Poulenc, Francis

(b Paris, 7 Jan 1899; d Paris, 30 Jan 1963). French composer and

pianist. During the first half of his career the simplicity and
directness of his writing led many critics away from thinking of him
as a serious composer. Gradually, since World War II, it has
become clear that the absence from his music of linguistic
complexity in no way argues a corresponding absence of feeling or
technique; and that while, in the field of French religious music, he
disputes supremacy with Messiaen, in that of the mlodie he is the
most distinguished composer since the death of Faur.
1. Life.
2. Piano music.
3. Chamber music.
4. Orchestral music.
5. Music for the stage.
6. Choral music.
7. Songs and other works for solo voice.
8. Summary.
WORKS
WRITINGS
BIBLIOGRAPHY
MYRIAM CHIMNES (life, work-list), ROGER NICHOLS (Works)
Poulenc, Francis
1. Life.
Born into a wealthy bourgeois family, Poulenc was Aveyronais by
descent through his father, Emile Poulenc, director of a family
pharmaceutical business which eventually became the giant
Rhne-Poulenc, and of Parisian stock through his mother Jenny,
ne Royer, from a family of artist-craftsmen. Poulenc regarded this
dual heredity as the key to his musical personality: he associated
his deep Catholic faith with his Aveyronais roots and attributed his
artistic heritage to his mother's family. It is certainly the case that
two strands, profane and religious, co-exist in his work: he was the
composer of the Chansons gaillardes as well as a Mass, of Les
mamelles de Tirsias as well as a Stabat mater. The two sources
of inspiration were summed up by Claude Rostand in the
celebrated remark: In Poulenc there is something of the monk and
something of the rascal.
His mother introduced him to the piano at the age of five, and
before long entrusted him to a teacher who was a coach for Ccile
Boutet de Monvel, Franck's niece. In spite of his obvious talent and
taste for music, Poulenc bowed to his father's wishes and
completed a conventional classical education at the Lyce
Condorcet, the condition on which he would then be allowed to
enter the Conservatoire. But the war and his parents' early deaths
(his mother died when he was 16, his father when he was 18)

upset all his plans. From 1914 to 1917 Poulenc was the pupil of
Ricardo Vies, who, far more than a teacher, was a spiritual mentor
and the dedicatee or first performer of his earliest works. He
affirmed that the influence of Vies had determined his career as
pianist and composer, and thanks to him he made the
acquaintance of other musicians, notably Auric, Satie and Falla. He
also met poets and writers, and it was around this time that he was
taken to Adrienne Monnier's bookshop in the rue de l'Odon by his
childhood friend Raymonde Linossier, the future lawyer and
orientalist, where he had the privilege of meeting Apollinaire,
Eluard, Breton, Aragon, Gide, Fargue, Valry and Claudel, and to
become familiar with their work.
Poulenc destroyed his first attempts at composition, dating from
1914. He made his public dbut in Paris in 1917 with his first work,
Rapsodie ngre, dedicated to Satie and performed at the Thtre
du Vieux Colombier at one of the avant-garde concerts organized
by Jane Bathori. Stravinsky, whose influence he had felt, took note
of him and helped him to get his first works published by Chester in
London. A conscript from January 1918 to January 1921, Poulenc
did not let military service interfere with composition, and produced,
notably, Trois mouvements perptuels which enjoyed immediate
success, and Le bestiaire, his first cycle of mlodies on poems by
Apollinaire. His works were often performed in the concerts given
at the studio of the painter Emile Lejeune, in the rue Huyghens in
Montparnasse, where programmes also included the work of
Milhaud, Auric, Honegger, Tailleferre and Durey. This led to the
birth of the Groupe des Six in 1920, baptized by Henri Collet in a
review of a concert featuring all of them. Rather than a shared
aesthetic, these composers were united by strong friendship.
Instead of following a conventional course, Poulenc's years of
study overlapped with the start of his career. He already had a
certain reputation when he approached Charles Koechlin in 1921,
asking him for lessons because until then he had obeyed the
dictates of instinct rather than intelligence. He was still Koechlin's
pupil when he received a commission from Diaghilev for the Ballets
russes: Les biches, first performed in Monte Carlo in 1924, was a
great popular and critical success. As well as intellectual and
artistic circles, Poulenc frequented Parisian society, in an age when
private patronage still played an important role in musical life.
Princesse Edmond de Polignac (at whose home he met Wanda
Landowska, dedicatee and first performer of Concert champtre)
commissioned his Concerto for Two Pianos and his Organ
Concerto, while Aubade and Le bal masqu were composed
specially for events organized by Marie-Laure and Charles de
Noailles. Poulenc was quick to see that the gramophone would
play a major role in the diffusion of music, and the earliest
recordings of his own work date from 1928. He suffered his first
serious bout of depression in the late 1920s, at about the time he
became fully aware of his homosexuality. He was permanently
scarred by the death of Raymonde Linossier in 1930. His letters

reveal that she was the only woman he ever wanted to marry.
Throughout his life, his letters testify to the complexity of his
emotional life, which was closely bound up with his creativity; they
also reveal the existence of a daughter, born in 1946. Subject to a
manic-depressive cycle, Poulenc always rebounded from
depression into phases of enthusiasm, and was possessed
successively by doubt and contentment.
The landmarks of Poulenc's life in the 1930s were the formation of
a duo with the baritone Pierre Bernac and the composition of his
first religious works. In 1934 he decided to start a career on the
concert platform with Bernac, for whom he eventually composed
some 90 mlodies, specifically for their recitals together. Their
association lasted until 1959. The rhythm of Poulenc's life was
determined henceforth by periods of concert-giving alternating with
periods of composition. He divided his life between Paris, to which
he retained a visceral attachment, and his house at Noizay in
Touraine, where he retreated to work. He was deeply affected by
the death of the composer Pierre-Octave Ferroud, but a pilgrimage
to Notre Dame de Rocamadour in 1936 revived his Catholic faith,
the immediate first fruits of which were Litanies la vierge noire.
Poulenc passed the greater part of World War II at Noizay, which
was in the German zone of occupation. There he composed,
notably, Les animaux modles, first performed at the Paris Opra
in 1942, and Figure humaine, settings of clandestinely published
poems by Eluard. His first opera, Les mamelles de Tirsias,
received its premire at the Opra-Comique in 1947 and
inaugurated his collaboration with the soprano Denise Duval, who
became his favourite female interpreter. 1948 saw the extension of
Poulenc's international career, as he made his first concert tour in
the United States. He returned there regularly until 1960, to give
concerts with Bernac or Duval, or to attend first performances of
some of his works, notably the Piano Concerto, commissioned by
the Boston SO. Between 1947 and 1949, recognizing the important
influence that radio had acquired, he devised and presented a
series of broadcasts on French national radio.
During the 1950s he was a dedicated composer: fiercely
independent, deliberately distancing himself from the musical
mainstream of the time, while remaining attentive to what
happened there. He had gone to Vienna to meet Schoenberg in
1922, and from their inception he subscribed to the concerts of
Domaine musical. Of his compositions of this decade, Dialogues
des Carmlites, commissioned by La Scala, Milan, rapidly gained
international success, and La voix humaine sealed nearly 50 years
of friendship with Jean Cocteau. In 1963 Poulenc died suddenly of
a heart attack in his Paris apartment.
Poulenc, Francis
2. Piano music.

