1290:
312:, who, though indefatigably French, could in his serious moments be among the most Mozartean of 19th-century composers. Poulenc commented, "In the Larghetto of this Concerto I permitted myself, for the first theme, to return to Mozart, because I have a fondness for the melodic line and I prefer Mozart to all other musicians. If the movement begins
323:
that merges the insouciance of a
Parisian music hall and the mesmerizing sonorities of a gamelan orchestra. Its scintillating patter and energetic rhythms produce a vivacious, effervescent effect. As did his idol Mozart, Poulenc favors us with profligate melodious invention, featuring a new theme for
116:
61, was composed over the period of three months in the summer of 1932. It is often described as the climax of
Poulenc's early period. The composer wrote to the Belgian musicologist Paul Collaer: "You will see for yourself what an enormous step forward it is from my previous work and that I am really
358:
Returning to the mood of the first movement, the finale begins with percussive flourishes before it takes off like an Alfa-Romeo in a Grand prix through the avenues and allées of day-and-night Paris, past marching bands and music halls. There is, however, an interlude lyrique et romantique when the
350:
The opening has a sonata-form exposition and recapitulation along with bits of once-popular chansons (like croutons in salad) that complement the composer's own jaunty first and second subjects. The slow, sighing central section replaces a development group before
Poulenc returns to the boulevards
338:
Poulenc’s generally light style is marked by a range of traits: simple, tuneful melodic ideas of narrow range and short duration; lively rhythmic content often using ostinatos and a fluidity of changing meters; clear, transparent textures with little contrapuntal writing; an essentially diatonic
328:
As brilliant as it sounds, the
Poulenc Concerto for Two Pianos demands of its piano soloists more skills of ensemble than of technique. Although the pianos intersperse conversational interludes, conventional cadenzas are absent. Throughout the concerto, the pianists play nearly continuously,
329:
sometimes unaccompanied by the orchestra. Poulenc creates a dramatic yet charming dialogue between the two keyboards and the supporting orchestra ensemble. Unusually, his orchestration foregrounds the woodwinds, brass and percussion, relegating the strings to an unfamiliar secondary role.
307:
Larghetto – in B-flat major. In the gently rocking, consciously naive
Larghetto, Poulenc evokes the famous Andante from Mozart's D Minor Concerto, K. 466. The increasingly sonorous, steadily building middle section echoes the spirit of
354:
The
Larghetto pays homage to Mozart throughout... at one point Piano I leads in effect a musette, as if on a toy piano. The middle section becomes more impassioned, building to a sonorous climax before calm is restored.
299:
Allegro ma non troppo – in D minor. Poulenc chooses to bypass the conventions of sonata allegro in the opening movement in favor of ternary form, with a slower middle section. If this first movement is meant to evoke
207:. The composer admitted that he chose for the opening theme to go back to Mozart because "I have a veneration for the melodic line and because I prefer Mozart to all other composers". Poulenc wrote in a letter to
295:
The concerto features simple ABA form in the first and second movements, but suggests a more complex rondo form with intervening episodes in the finale. The concerto is in three movements as follows:
324:
nearly each succeeding section. His biographer Henri Hell has observed, "the finale flirts with one of those deliberately vulgar themes never far from the composer's heart."
211:, "Would you like to know what I had on my piano during the two months gestation of the Concerto? The concertos of Mozart, those of Liszt, that of Ravel, and your Partita".
726:
304:, it is the blithe composer of the delightful Divertimenti and Serenades. The general effect is "gay and direct", words Poulenc often used to describe his own music.
1000:
1333:
164:
1094:
701:
1293:
1184:
721:
359:
Alfa stops for a bedroom tryst, where perfume and perspiration mix with the smoke from
Gauloises, after which the race resumes, even more racily.
1318:
888:
587:
477:
437:
410:
1276:
655:
137:
1313:
631:
1141:
191:
The concerto's recurring moto perpetuo, modally inflected figurations are clearly inspired by
Poulenc's encounter with a Balinese
1328:
894:
1168:
882:
204:
203:, but the Larghetto's graceful, classically simple melody and gentle, regular accompaniment is reminiscent of the Romanze of
200:
934:
195:
at the 1931 Exposition
Coloniale de Paris. Additionally, the work's instrumentation and "jazzy" effects are reminiscent of
1121:
694:
276:
1235:
1027:
915:
339:
tonal language spiced by some dissonance; and clear forms, occasionally involving cyclical recall of thematic material.
