3 résultats
195333827Paris: Salabert PN R.L. 11708 & Cie. 1953. Folio. Original publisher's dark ivory printed wrappers with titling within ruled borders to upper publisher's catalogue "Oeuvres de Francis Poulenc" to verso of lower. 1f. recto title verso blank 68 pp.<br/><br/>Wrappers slightly worn; corners slightly creased; small date stamp to upper; very small stain to lower. Slightly browned. Second reissue of the edition published by Rouart Lerolle & Cie. ©1929. Schmidt FP49 p. 153.<br/><br/>"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 Mozart-Schubert'. And if Poulenc was not quite a Schubert he is among the 20th century's most eligible candidates for the succession." Roger Nichols in Grove Music Online. Salabert [PN R.L. 11708 & Cie.] unknown books
191933828London: J. & W. Chester PN J.W.C. 050 1919. Folio. Original publisher's light brown printed wrappers; publisher's catalogue to verso of lower. i title 2-8 pp.<br/><br/>Wrappers somewhat browned and partially split; outer corners chipped with minor loss; previous owner's name in manuscript to upper "Richard J. MacKenzie . 1937"; small price stamp to outer corner. Slightly worn; light internal browning First Edition. Schmidt FP14 p. 33. <br/><br/>"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 Mozart-Schubert'. And if Poulenc was not quite a Schubert he is among the 20th century's most eligible candidates for the succession." Roger Nichols in Grove Music Online. J. & W. Chester [PN J.W.C. 050] unknown books
19502081421950. unbound. 1 page on pale gray paper 10 x 8 inches Samedi no date circa 1950. Signed "Francis" to "Vieux Georges." Regarding a competition he requests that if he could make Raymonde enter first she would be "indefiniment reconnaissante." Natural folds; very good condition.<br/><br/> unknown books