From Vies, Poulenc learnt a clear but colourful style of piano

playing, based on a subtle use of the sustaining pedal, and in his
own piano music he was insistent on there being beaucoup de
pdale. In his earlier pieces such a style gives body to the often
arrogantly popular tunes that abound, softening the ostinatos in
the Sonata for piano duet (1918) and the quasi-Alberti bass in
Trois mouvements perptuels (1918). In Promenades (1921),
written for Artur Rubinstein, a tougher harmonic language appears,
based on 4ths and 7ths, and the texture is thicker than in any of his
other works for the instrument.
The bulk of his piano music dates from the early 1930s, a time
when he was reappraising the materials of his art. He later
admitted that his reliance on past formulae (long pedal notes,
arpeggios, repeated chords) was not always free of routine and
that in this regard his familiarity with the piano could be a
hindrance; his most inventive piano writing, he claimed, was to be
found in his song accompaniments. Even so, a piece such as the
Second Nocturne, Bal de jeunes filles, of 1933 is charming enough
not to need supporting with claims of originality; it is in the manner
of Chabrier but is still unmistakably Poulenc. His own favourite
pieces were the 15 Improvisations, ranging in date from 1932 to
1959 and in dedicatee from Marguerite Long to Edith Piaf. This
confirms that the piano was not always a vehicle for his deepest
thoughts; he called the Thme varie (1951) an oeuvre srieuse
and included a retrograde version of the theme in the coda to show
that he was up with the latest serial ideas, but it is hardly the best
of him. Inexplicably, he loathed what many would regard as his
best piano work, Les soires des Nazelles (193036), a suite of
eight variations enclosed by a Prambule and a Final which
might be described as the fusion of eclectic ideas in a glow of
friendship and nostalgia. Ex.1 is typical of the suite and of Poulenc
in the use of the dominant 13th, the pause after the end of the first
phrase, the barely disguised sequence of 4ths in the bass and the
circuitous route taken in bars 35 between the closely related keys
of E minor and G major, a characteristically impertinent blend of the
preceding and succeeding harmonic areas.
Poulenc, Francis
3. Chamber music.
Poulenc's output in this genre falls conveniently into three
chronological groups. The four works of the first period (191826),
each under ten minutes in length, are acidly witty, garnishing plain
triadic and scalic themes with spicy dissonances. No doubt they
share something of the spirit of the 18th-century divertissement,
but the properties of harmonic and syntactical behaviour are not
unfailingly observed. In the Sonata for clarinet and bassoon (1922)
there are passages of jazz and bitonality, often leading to a
mischievous cadence; in the Sonata for horn, trumpet and
trombone (1922) the opening trumpet theme is one of Poulenc's
folksongs, clearly a relation of many in Les biches, which needs

the correction of only three wrong notes in the first four bars for it
to conform with 18th-century harmonic practice as it were,
Pergolesi with his wig awry. The central group comprises the
Sextet for piano and wind (19329), one of his most popular works,
and the sonatas for violin and piano (19423) and for cello and
piano (19408). Poulenc admitted to being unhappy writing for solo
strings and had written and destroyed two violin sonatas (1919 and
1924) before the surviving example, dedicated to the memory of
Lorca and first performed by Ginette Neveu. Poulenc consigned a
string quartet to the Paris sewers in 1947, rescuing three themes
from it for his Sinfonietta. The final three sonatas for woodwind, like
the last three chamber works of Debussy, form part of a set that
Poulenc did not live to complete. They have already entered their
appropriate repertories by virtue both of their technical expertise
and of their profound beauty. In the Sonata for oboe and piano
(1962), Poulenc's last work, dedicated to the memory of Prokofiev,
his usual fastslowfast pattern of movements is altered to slow
fastslow, in which the final dploration fulfils both affective and
instrumental requirements.
Poulenc, Francis
4. Orchestral music.
The best of Poulenc's orchestral music dates from before World
War II. The first of his major works was the Concert champtre
(19278), inspired by the playing and character of Wanda
Landowska. The countryside evoked is nothing more savage than
a Parisian suburb and the fanfares in the last movement emanate
from nothing more exotic than the bugles in the barracks of
Vincennes, but for all that it is an enchanting work. Finer still are
the two concertos commissioned by the Princess Edmond de
Polignac, for two pianos (1932) and for organ, strings and timpani
(1938). The earlier of the two, first performed by the composer and
his friend Jacques Fvrier, has no aim beyond entertainment, in
which it succeeds completely; its models range from Balinese
gamelan at the end of the first movement to Mozart at the
beginning of the second, but as in the case of the Sonata for horn,
trumpet and trombone, Poulenc's 18th-century style affords a
number of calculated inelegances before branching off in a quite
different direction. The Organ Concerto is altogether deeper in
emotional character while remaining stylistically ambivalent.
Recognizably a product of Janus-Poulenc, it leads the solo
instrument from Bach's G minor Fantasia to the fairground and
back again. Poulenc placed it on the outskirts of his religious
music.
Poulenc, Francis
5. Music for the stage.
A number of Poulenc's dramatic works deal with the
inconsequential, if not the downright absurd. His first effort was
incidental music to Le gendarme incompris (19201), a nonsense

