[134], The pieces Poulenc found merely tolerable were all early works: Trois mouvements perpétuels dates from 1919, the Suite in C from 1920 and the Trois pièces from 1928. He ought to develop into a farceur of the first order." He was dismayed by Ravel's judgments, which exalted composers whom Poulenc thought little of above those he greatly admired. At Brive-la-Gaillarde he began three new works, and once back at his home in Noizay in October he started on a fourth. Like the Mass, it is unaccompanied, and to succeed in performance it requires singers of the highest quality. [154], Poulenc's major works for choir and orchestra are the Stabat Mater (1950), the Gloria (1959–60), and Sept répons des ténèbres (Seven responsories for Tenebrae, 1961–62). [12][n 2] He took piano lessons from the age of five; when he was eight he first heard the music of Debussy and was fascinated by the originality of the sound. Numbers one and two were composed in August 1934; the A flat followed in March 1943. From the outset of his career he favoured verses by Guillaume Apollinaire, and from the mid-1930s the writer whose work he set most often was Paul Éluard. [166], The two sides to Poulenc's musical nature caused misunderstanding during his life and have continued to do so. They continued to perform together for more than twenty years, in Paris and internationally, until Bernac's retirement in 1959. [98] He returned there frequently until 1961, giving recitals with Bernac or Duval and as soloist in the world premiere of his Piano Concerto (1949), commissioned by the Boston Symphony Orchestra. [157], Poulenc was among the composers who recognised in the 1920s the important role that the gramophone would play in the promotion of music. [138][n 24] The sonatas in this group are for violin and piano (1942–43) and for cello and piano (1948). • Switch back to classic skin, Alternative Names/Transliterations: François Poulenc, Francis Poulene, Fransis Pulenk, F. Pulenkas, Francis Jean Marcel Poulenc, Quinze improvisations, FP 63, 113, 170, 176 (Poulenc, Francis), http://imslp.org/wiki/Category:Poulenc,_Francis/Collections, Creative Commons Attribution-ShareAlike 4.0 License. [155] By the time of the last of the operas, La Voix humaine, Poulenc felt able to give the soprano stretches of music with no orchestral accompaniment at all, though when the orchestra plays, Poulenc calls for the music to be "bathed in sensuality". Poulenc was a featured pianist in several recordings, including some of his songs (with Pierre Bernac) (recorded in 1947) and the concerto for two pianos (recorded in May 1957). In that year he produced three works for choir: Sept chansons (settings of verses by Éluard and others), Petites voix (for children's voices), and his religious work Litanies à la Vierge Noire, for female or children's voices and organ. [129], Poulenc, a highly accomplished pianist, usually composed at the piano and wrote many pieces for the instrument throughout his career. Among his works given during these trips were the American premiere of La Voix humaine at Carnegie Hall in New York, with Duval,[111] and the world premiere of his Gloria, a large-scale work for soprano, four-part mixed chorus and orchestra, conducted in Boston by Charles Munch.

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