753:
196:
118:
87:
745:
316:
Mozart, it quickly diverges at the entrance of the second piano, toward a style that was familiar to me at the time."
1323:
1176:
984:
176:
1078:
1051:
946:
179:) conducting. Poulenc was gratified by the warm acclaim his work received, and later performed the concerto with
1227:
876:
851:
845:
687:
1086:
1043:
970:
922:
675:
670:
550:
1128:
1059:
992:
940:
928:
796:
309:
1271:
1203:
977:
952:
814:
1211:
907:
832:
121:, an American-born arts patron to whom many early-20th-century masterpieces are dedicated, including
1035:
127:
172:
17:
1160:
168:
429:
J'écris ce qui me chante: Textes et entretiens réunis, présentés et annotés par
Nicolas Southon
1266:
869:
665:
627:
583:
577:
473:
467:
433:
406:
653:
199:, which was premiered at Paris in January 1932. Inevitably, comparisons have been drawn with
1243:
1134:
1008:
900:
788:
396:
180:
761:
710:
659:
208:
95:
41:
1102:
520:
503:
492:
Fragment of Poulenc’s Sept. 1932 letter to Markevitch in Poulenc (1994) p. 368, note 1.
284:
1307:
113:
61:
386:, Myriam Chimènes, ed. (Paris: Fayard 1994) p. 32, note 19 (Poulenc 1991, no. 121)
621:
427:
400:
117:
entering my great period." The concerto was commissioned by and dedicated to the
1219:
648:
248:
236:
780:
264:
142:
122:
272:
268:
604:
All Music Guide to Classical Music: The Definitive Guide to Classical Music
540:(trans. from the French and introduced by Edward Lockspeiser, 1959), p. 61.
256:
240:
1261:
252:
244:
228:
192:
151:
109:
51:
301:
280:
155:. Her Paris salon was a gathering place for the musical avant-garde.
679:
320:
224:
220:
146:
132:
260:
232:
683:
469:
Francis Poulenc: Articles and Interviews: Notes from the Heart
319:
Allegro molto – in D minor. Poulenc's finale is a syncretic
454:
Entrancing Muse: A Documented Biography of Francis Poulenc
171:
were concerto soloists with the La Scala Orchestra, with
426:
Poulenc, Francis; Southon, Nicolas (26 October 2011).
623:
The Music of Francis Poulenc (1899–1963): A Catalogue
602:
Chris Woodstra, Gerald Brennan, Allen Schrott, eds.
163:
The premiere was given on September 5, 1932, at the
1254:
1195:
1152:
1113:
1070:
1019:
962:
861:
824:
807:
772:
737:
83:
68:
57:
47:
32:
510:(in French). Paris: René Julliard. pp. 82–83.
201:Mozart's Concerto in E-flat for two pianos, K. 365
582:. Portland, Oregon: Amadeus Press. p. 362.
348:
336:
695:
8:
167:in Venice. Poulenc and his childhood friend
165:International Society for Contemporary Music
702:
688:
680:
29:
606:(New York: Backbeat Books 2005), p. 1020.
466:Southon, Nicolas; Nichols, Roger (2016).
456:(Pendragon Press, November 2001), p. 196.
384:Francis Poulenc, Correspondance 1910–1963
1185:Variations sur le nom de Marguerite Long
1095:Quatre motets pour un temps de pénitence
551:"Program Notes: Concerto for Two Pianos"
375:
205:Mozart's D minor Piano Concerto, K. 466
1001:L'Histoire de Babar, le petit éléphant
1334:Piano compositions by Francis Poulenc
889:Sonata for horn, trumpet and trombone
840:Concerto for Two Pianos and Orchestra
652:San Francisco Symphony program notes
106:Concerto for Two Pianos and Orchestra
7:
1277:"L'adieu du cavalier" (Tailleferre)
27:1932 composition by Francis Poulenc
527:(Paris: Rene Juillard 1954) p. 83.
25:
674:New World Symphony program notes
18:Concerto for two pianos (Poulenc)
1289:
1288:
895:Trio for oboe, bassoon and piano
883:Sonata for clarinet and bassoon
576:Roeder, Michael Thomas (1994).
