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LEADER 03657cam a2200385 a 4500

001 ocm28064007;

003 OCoLC;

005 20141212102538.0;

008 930421s1993 enka 001 0deng ;

010 a| 93004412;

019 a| 29257116;

020 a| 0198163371 (cloth : acid-free paper) :c| £25.00;

035 a| (Sirsi) o28064007;

035 a| (OCoLC)28064007;

049 a| EREM;

050 00 a| ML410.P787b| M44 1993;

082 00 a| 780/.92a| B2| 20;

100 1 a| Mellers, Wilfrid,d| 1914-2008.=| ^A546734;

245 10 a| Francis Poulenc /c| Wilfrid Mellers.;

260 a| Oxford ;a| New York :b| Oxford University Press,c| 1993.;

300 a| xvii, 186 pages :b| illustrations ;c| 23 cm.;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

490 1 a| Oxford studies of composers;

500 a| Includes indexes.;

520 a| Once considered as little more than the froth in the wake of the First World War, a witty boy-hedonist who, in the giddy Twenties, tweaked the noses of moribund establishmentarians, Poulenc has in fact proved unexpectedly durable--more so than any of his colleagues among Les Six, including those who developed more grandiose ambitions. Here is a survey of Poulenc's music, based on careful selection of his works, and written by an authoritative guide. After placing Poulenc in the context of French life and society after the First World War and considering him in relation to his masters and mentors, especially Satie and Chabrier, The author turns to Poulenc's Diaghilev ballet, Les Biches, to important sequels to it, such as Concert champetre and Aubade, and to works of transition, such as the Concerto for two pianos and orchestra. The next section discusses the "social" music of Poulenc's middle years--especially the music for piano (for Poulenc a domestic instrument), written during the Thirties, and the centrality of song in his work; some account is offered of his relationship with his main poets, Guillaume Apollinaire, Paul Eluard, and Louise de Vilmorin. The author next considers the impact on Poulenc of the Second World War, especially as manifest in the great choral work Quatre Motets de Penitence and the Organ Concerto. Adopting a broadly chronological approach, the author traces Poulenc's development as a composer from enfant terrible to a mature composer both for secular society and for the liturgy of the Catholic Church; in so doing he points to the reasons for the durability and pertinacity of his appeal. The book further assesses Poulenc's place in the French tradition, and, in a Postlude, pays tribute to the warm regard with which Poulenc was held by so many of his fellow musicians.;

600 10 a| Poulenc, Francis,d| 1899-1963x| Criticism and interpretation.=| ^A33015;

650 0 a| Composersz| Francex| Criticism and interpretation.=| ^A991024;

830 0 a| Oxford studies of composers.=| ^A639033;

596 a| 3;

998 a| 490971;

999 a| ML410.P787 M44 1993w| LCc| 1i| 30372008104041d| 12/1/2022e| 10/6/2022f| 3/12/2024g| 5l| MSTm| JMUSICn| 33p| $32.30q| 2r| Ys| Yt| MGESBKu| 2/22/1994x| BOOKz| MCIRCo| .STAFF. enhanced 10/7/21 -jjab;

Francis Poulenc / Wilfrid Mellers.

Author/creator	Mellers, Wilfrid
Format	Book
Publication Info	Oxford ; New York : Oxford University Press, 1993.
Description	xvii, 186 pages : illustrations ; 23 cm.
Subjects	Poulenc, Francis, 1899-1963--Criticism and interpretation. Composers--France. --Criticism and interpretation.

Series	Oxford studies of composers Oxford studies of composers. ^A639033
Contents	Prelude. Apres la guerre: Poulence, Ricardo Vines, et Erik Satie ; Poulence el la jeunesse -- Poulence et le reve pastoral -- Poulence, le danse, et la Belle France -- Poulence, la voix, et l'amour -- Poulence, la guerre, et la mort -- Poulence au theare: La Chair et le Bon Dieu -- Poulence entre l'eglise et la salle de concert -- Poulence le bonhomme: Le Conservatisme et l'enfrance -- Postlude. Un honnete homme: Poulenc, le passe et l'avenir.
Abstract	Once considered as little more than the froth in the wake of the First World War, a witty boy-hedonist who, in the giddy Twenties, tweaked the noses of moribund establishmentarians, Poulenc has in fact proved unexpectedly durable--more so than any of his colleagues among Les Six, including those who developed more grandiose ambitions. Here is a survey of Poulenc's music, based on careful selection of his works, and written by an authoritative guide. After placing Poulenc in the context of French life and society after the First World War and considering him in relation to his masters and mentors, especially Satie and Chabrier, The author turns to Poulenc's Diaghilev ballet, Les Biches, to important sequels to it, such as Concert champetre and Aubade, and to works of transition, such as the Concerto for two pianos and orchestra. The next section discusses the "social" music of Poulenc's middle years--especially the music for piano (for Poulenc a domestic instrument), written during the Thirties, and the centrality of song in his work; some account is offered of his relationship with his main poets, Guillaume Apollinaire, Paul Eluard, and Louise de Vilmorin. The author next considers the impact on Poulenc of the Second World War, especially as manifest in the great choral work Quatre Motets de Penitence and the Organ Concerto. Adopting a broadly chronological approach, the author traces Poulenc's development as a composer from enfant terrible to a mature composer both for secular society and for the liturgy of the Catholic Church; in so doing he points to the reasons for the durability and pertinacity of his appeal. The book further assesses Poulenc's place in the French tradition, and, in a Postlude, pays tribute to the warm regard with which Poulenc was held by so many of his fellow musicians.
General note	Includes indexes.
LCCN	93004412
ISBN	0198163371 (cloth : acid-free paper) :

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Francis Poulenc / Wilfrid Mellers.

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