play by Cocteau and Raymond Radiguet in which the policeman

delivers himself of lines by Mallarm; despite Milhaud's
enthusiasm, Poulenc withdrew the material soon afterwards. A
month later, in June 1921, came the premire of the ballet Les
maris de la Tour Eiffel incorporating two movements by Poulenc.
This joint production by all the members of Les Six except Durey
achieved no more than a brief succs de scandale. By contrast,
Les biches, first performed in 1924, is still one of his best-known
works. The absence of deep, or even shallow, symbolism was only
accentuated by a tiny passage of mock-Wagnerian brass, complete
with emotive minor 9ths, in a score which is above all clear and
tuneful, matching the white and pale blue of Marie Laurencin's
dcor. Apart from the ballet Les animaux modles (194042),
based on eight fables from La Fontaine, Poulenc was occupied for
the next 20 years by film music and incidental music to plays, until
in 1939 he happened to reread Apollinaire's Les mamelles de
Tirsias which he then set as his first opera. Described as an
opra bouffe, it includes a variety of scenes both inconsequential
and absurd, but Apollinaire's underlying message, the need for
more French babies and a corresponding distaste for the incipient
women's liberation movement, had been a national preoccupation
since Napoleon's time. The musical tone can therefore be either
noble or popular, often both, as inex.2. Poulenc himself pointed out
that the vocal phrase (where Thrse/Tirsias is reading in a
newspaper of the death of two characters in a duel) would not
disgrace a religious work; the three introductory bars confirm the
continuity of Stravinsky's influence. Les mamelles is emphatically
not an operetta knowing winks, like smut, were anathema to
Poulenc but accommodates a host of musical techniques, lyrical
solos, patter duets, chorales, falsetto lines for tenor and bass
babies and, like Denise Duval whose Folies Bergres training was
invaluable in the title role (fig.2), it succeeds in being both funny
and beautiful.
Poulenc's last two operas treat serious subjects seriously. In
Dialogues des Carmlites (19536) he charted the delicate
vagaries of character and emotion among a group of nuns
condemned to death in the French Revolution. The text, originally a
film scenario, is built up from a number of short scenes whose
brevity forced the composer to discriminate painstakingly between
types of vocal line, of rhythm, even of vowel sound; the immediate
success of this two-and-a-half-hour opera with an almost entirely
female cast reveals Poulenc as a technician of the first order. He
confronted similar problems in La voix humaine (1958) and
enriched this 40-minute solo scena, one side of the telephone
conversation between a young woman and the lover who is
abandoning her, with non-referential motifs conducteurs, with a
wide range of musical language mirroring both her manic condition
and the perpetual interruptions of French telephonic life, with
terrifying silences (as her lover is saying what the audience never

hears), and with a long-term aim for A minor as the tragic goal of
the harmony. The result is a powerful study of human despair.
Poulenc, Francis
6. Choral music.
Several minor secular works such as the Chansons franaises
(19456) continue the French tradition of Janequin and Sermisy,
but Poulenc's early study of Bach chorales also left its mark. His
masterpiece in the genre, Figure humaine (1943), is a highly
complex setting of words by Eluard; although instrumental support
would have reduced the performers' troubles, the composer
wanted a pure choral tone in order to capture the mood of
supplication.
After his return to Roman Catholicism in 1936, Poulenc produced a
steady flow of religious choral works. Stretching over a quarter of a
century they display a remarkable unity of tone as well as an
increasing complexity in language and resources. The Litanies la
vierge noire (1936), written in the week after his visit to
Rocamadour, are for a three-part female chorus in a conventionally
modal style that avoids conventional cadences, the organ
punctuating the discourse with fervently chromatic chords. The
Mass in G (1937) is more sober, more Romanesque than his next
major work in the genre, the Stabat mater (195051) for soprano,
mixed chorus and orchestra, a powerful and profoundly moving
work whose choral writing enlarges on the serious implications in
that of Les mamelles. In the Gloria (195960) the choral writing is
unsanctimonious to the point of wilfulness, as in the stressing of
the phrase Gloria in excelsis Deo, while the ostinatos, the soaring
soprano and the matchless tunes proclaim Poulenc a believer who
had, in Tippett's phrase, contracted in to abundance. Finally, the
Sept rpons des tnbres (19612) pursue the same lush
orchestral path but with a new concentration of thought, epitomized
in the minute but spine-chilling codetta to Caligaverunt oculi mei
where Poulenc showed that his recognition of Webern was neither
a matter of distant respect nor a piece of time-serving diplomacy.
Poulenc, Francis
7. Songs and other works for solo voice.
In the Rapsodie ngre (1917) Poulenc showed a marked affinity
with words which were less than explicit, but his setting of six
poems from Apollinaire's Le bestiaire (191819) is an
extraordinarily individual and competent piece of work for a young
man of 20, in which he captured the mood of the tiny, elusive
poems, often by simple yet surprising means such as abnormal
word-setting (as with mlancolie, the last word of all). The scoring
is at once economical and faintly impressionist, but in Cocardes
(1919) he imitated the sound of a street band, and Stravinsky's
The Soldier's Tale was also surely in his mind. There followed a
period of 12 years before Poulenc again wrote songs by which he
set any store, the Trois pomes de Louise Lalanne (1931) a

fictitious poet born of Apollinaire's lively imagination; the second

poem is by him, the others by his mistress Marie Laurencin.
Apollinaire and Max Jacob provided the texts for the other vocal
works of 19312. Poulenc's favourite was Le bal masqu, a
nostalgic romp in which the ct paysan of his nature is
uncluttered by any kind of chic.
On 3 April 1935 Poulenc and Bernac gave their first public recital,
including the first performance of the Cinq pomes de Paul Eluard.
Poulenc had been attracted by Eluard's poetry since adolescence
but there was a stillness about it which I did not understand. In the
Cinq pomes for the first time, the key is grating in the lock, and
the door opened wide the following year in the cycle of love-songs
Tel jour, telle nuit, a masterpiece worthy to stand beside Faur's La
bonne chanson. It lacks the common touch of some other Poulenc
songs, the sentimentality of Htel or the earthiness of the
Chansons villageoises, but otherwise it is highly characteristic.
Where a single song contains more than one tempo, Poulenc
followed Satie's lead in making them successive rather than
progressive; there is only one rallentando in the whole cycle; five
of the nine songs move at a single, inexorable speed. However,
Poulenc planned at least three of them (nos.3, 5 and 8) as
transitions between their more important neighbours; in particular
he intended the final climax of no.8, Figure de force, to make more
keenly perceptible the kind of silence that marks the beginning of
Nous avons fait la nuit. Often piano and voice work on
independent dynamic levels, a dimension of songwriting not widely
explored before his time. The texture of the accompaniment is
never complex but there must always be beaucoup de pdale.
From this point there was little change in the technique of his
songwriting, rather a continual refinement of means, an attempt to
say more and more with less and less, a search for the pure line he
admired so much in Matisse. This tendency reached its utmost
point with La fracheur et le feu (1950), the most carefully wrought
of his songs, being a setting of a single Eluard poem in seven
sections, in which two contrasted tempos (mostly crotchet = 120
and crotchet = 669) are treated as structural elements. Poulenc's
last important setting of Eluard was of texts he commissioned from
the poet to form Le travail du peintre (1956), a homage to seven
contemporary painters. His last set of songs was La courte paille
(1960), written for Denise Duval to sing to her young son and
containing the hilarious patter song Ba, be, bi, bo, bu, but his last
significant work for solo voice, La dame de Monte Carlo (1961), a
monologue for soprano and orchestra to words by Cocteau, shows,
like La voix humaine, that Poulenc understood all too well the
terrors of depression.
In general, the sections that make up a Poulenc song are quite
short and often built of two- or four-bar phrases. His technique has
much in common with the surrealist poets whom he set, in the
value he placed on the resonance of the individual elements. The

