-
����������� �� 94��50(1)�131-149
�����������
��� ����������
��Francis
Poulenc¸1899-1963"�j«x���-.4��b�Ø4¥¸b#¤&������¸��¤���#¥�4�©Åcd������°�C
+¸¶·���b!°±"�R#©�$¸%$&�'5bµ?(¸)¶·���b!4�t,*+,t/,ÔA̧
�-¶·±��b!4./.0--1+,23°45R#¸6â�-.��b!�78¸9:;¾?¸ÙÚ��@AB¸ãCImprovisationsD,CNocturnesD,CIntermezzo
in A-flat MajorD°CLes Soirées de NazellesD©
ÅÓEÙÚ����°�CF4AB¸GEà��,�C@HI¥>JK
�°�¤��j«��L�¸6MùcdNOPQ¸RIcdx��L�4_S¸ÙT���4U�V©
���������������������������
��� �
����Francis Poulenc�1899-1963��
����������Les Six�����
��������������� !"
��#$ 1920%���&'" Henry Collet$
() Comoedia ��*&'+�,-.��
�����/012�345%67&"�8
9���:�;?� Darius
Milhaud�1892-1974�@AB�Louis Durey�
1888-1979�@CDE� Arthur Honegger�
1892-1955�@FB��Georges Auric�1899-1983�
G H I J K � Germaine Tailleferre �
1892-1983��;+.����������
!"�Collet, 1920�#������.��4
57&"LM�Erik Satie�1866-1925�GNO
PQRS�T�Jean Cocteau�1889-1963��
UVQR�$LMW�XYZGW[\]^_
`�ab4cde7&fd�ghijklm
�n op�$������q=�rs
tuvw1921 %x���������y
!"zg{�|#����} ~�
�4�89�� ~:�
&@b@@@D&G,��
!#
�D��� ~}�
N� ����� ~�w¡
$�D¢£¤g¥¦§@¨©ªb«��
���� ~¬®;¯°�k±²w³´
���µ ~¶·¸¹ºµ�»#�D��
¼}½$���7&¾¿4ÀÁÂ@áÄ
Å�$¢c¬Æ´Ç.ÈÉÊË�ÌÍ�Î
-
132 1�@
Ͻ$ !"G;vEÐ$Ñ}ÒÓ#WÔ�
:�$Õ%ÀÖ���� ×
ØkÙ�Ú Benjamin Ivry@Renaud Machart@
Wilfrid Howard MellersG Carl SchmidtÛÜ$
1993 ¡ 2001 %ÝkÙ���}Þß�àá
Þß+½$�� ~⯰�ã×wSidney
Buckland G Myriam Chimènes äå�
Francis Poulenc: music, art, and literature
�1999�æçè*��� N�é³ê�
ëìí��7&îïð� N�wGeorge
Russell Keck äå� Francis Poulenc: A
bio-bibliography�1990�ñò���óô
�õö÷ø��ùúº�ô×��� ~
�û ü®;sÖwCarl B. Schmidt$
1995 %kÙ The music of Francis Poulenc
�1899-1963�: A catalogue��,-½��
�Ò ~ý.þ�ä��ý� FP ä0�
h 1914 %��� ~�Processional pour la
crémation d’un mandarin��ä0 FP1�¡ 1962
%��Sonata for Oboe and Piano��ä0
FP185����æç��� ~�;+õ
ö�èä0���l!#ºÚ;/
catalogue��ç���g ~���÷ø�
õögÙ-�kÙ÷ø@��@,¢�ç
�#.«��½���}�� ~
µ�����Ú���!�Les Animaux
modeles�@�Les Mamelles de Tirésias�G
�Les Dialogues des Carmelites���¡$½�
� ~D�@mo�����Öü w
!"Úë�½$����n �#Gmo$%
&¨'(#��)�������� ~�
ü� Linda Pruitt Stutzenberger$ 1979%�*
+ N The published solo piano works of
Francis Poulenc�1899-1963�: A performance
tape with commentary�º¼y Nõö±ª¢
ç7�Î, NN-�Û�8./çG&¨
N�â��0�·1��2��
� ~#³3µ4����Ò�� ~56
��".÷økÙ7�À 4��
~89Ö ~:95ñò��¢@;¼
��&¨#�N?��
������ ~G@AB#,C�DC½
���}G�� ~ �EFG�HIJ
�������ÊËK�LM?@NOGPQ
AB�.������� ~�ÎRST�
Ú�Improvisations�@�Nocturnes�@�Intermezzo
in A-flat Major�G�Les Soirées de Nazelles�#
UVë1���¢G;¼«µ&¨�W
