By Nicolas Southon,Roger, Mr 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 with out expertise yet he’s no longer a genius, and I’m afraid he thinks he is.’ clever notwithstanding the girl used to be, she received this one spectacularly incorrect. Poulenc has in truth outpaced his colleagues in Les Six by means of many a mile, as singers and instrumentalists around the world will attest, and whereas he may by no means have approved the name of ‘genius’, who prefer ‘artisan’, a genius is more and more what he seems to be to have been.
Part of the reply lay in continuously being his personal guy, and this independence of spirit exhibits via in his writings and interviews simply as brightly as in his track, even if it’s boasting that he’d feel free by no means to listen to The Mastersingers ever back, mentioning that what critics condemn because the ‘formlessness’ of French tune is one among 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 support clarify why he was once so generally and deeply loved.
This quantity includes chosen articles from Francis Poulenc: J’écris ce qui me chante (Fayard, 2011) edited via Nicholas Southon. lots of those articles and interviews haven't been to be had in English earlier than and Roger Nichols's translation, taking pictures the very essence of Poulenc’s full of life writing variety, makes extra broadly obtainable this crucial contribution to Poulenc scholarship.
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