opening of a song was rarely the first thing he composed. Usually a

line or two would come at a time, and in the case of Montparnasse
(a song of 20 lines) the process was spread over a period of four
years. Furthermore, ideas always came to him in particular keys
and he never transposed them; for example, D major seems to
have been a key of relaxation and in it the fourth degree tends to
be sharpened. Towards the end of the compositional process,
therefore, he might be confronted with a collection of quite
disparate tonal areas which he then had to combine to reach the
listener as a single experience. Much though it annoyed him, the
legend of Poulenc the rich playboy of music, from whom mlodies
flowed with every exhalation of breath, is the perfect compliment to
this most scrupulous of craftsmen.
Poulenc, Francis
8. Summary.
Poulenc never questioned the supremacy of the tonal-modal
system. Chromaticism in his music is never more than passing,
even if he used the diminished 7th more than any leading
composer since Verdi. Texturally, rhythmically, harmonically, he
was not particularly inventive. For him the most important element
of all was melody and he found his way to a vast treasury of
undiscovered tunes within an area that had, according to the most
up-to-date musical maps, been surveyed, worked and exhausted.
His definitive statement came perhaps in a letter of 1942: I know
perfectly well that I'm not one of those composers who have made
harmonic innovations like Igor [Stravinsky], Ravel or Debussy, but I
think there's room for new music which doesn't mind using other
people's chords. Wasn't that the case with MozartSchubert?. And
if Poulenc was not quite a Schubert, he is among the 20th
century's most eligible candidates for the succession.
Poulenc, Francis
WORKS
catalogue numbers from Schmidt (1995)

dramatic
operas
35 Recits for Gounod: La colombe, 1923, unpubd
125 Les mamelles de Tirsias (opra bouffe, prol, 2, G. Apollinaire), 193944, rev.
1962, Paris, OC, 3 June 1947
159 Dialogues des Carmlites (3, 12 tableaux, G. Bernanos), 19536, Milan, La
Scala, 26 Jan 1957
171 La voix humaine (tragdie lyrique, 1, J. Cocteau), 1958, Paris, OC, 6 Feb
1959
ballets
23

La baigneuse de Trouville and Discours du gnral for Les maris de la Tour

Eiffel (1, Cocteau), 1921, rev. 1957 [other nos. by Auric, Honegger, Milhaud,
Tailleferre], Paris, Champs-Elyses, 18 June 1921

36

Les biches (ballet avec chant, 1, 17th-century text), chorus, orch, 1923, rev.
193940, 1947, Monte Carlo, 6 Jan 1924
45 Pastourelle for L'ventail de Jeanne (1, Y. Franck and A. Bourgat), 1927
[other nos. by Ravel, Roussel, Ferroud, Ibert, Roland-Manuel, Delannoy,
Milhaud, Auric, Schmitt]; private perf., Paris, home of Jeanne Dubost, 16 June
1927; Paris, Opra, 4 March 1929
51 Aubade (concerto chorographique), pf, 18 insts, 1929, Paris, 18 June 1929
111 Les animaux modles (1, after J. de La Fontaine), 194042, Paris, Opra, 8
Aug 1942
incidental music
20
64
67

78
106
112
123
124
128
138
139
183

Le gendarme incompris (Cocteau and R. Radiguet), 192021, Paris, Thtre

Michel, 24 May 1921
Intermezzo (J. Giraudoux), 1933, Paris, Comdie des Champs-Elyses, 1
March 1933, unpubd
Petrus (M. Achard), 1933, Paris, Comdie des Champs-Elyses, 8 Dec
1933, ?lost
Monsieur le Trouhadec saisi par la dbauche (Romains), 1933, ?lost
Margot (E. Bourdet), 1935, collab. Auric, Paris, Marigny, 26 Nov 1935, unpubd,
?lost
Leocadia (J. Anouilh), 1940, Paris, Michodire, 3 Nov 1940, ?lost except for
song Les chemins de l'amour
La fille du jardinier (C. Exbrayat), 1941, Paris, Mathurins, 8 Oct 1941, ?lost
Le voyageur sans bagages (Anouilh), 1943, Paris, Michodire, 1944, ?lost
La nuit de la Saint-Jean (J.M. Barrie), 1944, Paris, Comdie des ChampsElyses, Dec 1944, ?lost
Le soldat et la sorcire (A. Salacrou), 1945, Paris, Sarah Bernhardt, 5 Dec
1945, ?lost
L'invitation au chteau (Anouilh), 1947, Paris, Atelier, 15 Nov 1947
Amphitryon (Molire), 1947, Paris, Marigny, 5 Dec 1947, ?lost
Renaud et Armide (Cocteau), 1962, Baalbeck, 18 Aug 1962, ?lost

film scores
76

La belle au bois dormant (A. Alexeieff), 1935 [promotional film for Les Vins
Nicolas]
116
La duchesse de Langeais (J. de Baroncelli), 1942
123
Le voyageur sans bagages (Anouilh), 1943 [film version of incid music]
appx 3 Ce sicle a 50 ans, 1950, collab. Auric
149
Le voyage en Amrique (H. Lavorel), 1951
orchestral
20
25
14
49
61
88

Le gendarme incompris, suite, 192021, unpubd [from incid music]

Esquisse d'une fanfare, wind, perc, pf, 1921
Trois mouvements perptuels, before 1927, unpubd [arr. of pf work]
Concert champtre, hpd, orch, 19278
Concerto, d, 2 pf, orch, 1932
Deux marches et un intermde, chbr orch, 1937 [composed for a gala dinner
at the Paris Exhibition, other nos. by Auric]
93 Concerto, g, org, str, timp, 1938
36 Les biches, suite, 193940 [from ballet]
111 Les animaux modles, suite, 1942 [from ballet]