219:The concerto is scored for two
138:Pavane pour une infante défunte
525:Entretiens avec Claude Rostand
1:
1319:Concertos by Francis Poulenc
1169:Les mariés de la tour Eiffel
557:. Hawai’i Symphony Orchestra
754:Dialogues of the Carmelites
626:. Oxford: Clarendon Press.
279:, military drum, suspended
119:Princess Edmond de Polignac
88:Princess Edmond de Polignac
1350:
1122:Litanies Ă la Vierge Noire
555:Hawai’i Symphony Orchestra
472:. Routledge. p. 219.
177:Chicago Symphony Orchestra
1285:
717:
620:Schmidt, Carl B. (1995).
579:A History of the Concerto
382:1 October 1932 letter in
101:Concerto pour deux pianos
39:
34:Concerto pour deux pianos
1314:Concertos for two pianos
1142:Sept répons des ténèbres
935:Élégie pour cor et piano
877:Sonata for two clarinets
746:Les mamelles de Tirésias
669:Classical Archives page
405:. Fayard. p. 1943.
197:Ravel's G major Concerto
175:(later conductor of the
145:'s Second Symphony, and
1329:Compositions in D minor
1228:L'Invitation au château
727:List of works for piano
1052:Les Chemins de l'amour
432:. Fayard. p. 91.
367:
347:
267:, shallow snare drum,
1204:Le Gendarme incompris
1044:Fiançailles pour rire
971:Mouvements perpétuels
344:Michael Thomas Roeder
1177:L'Ă©ventail de Jeanne
722:List of compositions
223:and an orchestra of
183:in England in 1945.
1114:Choir and orchestra
1079:Messe en sol majeur
1036:Chansons gaillardes
993:Soirées de Nazelles
797:Les Animaux modèles
399:(23 January 2013).
310:Camille Saint-Saëns
1071:Choir (a cappella)
664:CSO program notes
658:2011-06-04 at the
502:Poulenc, Francis;
1324:1932 compositions
1301:
1300:
1267:Brigitte Manceaux
833:Concert champĂŞtre
589:978-0-931340-61-1
479:978-1-317-13333-9
452:Carl B. Schmidt,
439:978-2-213-66946-5
412:978-2-213-67675-3
235:(second doubling
93:
92:
16:(Redirected from
1341:
1292:
1291:
1244:Renaud et Armide
1196:Incidental music
1009:La Courte Paille
985:Trois novelettes
808:Orchestral music
704:
697:
690:
681:
647:Pianopedia page
637:
607:
600:
594:
593:
573:
567:
566:
564:
562:
547:
541:
534:
528:
518:
512:
511:
499:
493:
490:
484:
483:
463:
457:
450:
444:
443:
423:
417:
416:
393:
387:
380:
365:
345:
181:Benjamin Britten
79:
77:
30:
21:
1349:
1348:
1344:
1343:
1342:
1340:
1339:
1338:
1304:
1303:
1302:
1297:
1281:
1250:
1191:
1161:L'Album des Six
1148:
1109:
1066:
1028:Chanson Ă boire
1015:
958:
947:Clarinet Sonata
916:Suite française
857:
820:
803:
768:
762:La voix humaine
733:
713:
711:Francis Poulenc
708:
660:Wayback Machine
644:
634:
619:
616:
611:
610:
601:
597:
590:
575:
574:
570:
560:
558:
549:
548:
544:
538:Francis Poulenc
535:
531:
519:
515:
508:Entretiens avec
504:Rostand, Claude
501:
500:
496:
491:
487:
480:
465:
464:
460:
451:
447:
440:
425:
424:
420:
413:
402:Francis Poulenc
395:
394:
390:
381:
377:
372:
366:
363:
346:
343:
335:
293:
217:
215:Instrumentation
209:Igor Markevitch
189:
169:Jacques FĂ©vrier
161:
96:Francis Poulenc
75:
73:
42:Francis Poulenc