X¢@;¼�YZ�[\]���G�
�����7:¿N-�^N_h;`�
82%ab�������������������$º+·��/
c�.dNe±wÒ��� ~$�NDf
�îïô×dN�.g^7q=Àh��i
j#k:�l$��� ~n %5GkÙ%
5$ÀmN+Fk��nf���N�
o_p�× Schmidt$ 1995+qç�%5#
���������
���hr=s Lycée Condorcet ï¸Þ
ftu;`�·Z��7&¼¤ï¸7&
q=�=���)�·vï¸wx7&¼¤y
z�ü/7&"#{| Jenny Royer ��®
}~���"�®���ij
�7&~����½O�\]í
����}��NOG�#
���¸{|�Æ3m�Franz
Schubert� 1797-1828�@m�Wolfgang
Amadeus Mozart�1756-1791�G�Frederic
-
ABCDEFGHIJKLMN 133
Chopin�1810-1849�� ~�3�
��deµ67ë�:�{|¬�
��ïP457&"�ÚK�Maurice
Ravel � 1875-1937 �@ E � Arnold
Schoenberg�1874-1951�@m��Igor
Stravinsky� 1882-1971�@ ¡¢� Claude
Debussy�1862-1918�GLM��;+m
�GLM£�½�����¤#�
��vh7LÚ¥m��h¦4
§¨=� !"©��Kayas, 1999�#¡$L
M�����Æh7LLM½ë!¨ª
«�©�³´£y !"$���¬�+��
�y�Crossley, 1987�#
���$ 1914-1917 �%UÝ�®¯45
wx��/®°±� Ricardo Viñes�
1876-1943�#���Þ²°±���@v
E�7o³´}µ¶�·;��NO�¸¹X
pY4�����@G;�� ~���m
o#k:�ºl°±ô»����í¼4
57&"Á]�Ú�½�Manuel de Falla�
1876-1946�@FB�GLM�#°±89�
�����;®:�¬4����UV¾®�
Y4���¿U�� ~,¢��"�½��
�¤#���vSLÀÒÁµ�Â�
°±ÒÃ��Hughes, 1975�#����Ä�
Åk��"�%6c�cÆíÆÇ$È�ɨ
ªb+@h¦µ�� ~& ~�¬v
$ 1923%&ím� ~�Les Noces�
�wx,¢�ÊË&Ì+µ��@#1930%
5Í����í&"Î��Pierre Bernac�
1899-1979�GA�Denise Duval�1921- �
ÐÑÒÓ¢k������@/¬Ô�¤
Õ#Robert de Fragny�1946�vÖ����µ
��@×Ú�Ø�&Ì�ÆÆÙ@ÚÚ
Û wcÜ4ª¾¢wcÝÜ4Þßm
Ü7à�®;á#René Kerdyk �Ö���
��âãä��³@¡�?��Øå³@â
7�Eî³.��lh@èãæ@!��ç
�è�éê�Daniel, 1982�#
���ë�,=ì ~� 1917 %�
�Rapsodie négre��äíõö��@î&è�
@ïðGØñò�;+ë�&óýô
+7#õ���ë�,kÙ��!��Trois
mouvements perpétuels��º!$ 1919% 2ö 9
÷l���ø®°±,¢x�zùú�Çû
�üýÅ �Roy, 1964; Keck, 1990�#$
1919-1920 %Ý�°±þ$2�ª7&¨
+¢º!���ñ�º!G�����/
?#ëc����¶·t��®¼� !�³
S4�8h¼õ=�Î�Çû#���Þ
1921-1924 %Ýt��®���Charles
Koechlin�1867-1950��
��¼� !#
��i����ÁÇû�~��
-
134 1�@
Ý�¼O!�mABá4-½Î
�Äõ.#���D
-
ABCDEFGHIJKLMN 135
�¿Ö� ¡¢µ7&�Kayas, 1999�#
4�l$������ ��LMGS
�T5®VYèW[\]�Ä�Fµ���
$%6c�À²\½ ¡¢�3wî¡
F%����aв\�;Î ¡¢�;
� !"�Daniel, 1982�#ë:����
À3eÜ�Û�
-
136 1�@
�@K ¡¢�$ÎX
lX«ijýÄ��4
-
ABCDEFGHIJKLMN 137
������ !"#$
���v,Ñ�¢
-
138 1�@
W8 3�CLes Soirées de NazellesD¸[Le goût du malheur\¸X 1-7YZ
k�ðM?ÊË7��@XM?�X
p�@XM?$¥�7&+$p®��
��7&%"¸¥�¦§7&¡Ã�
}þ¬&Xp�@XM?#4�����
Ä'(@XM?�
-
ABCDEFGHIJKLMN 139
W8 5�CLes Soirées de NazellesD¸[Cadence\¸X 1-4YZ
l$���7&+�À Þ!l@
lX«Æìy4�Ú¥.56eZpM
?¢��8ÀXp@XM?�78Ç.ÊË
;+�B¹y4#õ�����Ä���@
¬Xp¼@XM?�Crossley, 1987�#�p
��"D���ë�ÀûXp@XM?Äð
Ë�9³1Öp@XM?#Ïë�¢��
�7&c�AÆrng:Í��Ú.7oµ
¶Ù;
-
140 1�@
NO&G»:�âã¬&N|��.®�
O;7ok+���M73�ÀÓ$q
=Ð?PQ�7à#
W8 7�CMélancolieD¸X 1-3YZ�23_ß�`@aÏ"
89«×mR�7¹,Ñ�����.