141 Sinfonietta, 19478

146 Piano Concerto, 1949
153 Matelote provenale for La guirlande de Campra, 1952 [other nos. by
Honegger, Daniel-Lesur, Roland-Manuel, Tailleferre, Sauguet, Auric]
160 Bucolique for Variations sur le nom de Marguerite Long, 1954 [other nos. by
Franaix, Sauguet, Milhaud, Rivier, Dutilleux, Daniel-Lesur, Auric]
104 Orch: Satie: Deux prludes posthumes et une gnossienne, 1939
choral
31
81

82
83
89
90
97
109
110
120
126
130

142
148
152
154
172
177
181

Chanson boire (17th-century), TTBB, 1922

Sept chansons, mixed chorus, 1936: La blanche neige (G. Apollinaire), A
peine dfigure (P. Eluard), Par une nuit nouvelle (Eluard), Tous les droits
(Eluard), Belle et ressemblante (Eluard), Marie (Apollinaire), Luire (Eluard) [La
blanche neige replaced La reine de Saba (J. Legrand [J. Nohain]), sung at 1st
perf. but later rejected]
Litanies la vierge noire, SSA, org, 1936, arr. SSA, str orch, timp, 1947
Petites voix (M. Ley), SSA, 1936: La petite fille sage, Le chien perdu, En
rentrant de l'cole, Le petit garon malade, Le hrisson
Mass, G, SATB, 1937
Scheresses (cant., E. James), chorus, orch, 1937
Quatre motets pour un temps de pnitence, 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 (cant., Eluard), 12vv, 1943
Un soir de neige (chbr cant., Eluard), 6vv, 1944
Chansons franaises: Margoton va t'a l'iau, SATB, 1945; La belle se siet au
pied de la tour, SATBarB, 1945; Pilons l'orgue, SATBarB, 1945; Clic, clac,
dansez sabots, TBB, 1945; C'est la petit' fill' du prince, SATBarB, 1946; La
belle si nous tions, TBB, 1946; Ah! Mon beau laboureur, SATB, 1945; Les
tisserands, SATBarB, 1946
Quatre petites prires de Saint Franois d'Assise, male vv, 1948
Stabat mater, S, chorus, orch, 195051
Quatre motets pour le temps de Nol, 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, male vv: O Jsu perpetua lux, 1957; O
proles hispaniae, 1958; Laus regi plena gaudio, 1959; Si quaeris, 1959
Gloria, S, chorus, orch, 195960
Sept rpons des tnbres, child S, male vv, children's vv, orch, 19612

solo vocal
with ens or orch
3

Rapsodie ngre (text by Makoko Kangourou), Bar, fl, cl, str qt, pf, 1917, rev.
1933: Prlude, Ronde, Honouloulou, Pastorale, Final
6
Pomes sngalais, 1v, str qt, 191718, ?lost
15a Le bestiaire (Apollinaire), 1v, fl, cl, bn, str qt, 1919: Le dromadaire, Le chvre
du Thibet, La sauterelle, Le dauphin, L'crevisse, La carpe

16

Cocardes (Cocteau), 1v, cornet, trbn, b drum, triangle, vn, 1919, rev. 1939:
Miel de Narbonne, Bonne d'enfant, Enfant de troupe
22 Quatre pomes de Max Jacob, 1v, fl, ob, bn, tpt, vn, 1921: Est-il un coin plus
solitaire, C'est pour aller au bal, Pote et tnor, Dans le buisson de mimosa
60 Le bal masqu (cant., M. Jacob), Bar/Mez, ob, cl, bn, pf, perc, vn, vc, 1932:
Prambule et air de bravoure, Intermde, Malvina, Bagatelle, La dame
aveugle, Finale
38 Pomes de Ronsard, 1v, orch, 1934 [arr. of song cycle]
117 Chansons villageoises (M. Fombeure), 1v, chbr orch, 1942: Chanson du clair
tamis, Les gars qui vont la fte, C'est le joli printemps, Le mendiant,
Chanson de la fille frivole, Le retour du sergent
180 La dame de Monte Carlo (Cocteau), S, orch, 1961
songs for 1v, pf
11
Torador (Cocteau), 1918, rev. 1932
15a
Le bestiaire, 1919 [arr. of work with ens]
15a/b Songs for Le bestiaire (Apollinaire), 1919, unpubd: Le boeuf, La mouche, La
tortue, Le serpent, La colombe
16
Cocardes, 1919 [arr. of work with ens]
38
Pomes de Ronsard, 19245: Attributs, 1924; Le tombeau, 1924; Ballet,
1924; Je n'ai plus que les os, 1925; A son page, 1925
42
Chansons gaillardes (17th-century), 19256: La matresse volage, Chanson
boire, Madrigal, Invocation aux Parques, Couplets bachiques, L'offrande,
La belle jeunesse, Srnade
44
Vocalise, 1927
46
Airs chants (J. Moras), 19278: Air romantique, Air champtre, Air grave,
Air vif
55
Epitaphe (F. de Malherbe), 1930
57
Trois pomes de Louise Lalanne, 1931: Le prsent (M. Laurencin),
Chanson (Apollinaire), Hier (Laurencin)
58
Quatre pomes de Guillaume Apollinaire, 1931: L'anguille, Carte postale,
Avant le cinma, 1904 [orig. title Carnaval]
59
Cinq pomes de Max Jacob, 1931: Chanson, Cimetire, La petite servante,
Berceuse, Souric et Mouric
66
Pierrot (T. de Banville), 1933
69
Huit chansons polonaises (Osiem piesni polskich), 1934: La couronne
(Wianek), Le dpart (Odjazd), Les gars polonais (Polska modzie), Le
dernier mazour (Ostatni mazur), L'adieu (Poegnanie), Le drapeau blanc
(Biaa chorgiewka), La vistule (Wisa), Le lac (Jezioro)
75
Quatre chansons pour enfants (Jaboume [J. Nohain]), 1934: Nous voulons
une petite soeur, La tragique histoire du petit Ren, Le petit garon trop
bien portant, Monsieur Sans Souci
77
Cinq pomes de Paul Eluard, 1935: Peut-il se reposer?, Il la prend dans ses
bras, Plume d'eau claire, Rdeuse au front de verre, Amoureuses
79
A sa guitare (Ronsard), 1935, version for 1v, hp
86
Tel jour, telle nuit (Eluard): Bonne journe, 1937; Une ruine coquille vide,
1936; Le front comme un drapeau perdu, 1937; Une roulotte couverte en
tuiles, 1936; A toutes brides, 1937; Une herbe pauvre, 1936; Je n'ai envie
que de t'aimer, 1936; Figure de force brlante et farouche, 1937; Nous
avons fait le nuit, 1937
91
Trois pomes de Louise de Vilmorin, 1937: Le garon de Lige, Au-del,

