TITLE: Aubade: Concerto-Ballet for Piano and Eighteen Instruments (1929)

COMPOSER: Francis Poulenc (1899-1963)

BIOGRAPHICAL SKETCH

Francis Poulenc was born in Paris in 1899. He began piano at age five, later becoming the preferred artist for both Maurice Ravel and Manuel de Falla. In 1917, under the influence of Erik Satie, Poulenc composed his Rhapsodie negre which brought him great notoriety. He joined Les Six in 1919 and broke away from the practice of Wagnerism and Impressionism. His earliest stage of composition is known as his Fauvistic Period, for Poulenc was considered the great successor to Fauré. His second period is defined by the maturity of his Concerto for Two Pianos and Orchestra after intense study with Charles Koechlin. In the thirties, after the death of a friend, Poulenc's Catholic faith was reawakened. He became one of the great sacred choral composers of the century. This period in Poulenc's life inspired the organ concerto , Litanies à la Vierge Noire, Mass in G, and Quatre Motets pour le temps de Pénitence. The works have power, despite their generally short length.

MOVEMENTS: Eight (Attacca: No break between movements)

1. Toccata (Lento e pesante)
2. Recitative (Larghetto)
3. Rondeau (Allegro)
4. Presto
5. Recitative (Larghetto)
6. Andante
7. Allegro (Feroce)
8. Conclusion (Adagio)

PERFORMANCE TIME: 19' 46"

INSTRUMENTATION: 18 Instruments

• 2 Flutes, 1 Oboe, 2 Clarinets, 2 Bassoons, 2 Horns, 1 Trumpet, 1 Timpani, 2 Violas, 2 Cello, 2 Contrabass, 1 Piano

EDITIONS: Available for Purchase and Rental

• Edition Salabert, 22 rue Chawchat, 75009 Paris, France
• G. Schirmer, 866 Third Ave., New York, NY 10022

COMPOSITION SKETCH AND MUSICAL CONSIDERATIONS

Poulenc's popularity in the concert hall is a result of the success of his five concertos. Aubade is the second of these to be composed. Written in 1929, it was conceived as a concerto-ballet with only two performers, a pianist and ballerina. The following quotation is the basis for Poulenc's composition.

"At dawn, surrounded by her companions, Diana rebels against the divine law that condemns her to eternal purity. Her companions console her and remind her of her divinity by presenting her with her bow. Sadly, Diana accepts it and bounds into the woods, seeking distraction from her amorous torment."

The eight suite-like movements are played without a break. At times, the piano simply accompanies, and the other instruments assume a concertante role.

SELECTED RECORDINGS:

RELATED WEBSITES:

Poulenc's Biograhy - http://www.classical.net/music/comp.lst/poulenc.html