N-«`¼�S�NOåç�Ú�Nocturne�
No. 3�+�$ Agité et mystérieus©ó����
mÜýN- Pédale sur chaque tempsåÑÞ
2»¾«XpNO�½R 8�#
W8 8�CNocturne¸No. 3D¸X 43-47YZ
W�Þá7&û©����éTS
�T�8À&NOLÚ�Improvisation�No.
1�Õ´¶Ð����.N- tout à fait san Pédale
G stacc.mÜ�T.sWPQ@G�8À&
NO�½R 9�#
W8 9�CImprovisation¸No. 1Ḑ X 52-54YZ
k:�$�Les Soirées de Nazelles��x
µ�L’alerte vieillesse´¶Ð�¬4T
S�NOåÑ#$ë 47 R?����.¹0
Ped. í è åÑ�DþR?Xp�NOÚ
-
ABCDEFGHIJKLMN 141
Ðwë 48R?��8ÀXpNO����mc
Xp sans Ped. G très sec ß0ñø¢�N
|w$ï`.�£R?�¬4}�ß0�½
R 10�#
W8 10�CLes Soirées de NazellesḐ[L’alerte vieillesse\̧ X
46-50YZ
��Intermezzo in A-flat Major��R
¶��4âãU«Þ�ï7î«c���
�mÜ.N-�T laisser vibrer sans pédale�z
0£ã�îÞìNO�V`h"WÛ�½
R 11�#lë³´����½NO��n4Õ
}kXpUY#
W8 11�CIntermezzo in A-flat MajorḐ X 85-88YZ
l$����NOcÆõ�ïcÝG�
½$¢�NOAB«��nÆ��·;4
4âãg¼dÛ�M73ic�NOA
B½þ!ÊËY4%Z[6��*Xð
Q#¼¼}\�XpïNOq=iQ7�
ÏõÀXpïNO�Úë�¿���8¼µ
9���d�\]�ë����7&Ê
Ë«���nî#;Î��þGd !��
à¥�89NOõGJKAB:�âã�
M73i�7G7oYõGO;@�
ÚëÀ¡$XïNO�Xp^ûÐ$iQ#
������
������7&ÞPQ«��n�89
Õ}¥�¦§7&Ò�n��>�Y
:�&ýÕ}[\]Ò&�å_PQ�w
õ�PQM?A9³1@ú�.`(Q
7à�@qO´7o#4Øãmc@!lG
ic�&mÜN|0!l7�>k�õd
1@�MÛð73�&þGdapOi
-
142 1�@
ü�£�õ.ÀmPQ�G7o@�
@qkÚm£eÉÝ�
-
ABCDEFGHIJKLMN 143
¼}i�ëñj3�texture�c�³Dg
�CÛÐ@�ÁÂg�ZexH�e
�b#Ú�Improvisation�No. 10�+�dã�
Û³.Ú`�[ki�L���CÁÂY�!
l�½R 14�b�w���.âã@dã£
��.Àm7oÐ��0lmÁ£
�º�
-
144 1�@
�b"X 1-3YZ¸ie+j=�âhe"�"
W8 15�CIntermezzo in A-flat MajorD
Ý�c(7���ì�C0ãG�
ï7�õõ.ïNOGº(7�ëc½¢
��PQGNO�4®�op�Ú�Intermezzo
in A-flat Major�ë 41-43R?�½R 16�a�#
$½R+�l$���Ò½�NOõGÕ
�R?��9ÀXþ7à¥Ð$iQ�8
9JKNO�:�âã�·;4dã�V?�
qííNO�r���+7D��Û7¹A
Æ6@�N|Úk£ã½�³´m
_�½R 16�b�#
�a"oW
�b"he�.�t
W8 16�CIntermezzo in A-flat MajorD¸X 41-43YZ
���89½�>PQAB�nÃ�
:�¬cÆmÜ�nsWPQ��Æ. sec.
