Milhaud, Auric, Durey, Honegger and Tailleferre) who also had links with Erik Satie, Jean Hugo and Jean Cocteau. He embraced the Dada movement's techniques, creating melodies that would have challenged what was considered appropriate for Parisian music halls.

He was already identified with this group before he undertook his first formal musical training, with Charles Koechlin in 1921.[3]

Poulenc was a featured pianist in several recordings, including some of his own songs (with Pierre Bernac, recorded in 1947; and Rose Dercourt) and the concerto for two pianos (recorded in May 1957). He supervised the 1961 world premiere recording of his Gloria, which was conducted by Georges Prêtre. His recordings were released by RCA Victor and EMI. Poulenc's Perpetual Motion Nr. 1 (1918) is used in Alfred Hitchcock's Rope (1948).

Among Poulenc's last series of major works is a series of works for wind instruments and piano. He was particularly fond of woodwinds, and planned a set of sonatas for all of them, yet only lived to complete four: sonatas for flute, oboe, clarinet, and the Elégie for horn.

Poulenc died of heart failure in Paris in 1963 and is buried at the cemetery of Pere-Lachaise in Paris.

Personal life

Some writers consider Poulenc one of the first openly gay composers.[4] His first serious relationship was with painter Richard Chanlaire, to whom he dedicated his Concert champêtre: "You have changed my life, you are the sunshine of my thirty years, a reason for living and working."[1] He also once said, "You know that I am as sincere in my faith, without any messianic screamings, as I am in my Parisian sexuality."[5] However, Poulenc's life was also one of inner struggle. Having been born and raised a Roman Catholic, he struggled throughout his life between coming to terms with his "unorthodox" sexual "appetites" and maintaining his religious convictions. [6][dubious – discuss]

Poulenc also had a number of relationships with women. He fathered a daughter, Marie-Ange, although he never formally admitted that he was indeed her father[citation needed]. Her mother, "Freddy" is the dedicatee of two of his songs. He was also a very close friend of the singer Pierre Bernac, for whom he wrote many songs. The now-published correspondence between the two men, however, strongly suggests that they were never sex partners.[citation needed]

Poulenc lived at 5, rue de Médicis, Paris.

Poulenc was profoundly affected by the death of friends. In 1923 he was "unable to do anything" for two days after the death from typhoid fever of his twenty-year-old friend, the novelist Raymond Radiguet. However, two weeks later he had moved on, joking to Sergei Diaghilev at the rehearsals he was unable to leave, about helping a dancer "warm up".[1] Then in 1930 came the death of the young woman he had hoped to marry, Raymonde Linossier. While Poulenc admitted to having no sexual interest in Linossier, they had been lifelong friends.[1] In 1936, Poulenc was profoundly affected by the death of another composer, Pierre-Octave Ferroud, who was decapitated in an automobile accident in Hungary. This led him to his first visit to the shrine of the Black Virgin of Rocamadour. Here, before the statue of the Madonna with a young child on her lap, Poulenc experienced a life-changing transformation. Thereafter his work took on more religious themes, beginning with the Litanies à la vierge noire (1936). In 1949, Poulenc experienced the death of another friend, the artist Christian Bérard, for whom he composed his Stabat Mater (1950). Other sacred works from this period include the Mass in G (1937), Gloria (1959), and Sept répons des ténèbres (1961–2).

Works

See also: Category:Compositions by Francis Poulenc

Stage

Ballet

  • Les Biches, ballet (1922/23)
  • Pastourelle (1927; for the children's ballet L'Éventail de Jeanne, to which ten French composers each contributed a dance; this excerpt became better known in its piano transcription)
  • Les Animaux Modèles, ballet (1941)

Opera

Orchestral

  • Sinfonietta (1947)

Concertante

  • Concert Champêtre, for harpsichord and orchestra, (1927–1928)
  • Aubade, a "Concerto Choréographique" for piano and 18 instruments (1930)
  • Concerto for Two Pianos and Orchestra in D minor (1932)
  • Concerto for Organ, Strings and Timpani in G minor (1938)
  • Piano Concerto (1949)

Vocal/Choral Orchestral

  • Litanies à la vierge noire (SSA, org) (1936), orchestrated (1947)
  • Stabat Mater (Soprano solo, SATB divisi, orchestra )(1950)
  • Gloria (Soprano solo, SATB divisi, orchestra) (1959)
  • Sept répons des ténèbres (Child Soprano, Men's Chorus, Children's Chorus, orchestra (1961-2)
  • La Dame de Monte-Carlo (Soprano solo, orchestra) (1961)