92
94
95
96
98
99
101
106
107
117
121
122
127
128
131
132
134
135
136
137
140
144
145
147
157
158
161
162
163
169
174
178

182

Aux officiers de la garde blanche

Le portrait (Colette), 1938
Deux pomes de Guillaume Apollinaire, 1938: Dans le jardin dAnna, Allons
plus vite
Priez pour paix (C. d'Orlans), 1938
La grenouillre (Apollinaire), 1938
Miroirs brlants (Eluard): Tu vois le feu du soir, 1938; Je nommerai ton front,
1939
Ce doux petit visage (Eluard), 1939
Fianailles pour rire (L. de Vilmorin), 1939: La dame d'Andr, Dans l'herbe,
Il vole, Mon cadavre est doux comme un gant, Violon, Fleurs
Les chemins de l'amour (Anouilh), 1940 [from incid. music Locadia]
Banalits (Apollinaire), 1940: Chansons d'Orkenise, Htel, Fagnes de
Wallonies, Voyage Paris, Sanglots
Chansons villageoises, 1942 [arr. of work with ens]
Mtamorphoses (Vilmorin), 1943: Reine des mouettes, C'est ainsi que tu
es, Paganini
Deux pomes de Louis Aragon, 1943: C, Ftes galantes
Montparnasse (Apollinaire), 19415
Hyde Park (Apollinaire), 1945
Deux mlodies sur des pomes de Guillaume Apollinaire, 1946: Le pont, Un
pome
Paul et Virginie (R. Radiguet), 1946
Le disparu (R. Desnos), 1946
Main domine par le coeur (Eluard), 1946
Trois chansons de F. Garcia Lorca, 1947: L'enfant muet, Adelina la
promenade, Chanson de l'oranger sec
mais mourir (Eluard), 1947
Calligrammes (Apollinaire), 1948: L'espionne, Mutation, Vers le sud, Il pleut,
La grce exile, Aussi bien que les cigales, Voyage
Hymne (J. Racine), 1948
Mazurka (Vilmorin), for Mouvements du coeur, 1949, collab. Sauguet,
Auric, Franaix, L. Preger, Milhaud
La fracheur et le feu (Eluard), 1950: Rayon des yeux, Le matin les
branches attisent, Tout disparut, Dans les tnbres du jardin, Unis la
fracheur et le feu, Homme au sourire tendre, La grande rivire qui va
Parisiana (M. Jacob), 1954: Jouer du bugle, Vous n'crivez plus?
Rosemonde (Apollinaire), 1954
Le travail du peintre (Eluard), 1956: Pablo Picasso, Marc Chagall, Georges
Braque, Juan Gris, Paul Klee, Joan Mir, Jacques Villon
Deux mlodies 1956, 1956: La souris (Apollinaire), Nuage (L. de Beyli)
Dernier pome (Desnos), 1956
Une chanson de porcelaine (Eluard), 1958
Fancy (Shakespeare), 1959
La courte paille (M. Carme), 1960: Le sommeil, Quelle aventure!, La reine
du coeur, Ba, be, bi, bo, bu, Les anges musiciens, La carafon, Lune d'avril
La puce (Apollinaire), 1960
Nos souvenirs chantent (R. Tatry), version for 1v, gui

for 2 vv, pf
108 Colloque (P. Valry), S, Bar, pf, 1940

melodrama
129 L'histoire de Babar, le petit lphant (J. de Brunhoff), nar, pf, 194045, orchd
Franaix, 1962
chamber and solo instrumental
7
12
32
33
43
74
80
100
114
119
143
14
164
168
179
184
185

Sonata, 2 cl, 1918, rev. 1945

Sonata, vn, pf, 1918, ?lost
Sonata, cl, bn, 1922, rev. 1945
Sonata, hn, tpt, trbn, 1922, rev. 1945
Trio, ob, bn, pf, 1926
Villanelle, pipe, pf, 1934
Suite franaise, 2 ob, 2 bn, 2 tpt, 3 trbn, perc, hpd, 1935, arr. vc, pf, 1953
[after C. Gervaise]: Bransle de Bourgogne, Pavane, Petite marche militaire,
Complainte, Bransle de Champagne, Sicilienne, Carillon
Sextet, wind qnt, pf, 19329
Untitled piece, fl, 1941, unpubd
Sonata, vn, pf, 19423, rev. 1949
Sonata, vc, pf, 194048
Trois mouvements perptuels, 9 insts, 1946 [arr. of pf work]
Sonata, fl, pf, 19567
Elgie, hn, pf, 1957
Sarabande, gui, 1960
Sonata, cl, pf, 1962
Sonata, ob, pf, 1962

piano
solo unless otherwise stated

5
8
14
17
19
21
24
40
41
45
47
48
50
56

60
62

Trois pastorales, 1917, ?lost no.1 rev. as no.1 of Trois pices

Sonata, pf 4 hands, 1918, rev. 1939
Trois mouvements perptuels, 1918, rev. 1939, 1962
Valse, for Album des Six, 1919, collab. Auric, Durey, Honegger,
Milhaud, Tailleferre
Suite, C, 1920, rev. 1926
Six impromptus, 192021, rev. 1939
Promenades, 1921, rev. 1952: A pied, En auto, A cheval, En
bateau, En avion, En autobus, En voiture, En chemin de fer, A
bicyclette, En diligence
Napoli, 1925: Barcarolle, Nocturne, Caprice italien
Dorfmusikanten-sextett von Mozart, 1925
Pastourelle, 1929 [arr. of ballet]
Deux novelettes: C, 1927, b , 1928
Trois pices, pf, 191828, rev. 1953: Pastorale, Toccata, Hymne
Pice brve sur le nom d'Albert Roussel, 1929
Nocturnes: no.1, C, 1930; no.2 (Bal de jeunes filles), A, 1933;
no.3 (Les cloches de Malines), F, 1934; no.4, c, 1934; no.5
(Phalnes), d, 1934; no.6, G, 1934; no.7, E , 1935; no.8 (Pour
servir de coda au cycle), G, 1938
Caprice, 1932 [based on finale of Le bal masqu]
Valse-improvisation sur le nom de Bach, 1932