28:
23:
22:
15:
12:
11:
5:
1347:
1345:
1337:
1336:
1331:
1326:
1321:
1316:
1306:
1305:
1299:
1298:
1286:
1283:
1282:
1280:
1279:
1274:
1269:
1264:
1258:
1256:
1252:
1251:
1249:
1248:
1240:
1232:
1224:
1216:
1208:
1199:
1197:
1193:
1192:
1190:
1189:
1181:
1173:
1165:
1156:
1154:
1153:Collaborations
1150:
1149:
1147:
1146:
1138:
1132:
1126:
1117:
1115:
1111:
1110:
1108:
1107:
1103:Figure humaine
1099:
1091:
1083:
1074:
1072:
1068:
1067:
1065:
1064:
1056:
1048:
1040:
1032:
1023:
1021:
1017:
1016:
1014:
1013:
1005:
997:
989:
981:
975:
966:
964:
960:
959:
957:
956:
950:
944:
938:
932:
926:
920:
912:
904:
898:
892:
886:
880:
874:
870:Rapsodie nègre
865:
863:
859:
858:
856:
855:
852:Piano Concerto
849:
846:Organ Concerto
843:
837:
828:
826:
822:
821:
819:
818:
811:
809:
805:
804:
802:
801:
793:
785:
776:
774:
770:
769:
767:
766:
758:
750:
741:
739:
735:
734:
732:
731:
730:
729:
718:
715:
714:
709:
707:
706:
699:
692:
684:
678:
677:
672:
667:
662:
650:
643:
642:External links
640:
639:
638:
632:
615:
612:
609:
608:
595:
588:
568:
542:
529:
521:Claude Rostand
513:
494:
485:
478:
458:
445:
438:
418:
411:
397:Lacombe, Hervé
388:
374:
373:
371:
368:
361:
341:
334:
331:
326:
325:
317:
305:
292:
291:Style and form
289:
216:
213:
188:
185:
160:
157:
91:
90:
85:
81:
80:
70:
66:
65:
59:
55:
54:
49:
45:
44:
37:
36:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
1346:
1335:
1332:
1330:
1327:
1325:
1322:
1320:
1317:
1315:
1312:
1311:
1309:
1296:
1295:
1284:
1278:
1275:
1273:
1272:Neoclassicism
1270:
1268:
1265:
1263:
1260:
1259:
1257:
1253:
1246:
1245:
1241:
1238:
1237:
1233:
1230:
1229:
1225:
1222:
1221:
1217:
1214:
1213:
1209:
1206:
1205:
1201:
1200:
1198:
1194:
1187:
1186:
1182:
1179:
1178:
1174:
1171:
1170:
1166:
1163:
1162:
1158:
1157:
1155:
1151:
1144:
1143:
1139:
1136:
1133:
1130:
1127:
1124:
1123:
1119:
1118:
1116:
1112:
1105:
1104:
1100:
1097:
1096:
1092:
1089:
1088:
1084:
1081:
1080:
1076:
1075:
1073:
1069:
1062:
1061:
1057:
1054:
1053:
1049:
1046:
1045:
1041:
1038:
1037:
1033:
1030:
1029:
1025:
1024:
1022:
1018:
1011:
1010:
1006:
1003:
1002:
998:
995:
994:
990:
987:
986:
982:
979:
976:
973:
972:
968:
967:
965:
961:
954:
951:
948:
945:
942:
939:
936:
933:
930:
927:
924:
923:Violin Sonata
921:
918:
917:
913:
910:
909:
905:
902:
899:
896:
893:
890:
887:
884:
881:
878:
875:
872:
871:
867:
866:
864:
862:Chamber music
860:
853:
850:
847:
844:
841:
838:
835:
834:
830:
829:
827:
823:
816:
813:
812:
810:
806:
799:
798:
794:
791:
790:
786:
783:
782:
778:
777:
775:
771:
764:
763:
759:
756:
755:
751:
748:
747:
743:
742:
740:
736:
728:
725:
724:
723:
720:
719:
716:
712:
705:
700:
698:
693:
691:
686:
685:
682:
676:
673:
671:
668:
666:
663:
661:
657:
654:
651:
649:
646:
645:
641:
635:
633:9780191585166
629:
625:
624:
618:
617:
613:
605:
599:
596:
591:
585:
581:
580:
572:
569:
556:
552:
546:
543:
539:
533:
530:
526:
522:
517:
514:
509:
505:
498:
495:
489:
486:
481:
475:
471:
470:
462:
459:
455:
449:
446:
441:
435:
431:
430:
422:
419:
414:
408:
404:
403:
398:
392:
389:
385:
379:
376:
369:
364:Roger Dettmer
360:
356:
352:
340:
332:
330:
322:
318:
315:
311:
306:
303:
298:
297:
296:
290:
288:
286:
282:
278:
274:
270:
266:
262:
258:
254:
250:
246:
242:
238:
234:
230:
226:
222:
214:
212:
210:
206:
202:
198:
194:
186:
184:
182:
178:
174:
173:Désiré Defauw
170:
166:
158:
156:
154:
153:
148:
144:
140:
139:
134:
130:
129:
124:
120:
115:
111:
107:
103:
102:
97:
89:
86:
82:
71:
67:
63:
60:
56:
53:
50:
46:
43:
38:
35:
31:
19:
1287:
1242:
1234:
1226:
1218:
1210:
1202:
1183:
1175:
1167:
1159:
1140:
1129:Stabat Mater
1120:
1101:
1093:
1085:
1077:
1058:
1050:
1042:
1034:
1026:
1007:
999:
991:
983:
969:
941:Flute sonata
929:Cello Sonata
914:
906:
868:
839:
831:
795:
787:
779:
760:
752:
744:
622:
614:Bibliography
603:
598:
578:
571:
559:. Retrieved
554:
545:
537:
536:Henri Hell,
532:
524:
516:
507:
497:
488:
468:
461:
453:
448:
428:
421:
401:
391:
383:
378:
357:
353:
351:and boites.
349:
337:
327:
313:
294:
218:
190:
187:Inspirations
162:
150:
136:
126:
105:
100:
99:
94:
33:
1087:SĂ©cheresses
978:Piano Suite
963:Piano music
953:Oboe Sonata
815:Sinfonietta
561:14 December
237:cor anglais
1308:Categories
1236:Amphitryon
1212:Intermezzo
908:Villanelle
781:Les biches
370:References
265:snare drum
143:Kurt Weill
123:Stravinsky
84:Dedication
1060:Banalités
825:Concertos
273:castanets
269:bass drum
257:trombones
241:clarinets
58:Catalogue
1294:Category
1220:LĂ©ocadia
656:Archived
506:(1954).
362:—
342:—
277:triangle
253:trumpets
245:bassoons
159:Premiere
69:Composed
1262:Les Six
1255:Related
773:Ballets
285:strings
239:), two
229:piccolo
193:gamelan
152:Socrate
110:D minor
74: (
52:D minor
1247:(1962)
1239:(1947)
1231:(1947)
1223:(1940)
1215:(1933)
1207:(1920)
1188:(1956)
1180:(1927)
1172:(1921)
1164:(1919)
1145:(1963)
1137:(1959)
1135:Gloria
1131:(1950)
1125:(1936)
1106:(1943)
1098:(1939)
1090:(1937)
1082:(1937)
1063:(1940)
1055:(1940)
1047:(1939)
1039:(1926)
1031:(1922)
1012:(1960)
1004:(1940)
996:(1936)
988:(1927)
980:(1920)
974:(1919)
955:(1962)
949:(1962)
943:(1957)
937:(1957)
931:(1948)
925:(1942)
919:(1935)
911:(1934)
903:(1932)
901:Sextet
897:(1926)
891:(1922)
885:(1922)
879:(1918)
873:(1917)
854:(1949)
848:(1938)
842:(1932)
836:(1927)
817:(1947)
800:(1941)
792:(1929)
789:Aubade
784:(1922)
765:(1959)
757:(1957)
749:(1947)
738:Operas
630:
586:
476:
436:
409:
333:Quotes
302:Mozart
283:, and
281:cymbal
255:, two
251:, two
247:, two
243:, two
231:, two
221:pianos
128:Renard
1020:Songs
321:Rondo
249:horns
233:oboes
225:flute
147:Satie
133:Ravel
108:) in
628:ISBN
584:ISBN
563:2016
474:ISBN
434:ISBN
407:ISBN
314:alla
261:tuba
76:1932
72:1932
149:'s
135:'s
125:'s
98:'s
48:Key
40:by
1310::
553:.
523:,
287:.
275:,
271:,
263:,
259:,
227:,
141:,
131:,
114:FP
112:,
64:61
62:FP
703:e
696:t
689:v
636:.
592:.
565:.
482:.
442:.
415:.
104:(
78:)
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.