Chamber/Instrumental

  • Sonata for 2 Clarinets, op. 7 (1918/1945)
  • Sonata for Violin and Piano, op. 12 (1918)
  • Sonata for Clarinet and Bassoon, op. 32 (1922/1945)
  • Sonata for Horn, Trumpet and Trombone, op. 33 (1922/1945)
  • Trio for Oboe, Bassoon and Piano, op. 43 (1926)
  • Villanelle for Pipe (pipeau) and Piano, op. 74 (1934)
  • Suite française for 2 Oboes, 2 Bassoons, 2 Trumpets, 3 Trombones, Percussion and Harpsichord, op. 80 (1935)
  • Sextet for Piano and Wind Quintet, op. 100 (1932–9)
  • Sonata for Violin and Piano, op. 119 (1942–3/1949)
  • Sonata for Cello and Piano, op. 143 (1940–48)
  • Trois mouvements perpétuels for 9 Instruments, op. 14 (1946)
  • Sonata for Flute and Piano, op. 164 (1956–7)
  • Elégie for Horn and Piano, op. 168 (1957) In memory of Dennis Brain
  • Sarabande for Guitar, op. 179 (1960)
  • Sonata for Clarinet and Piano, op. 184 (1962)
  • Oboe Sonata, op. 185 (1962)

Piano

for one piano

Main article: List of solo piano compositions by Francis Poulenc

for four hands

  • Capriccio for 2 pianos (after Le bal Masqué), FP 155

for two pianos

  • Concerto for 2 pianos & orchestra in D minor, FP 61
  • Sonata for 2 pianos, FP 156
  • Sonata for piano, 4 hands, FP 8
  • L'embarquement pour Cythère, valse-musette for 2 pianos (from film, Le voyage en Amérique), FP 150
  • Élégie (en accords alternés), for 2 pianos, FP 175

Carllion

Choral

  • Chanson à boire (TTBB) (1922)
  • Sept chansons (SATB) (1936)
  • Litanies à la vierge noire (SSA, org) (1936), orchestrated (1947)
  • (SSA) (1936)
  • Mass in G (SATB) (1937)
  • Sécheresses (chorus, orchestra) (1937)
  • Quatre motets pour un temps de pénitence (SATB): "Vinea mea electa", (1938); "Tenebrae factae sunt", (1938); "Tristis est anima mea", (1938); "Timor et tremor", (1939)
  • Exultate Deo (SATB) (1941)
  • Salve regina (SATB) (1941)
  • Figure humaine (12 voices) (1943)
  • Un soir de neige (6 voices) (1944)
  • Chansons françaises: "Margoton va t'a l'iau", (SATB)(1945); "La belle se sied au pied de la tour" (SATBarB) (1945); "Pilons l'orge" (SATBarB) (1945); "Clic, clac, dansez sabots" (TBB) (1945); "C'est la petit' fill' du prince" (SATBarB) (1946); "La belle si nous étions" (TBB) (1946); "Ah! Mon beau laboureur" (SATB) (1945); "Les tisserands" (SATBarB) (1946)
  • Quatre petites prières de Saint François d'Assise (Men's chorus) (1948)
  • Quatre motets pour le temps de Noël (Mixed chorus): "O magnum mysterium" (1952); "Quem vidistis pastores?" (1951); "Videntes stellam" (1951); "Hodie Christus natus est" (1952)
  • Ave verum corpus (SMezA) (1952)
  • Laudes de Saint Antoine de Padoue (Men's Chorus): "O Jésu perpetua lux" (1957); "O proles hispaniae" (1958); "Laus regi plena gaudio" (1959); "Si quaeris" (1959)

