By Nicolas Southon, Roger Nichols
'He performs the piano well,' wrote the society hostess Mme de Saint-Marceaux in her diary on 18 March 1927. 'His compositions will not be without expertise yet he isn't a genius, and i am afraid he thinks he is.' clever although the woman was once, she received this one spectacularly mistaken. Poulenc has in truth outpaced his colleagues in Les Six via many a mile, as singers and instrumentalists around the globe will attest, and whereas he may by no means have authorized the name of 'genius', who prefer 'artisan', a genius is more and more what he seems to have been.Part of the reply lay in regularly being his personal guy, and this independence of spirit exhibits via in his writings and interviews simply as brightly as in his tune, even if it really is boasting that he'd feel free by no means to listen to The Mastersingers ever back, stating that what critics condemn because the 'formlessness' of French tune is one in every of its delights, voicing his outrage at makes an attempt to 'finish' the incomplete Symphony, writing 'in compliment of banality' - or remembering the affair of Debussy's hat. And in each case, his intelligence, humour and generosity of spirit aid clarify why he used to be so largely and deeply loved.This quantity includes chosen articles from Francis Poulenc: J'ecris ce qui me chante (Fayard, 2011) edited via Nicholas Southon. lots of those articles and interviews haven't been on hand in English earlier than and Roger Nichols's translation, taking pictures the very essence of Poulenc's energetic writing sort, makes extra generally obtainable this crucial contribution to Poulenc scholarship.
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Extra resources for Francis Poulenc, Articles and Interviews: Notes from the Heart
But on 15 March, Stravinsky’s Four Norwegian Moods were whistled at in the Théâtre des Champs-Elysées by some of Messiaen’s pupils who had also been pupils of René Leibowitz for barely a month, notably Pierre Boulez, then 20 years old. Also Stravinsky’s Danses concertantes, conducted by Roger Désormière for the Société privée de musique de chambre, had been greeted with protests from these same young musicians. André Jolivet took up his pen to denounce the importance given to Stravinsky in these concerts.
257. 13 Francis Poulenc, ‘La musique de piano d’Erik Satie’, La Revue Musicale (no. spécial ‘Erik Satie, son temps et ses amis’), June 1952; see p. 24. 14 ‘Entretien avec F. Poulenc’ with Hélène Jourdan-Morhange, unidentified periodical, reprinted in J’écris ce qui me chante, p. 622. 15 Correspondance, letters to Pierre Bernac of 16 August 1950, p. 692, and to Darius Milhaud of 6 September following, p. 695. 16 On this subject, see Nicolas Southon, ‘Francis Poulenc face à la jeune génération’, Horizons de la Musique en France 1944–1954, edited by Laurent Feneyrou and Alain Poirier, Paris, Vrin, to appear in 2014.
9 As Diana was the heroine of my ballet, Balanchine chose the myth of Diana and Actaeon. In loyalty to him I mentioned his version in the printed score, but hoped that future choreographers would be intelligent enough to prefer mine, which is also given in the score. Nothing of the sort, alas! 10 I need hardly say that, to avoid further mistakes of this kind, Balanchine’s plot will in future disappear from the printed score. To ignore my libretto is to falsify entirely the intention of the music.