63, 113, 170, 176 Improvisations: nos.16, b, A , b, A , a, B , 1932; no.7, C, 1933;

no.8, a, 1934; no.9, D, 1934; no.10 (Eloge des gammes), F,
1934; no.11, g, 1941; no.12 (Hommage Schubert), E , 1941;
no.13, a, 1958; no.14, D , 1958; no.15 (Hommage Edith Piaf),
c, 1959
65
Villageoises, 1933: Valse tyrolienne, Staccato, Rustique, Polka,
Petite ronde, Coda
68
Feuillets d'Album, 1933: Ariette, Rve, Gigue
70
Presto, 1934
71
Deux intermezzi, C, D , 1934
72
Humoresque, 1934
73
Badinage, 1934
80
Suite franaise, 1935 [based on chbr work]
84
Les soires des Nazelles, 193036: Prambule, Cadence,
Variations, Cadence, Final
87
Bourre au pavillon d'Auvergne, for A l'exposition, collab. Auric,
Delannoy, Ibert, Milhaud, Sauguet, Schmitt, Tailleferre
103
Franaise (Allemande), 1939
105
Mlancolie, 1940
118
Intermezzo, A , 1943
150
L'embarquement pour Cythre, valse-musette, 2 pf, 1951
151
Thme varie, 1951
155
Capriccio [based on Le bal masqu], 2 pf, 1952
156
Sonata, 2 pf, 19523
160
Bucolique, from Variations sur le nom de Marguerite Long, 1956
173
Novelette sur un thme de Manuel de Falla, e, 1959
175
Elgie, 2 pf, 1959
other lost or destroyed works
1
2

Processional pour la crmation d'un mandarin, pf, 1914

Prludes, pf, 1916
Fanfare, 4 pf, 1917
Zbre, 2 pf, 1917
6 Pomes Sngalais
9
Fanfare 4 pf, 1917 [to precede Jongleurs]
10
Jongleurs, 2 pf, 191819
13
Sonata, pf, vn, vc, 1918
appx 4 Sonata, cimb, wind qt, 1918
18
Quadrille, pf 4 hands, 1919

Pices en trio, pf, vc, tpt, 1920

26
Etudes, pianola, 1921
27
Premire suite d'orchestre, 1921
28
String Quartet, 19212
29
Trio, pf, cl, vc, 1921
30
Marches militaires, pf, orch, 191830
34
Caprice espagnol, ob, pf, 1922
37
Quintet, cl, str qt, 1923
appx 4 Sonata, fl, cl, eng hn, 1923

Sonata, fl, eng hn, 1923

39
54

85
appx 4
133
166

Sonata, org, 1923

Sonata, pf, 1924
Sonata, vn, pf, 19256
Sonata, vn, pf, 192931
Concertino, pf 4 hands, 1931
Sonata, vn, pf, 19335
Plain-chants (Cocteau), 1v, pf, 1936
Dimanche de mai, ?pf, 1936
Sonata, duet, 1940
Trio, str, 1941
String Quartet, 19456
Sonata, bn, pf, 1959

unrealized projects
appx 4
appx 4

Cte d'Azur (Radiguet), 1v,

pf, 1920
Victoire (Radiguet), 1v, pf,
1920
Gargantua (op, Rabelais),
1937
Le
tempte
(op,
Shakespeare), 1939
Pricls (op, Shakespeare),
193942
Casanova (op, Apollinaire),
1945
Le bal des voleurs (op,
Anouilh), 1956
La machine infernale (op,
Cocteau), 1959

Principal publishers: Chester, Durand, Eschig, Heugel, Ricordi,

Rouart Lerolle, Salabert, La Sirne

Poulenc, Francis
WRITINGS
Paris Note: Music, Three String Quartets, Fanfare, i/4 (1921), 79
80
A propos de Mavra de Igor Stravinsky, Feuilles libres, no.27
(1922), 224
Un entretien avec Francis Poulenc, Guide du concert, xv (1928
9), 8557
Mes matres et mes amis, Conferencia (15 Oct 1935)
Igor Stravinsky, Information musicale (3 Jan 1941)
Le coeur de Maurice Ravel, Nouvelle revue franaise, 1v/1
(1941), 23740
Centenaire de Chabrier, Nouvelle revue franaise, 1v/2 (1941),
11014
ed. A. Martin: La leon de Claude Debussy, Catalogue de
l'exposition Claude Debussy (Paris, 1942), p.xii

Adieu Laloy, Information musicale (31 March 1944)

Oeuvres rcentes de Darius Milhaud, Contrepoints, no.1 (1946),
5961
Un nouveau musicien: Anton Heiller, Contrepoints, no.4 (1946),
60 only
Francis Poulenc on his Ballets, Ballet, ii/4 (1946), 578
Mes mlodies et leurs potes, Conferencia (15 Dec 1947)
Tribute to Christian Brard, Ballet, vii/4 (1949), 3031
Contribution to Open Forum, Music Today (London, 1949), 137
only
Feuilles amricaines, Table ronde, no.30 (1950), 66
La musique de piano d'Erik Satie, ReM, no.214 (1952), 236
ed. P. Souvtchinsky: La musique de piano de Prokofieff,
Musique russe (Paris, 1953), 26976
Souvenirs: propos de la musique de scne d'Intermezzo de Jean
Giraudoux, Jean Giraudoux et Pour Lucrce (Paris, 1953)
Hommage Bla Bartk, ReM, no.224 (19534), 1819
ed. C. Rostand: Entretiens avec Claude Rostand (Paris, 1954)
Lorsque je suis mlancolique, Mercure de France, cccxxvi (1956),
723
Inventur der modernen franzsischen Musik, Melos, xxiii (1956),
3541
Preface to G. Laplane: Albniz: sa vie, son oeuvre (Paris, 1956)
Comment j'ai compos les Dialogues des Carmlites, Opra de
Paris (1957)
Commmoration de la mort d'Apollinaire, La mlancolie de son
sourire: entretien avec Hlne Jourdan-Morhange, Lettres
franaises (1319 Nov 1958)
ed. Roland-Manuel: La musique et les Ballets Russes de Serge
de Diaghilev, Histoire de la musique (Paris, 1960), 98591
Emmanuel Chabrier (Paris, 1961; Eng. trans., 1981)
Opera in the Cinema Era, Opera, xii (1961), 1112
A propos d'une lettre d'Arthur Honegger, SMz, cii (1962), 16061
ed. S. Audel: Moi et mes amis (Paris, 1963; Eng. trans., 1978)
Hommage Benjamin Britten, Tribute to Benjamin Britten on his
Fiftieth Birthday, ed. A. Gishford (London, 1963), 13 only
Journal de mes mlodies (Paris, 1964, rev. 2/1993 by R. Machart;
Eng. trans., 1985, incl. discography)
A btons rompus: crits radiophoniques, prcd de Journal de
vacances et suivi de Feuilles amricaines (Arles, 1999)
correspondence
ed. H. de Wendel: Correspondance, 19151963 (Paris, 1967)
ed. S. Buckland: Echo and Source: Selected Correspondence
19181963 (London, 1991)
ed. M. Chimnes: Correspondance 19101963 (Paris, 1994)
Poulenc, Francis
BIBLIOGRAPHY
monographs and catalogues