Vocal

  • Rapsodie Nègre (poems by Poulenc in an imaginary exotic language) op. 1 (1917)
  • Le Portrait (poem by Colette) (1937)
  • La Grenouillère (poem by Apollinaire) (1938)
  • Deux poèmes d'Apollinaire (poems by Apollinaire: I: "Dans le jardin d'Anna", II: "Allons plus vite") (1939)
  • Bleuet (poem by Apollinaire) (1939)
  • Banalités (poems by Apollinaire: I: "Chanson d'Orkenise", II: "Hôtel", III: "Fagnes de Wallonie", IV: "Voyage à Paris", V: "Sanglots") (1940)
  • The Story of Babar the Elephant for Piano and Narrator (1940 – orchestrated by Jean Françaix 1945)
  • Deux poèmes d'Apollinaire (poems by Apollinaire: I: "Montparnasse", II: "Hyde Park") (1941-1945))
  • Deux poèmes d'Apollinaire (poems by Apollinaire: I: "Le pont", II: "Un poème") (1946)
  • Paul et Virginie (poem by Raymond Radiguet) (1946)
  • Rosemonde (poem by Apollinaire) (1954)
  • Parisiana (poems by Max Jacob: I: "Jouer du Bugle", II: "Vous n'écrivez plus?") (1954)
  • Dernier Poème (poem by Robert Desnos) (1956)
  • La courte Paille (poems by Maurice Carême, I: "Le sommeil", II: "Quelle aventure!", III: "La Reine de Coeur", IV: "Ba, be, bi, bo, bu", V: "Les anges musiciens", VI: "Le Carafon", VII: "Lune d'Avril") (1960)

Books

  • Francis Poulenc Echo and Source. Selected Correspondence 1915-1963, translated and edited by Sidney Buckland, London, Gollancz, 1991, 448 p.
  • Francis Poulenc, Correspondence 1910-1963, éditée par Myriam Chimènes, Paris, Fayard, 1994, 1128 p.
  • Francis Poulenc, Journal de mes mélodies, Cicero, 1993, 160 p.
  • Francis Poulenc, À bâtons rompus (écrits radiophoniques, Journal de vacances, Feuilles américaines), écrits édités par Lucie Kayas, Arles, Actes Sud, 1999.
  • Francis Poulenc, Moi et mes amis, confidences recueillies par Stéphane Audel, Paris, La Palatine Ligugé, 1963, 206 p.
  • Renaud Machart, Poulenc, Paris, Seuil, 1995, 252 p.
  • Henri Hell, Francis Poulenc, Paris, Fayard, 1978, 391 p.
  • Jean Roy, Francis Poulenc, Paris, Seghers, 1964, 191 p.
  • Carl B. Schmidt, Entrancing Muse: A Documented Biography of Francis Poulenc, London, Pendragon Pr, 2001, 621 p.
  • Benjamin Ivry, Francis Poulenc, Londres, Phaidon Press Limited, 1996.
  • Simon Basinger, Les Cahiers de Francis Poulenc, Paris/collectif de l'Association F.Poulenc, Paris, 2008.
  • Pierre Bernac, Francis Poulenc et ses mélodies, Paris, Buchet-Chastel, 1978, 220 p.
  • Richard Burton, Francis Poulenc, Absolute Press, 2002, 114 p.
  • Francine Bloch, Phonographie de Francis Poulenc. Paris / Bibliothèque Nationale (1984)
  • Poulenc: Music, Art and Literature, sous la direction de Sidney Buckland et Myriam Chimènes, Ashgate, 1999, 409 p.
  • Alban Ramaut, Francis Poulenc et la voix, Lyon, Symétrie, 2005, 336 p.

References

  1. ^ a b c d Benjamin Ivry (1996). Francis Poulenc, 20th-Century Composers series. Phaidon Press Limited. ISBN 0-7148-3503-X.
  2. ^ Myriam Chimènes: 'Poulenc, Francis', Grove Music Online ed. L. Macy (Accessed [25 December 2006]), http://www.grovemusic.com
  3. ^ Composer profile
  4. ^ Champagne, Mario (2002), "Poulenc, Francis", glbtq.com, http://www.glbtq.com/arts/poulenc_f.html 
  5. ^ Aldrich, Robert and Wotherspoon, Gary (Eds.) (2001). Who's Who in Contemporary Gay & Lesbian History: From World War II to the Present Day. New York: Routledge. ISBN 0-415-22974-X.
  6. ^ Composer Biographies for Elif Savas' CD of Reynaldo Hahn, Charles Tomlinson Griffes, Peter Tchaikowski, Francis Poulenc, Karol Szymanowski, Martin Hennessy

External links


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Dictionary of Dance. The Oxford Dictionary of Dance. Copyright © 2000, 2004 by Oxford University Press. All rights reserved.  Read more
French Literature Companion. The New Oxford Companion to Literature in French. Copyright © 1995, 2005 by Oxford University Press. All rights reserved.  Read more
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Wikipedia. This article is licensed under the Creative Commons Attribution/Share-Alike License. It uses material from the Wikipedia article "Francis Poulenc".  Read more