H. Hell: Francis Poulenc: musicien franais (Paris, 1958, 2/1978;

Eng. trans., 1959)
Discographie des oeuvres de Francis Poulenc(Paris, 1964)
M. Allard: The Songs of Claude Debussy and Francis Poulenc
(diss., U. of Southern California, 1964)
J. Roy: Francis Poulenc, l'homme et son oeuvre: liste complte
des oeuvres, discographie (Paris, 1964)
W.K. Werner: The Harmonic Style of Francis Poulenc (diss., U. of
Michigan, 1966)
I. Medvedeva: Fransis Pulenk (Moscow, 1969)
Georges Bernanos, Francis Poulenc et les Dialogues des
Carmlites, Muse des beaux-arts, 11 Oct15 Nov (Tours,
1970) [exhibition catalogue]
P. Bernac: Francis Poulenc: the Man and his Songs (London,
1977; Fr. orig., Paris, 1978 as Francis Poulenc et ses
mlodies)
K.W. Daniel: Francis Poulenc: his Artistic Development and
Musical Style (Ann Arbor, 1982)
L'avant-scne opra, no.52 (1983) [Dialogues des Carmlites
issue]
F. Bloch: Phonographie de Francis Poulenc (Paris, 1984)
G.R. Keck: Francis Poulenc: a Bio-Bibliography (New York, 1990)
W. Mellers: Francis Poulenc (Oxford, 1993)
R. Machart: Francis Poulenc (Paris, 1995)
Francis Poulenc et les potes, Bibliothque Nationale de France,
14 June22 July 1995 (Paris, 1995) [exhibition catalogue]
C.B. Schmidt: The Music of Francis Poulenc: a Catalogue (Oxford,
1995)
B. Ivry: Francis Poulenc (London, 1996)
D. Waleckx: La musique dramatique de Francis Poulenc (les
ballets et de thtre lyrique) (diss., U. of Paris, 1996)
S. Buckland and M. Chimnes, eds.: Francis Poulenc: Music, Art
and Literature (Aldershot, 1999)
other literature
J. Durey: Francis Poulenc, The Chesterian, no.25 (1922), 14
J. Cocteau: Les Biches notes de Monte Carlo, Nouvelle revue
franaise, xxii (1924), 2758
D. Milhaud: Francis Poulenc et Les Biches, Etudes (Paris, 1927),
618
R.H. Myers: Francis Poulenc, MMR, lx (1931), 12930
G. Pittaluga: Francis Poulenc and the Praise of the Paradox in
Art, The Chesterian, xvii (19356), 3740
E. Lockspeiser: Francis Poulenc and Modern French Poets,
MMR, lxx (1940), 2933
A. Schaeffner: Francis Poulenc, musicien franais, Contrepoints,
no.1 (1946), 5058
C. Rostand: La musique franaise contemporaine (Paris, 1952,
4/1971; Eng. trans., 1955/R)
H. Jourdan-Morhange: Mes amis musiciens (Paris, 1955)

G. Favre: Francis Poulenc: Scheresses, Musiciens franais

contemporains, ii (Paris, 1956), 12233
D. Drew: The Simplicity of Poulenc, The Listener (16 Jan 1958)
E. Lockspeiser: An Introduction to Poulenc's La voix humaine,
Opera, xi (1960), 52734
P. Bernac: Notes sur l'interprtation des mlodies de Francis
Poulenc, Feuilles musicales, xiv (1961), 6870
H. Jourdan-Morhange: Poulenc et ses potes, Feuilles
musicales, xiv (1961), 767
R.H. Myers: Hommage Poulenc, Music and Musicians, xi/7
(19623), 89
D. Cox: Poulenc and Surrealism, The Listener (11 July 1963)
A. Payne: Tribute to Poulenc, Music and Musicians, xi/10 (1963),
44 only
N. Rorem: Poulenc: a Memoir, Tempo, no.64 (1963), 289
J. Bellas: Francis Poulenc ou le son de voix de Guillaume,
Guillaume Apollinaire, iii (1964), 130
M. Houdin: La jeunesse nogentaise de Francis Poulenc, Bulletin
de la Socit historique et archologique de Nogent-surMarne, iv (1964)
J. Bellas: Apollinaire et Poulenc: peut-on mettre Alcools en
musique?, Journes Apollinaire: Stavelot 1965, 4957
J. Bellas: Les mamelles de Tirsias en habit d'Arlequin,
Guillaume Apollinaire, iv (1965), 3054
G. Auric: A propos du Gendarme Incompris, Cahiers Jean
Cocteau, ii (1971), 3942
F. Rauhut: Les motifs musicaux de l'opra Dialogues des
Carmlites, Revue des lettres modernes, 4th ser., nos.34045
(1973), 21149
J. Amis: In Search of Poulenc, Music and Musicians, xxii/3
(19734), 449
Y. Gouvern and others: Poulenc et Rocamadour (Paris, 1974)
M. Durufl: Le concerto pour orgue et orchestra a cordes de
Francis Poulenc, Lorgue, cliv (1975), 4042
A. Schaeffner: Francis Poulenc, musicien franais, Essais de
musicologie et autres fantaisies (Paris, 1980), 31725
J. Sams: Poulenc's Carmelites: the Background, Opera, xxxiv
(1983), 3759
E. Hurard-Viltard: Le groupe des Six, ou le matin dun jour de fte
(Paris, 1987)
P.L. Poulin: Three Styles in One: Poulencs Chamber Works for
Wind Instruments, MR, 1 (1989), 27180
H. Ehrler: Untersuchungen zur klaviermusik von Francis Poulenc,
Arthur Honegger, und Darius Milhaud (Tutzing, 1990)
Poulenc et ses amis, Revue internationale de musique franaise,
no.31 (1994) [whole issue]
E. Reibel: Les concertos de Poulenc (Bourg-la-Reine, 1999)