très sec.N-åÑ#Ú�Les Soirées de
Nazelles���xµ�L’alerte vieillesse�M
?ß0+����.` Très rapide et bien sec
�Æ�MGsW�#8ë�:�$!+.
sW7¹@ß0@Ù7ß0�s�GN-
très articulé Àcñøü¢�GsWPQ
�½R 17�#
-
ABCDEFGHIJKLMN 145
W8 17�CLes Soirées de NazellesD¸[L’alerte vieillesse\¸X 1-6YZ
k:�$�Nocturne�No. 5�ÐT&©�
���mcXp�>GsW�89Þf
�>mG¹0:�dãY. très lié N-Ù
l�>�0ã�. Sec. et très rythmé ÙlÀm
PQ��½R 18�#¢ëñ secco &©c�
89Ùl�MPQM?:�¬&N|t�x
7o�9³1ÀpNO�Ú&XpNOuý
7oµ¶�¬1.JsNO��#
W8 18�CNocturne¸No. 5D¸X 1-2YZ
�� �
����Ä�Åk��"�
-
146 1�@
�vE�¼}�#
�p��¼}½$±5&]!�Æ�ûÇ
.�ð@�¶�½$;+@?��Mµ
¶��ûÇ.�8xy@ÊË�Y�dϳ1
4½ !"G;vEÐ$Ñ}#ÀÖ��¼
}�±5 ~û!z�ä�!��ÚK
��ýw�z��Gaspard de la nuit��
S&!��Yu{¼}½$±5&]!
��ÄÅc#Ïë�±5&]��;¼4|�
}�ÚªX¼}G¿~±5�� ~�.u
Z¼}½±5&]µ\]í�ð#���µ�
� ~�+Ruq�Æ=b+@�¥��
¼}@�¬4±5&]��;¼�®�;
�(û��;®��VE#�����
~!"µ¶¤�$�$lX7&�!
l�³X¬¦±5&] "µ ~¿û
�@Ã#¦Í;
-
ABCDEFGHIJKLMN 147
����
Amis, J. (1973-1974, November). In search of Poulenc. Music and
Musicians, 22, 44-49.
Buckland, S., & Chimènes, M. (Eds.). (1999). Francis
Poulenc: music, art, and literature. Brookfield, VT: Ashgate.
Chimènes, M., & Nicholas, R. (2003). Francis Poulenc. In The
new grove dictionary of music and musicians online (S. Sadie &
J. Tyrell, Eds.). Retrieved May 2, 2003.
Clarendon. (n.d.). Hommage è Poulenc. Le Figaro, 26. As cited in
Daniel, K. W. (1982) Francis Poulenc: His artistic development and
musical style. Ann Arbor, MI: UMI Research Press.
Collet, H. (1920, Jan. 23). Les “six” français. Comoedia, 2. As
cited in Daniel, K. W. (1982) Francis Poulenc: His artistic
development and musical style. Ann Arbor, MI: UMI Research
Press.
Cooper, M. (1961). French music, from the death of Berlioz to
the death of Fauré. London: Oxford University Press.
Crossley, P. (Pianist). (1987). Francis Poulenc: The complete
music for solo piano. (compact disc CBS M3K 44921). New York:
CBS.
Daniel, K. W. (1982). Francis Poulenc: His artistic development
and musical style. Ann Arbor, MI: UMI Research Press.
Davies, L. (1967). The gallic muse. London: J. M. Dent &
Sons.
Davies, L. (1972). The piano music of Poulenc. The Music Review,
33, 194-203.
Drew, D. (1958, Jan. 16). The simplicity of Poulenc. The
Listener, 137.
Dubal, D. (1989). The art of the piano: Its performers,
literature, and recordings. New York: Summit Books.
Poulenc, F. Five impromptus for solo piano. (n.d.). Boca
Raton, FL: Masters Music Publications.
Fragny, R. de. (1946, Feb. 7). Deux oeuvres nouvelles de Francis
Poulenc. Concorde. As cited in Daniel, K. W. (1982) Francis
Poulenc: His artistic development and musical style. Ann Arbor, MI:
UMI Research Press.
Fulcher, J. F. (1995, Fall). Musical style, meaning, and
politics in France on the eve of the second World War. The Journal
of Musicology, 13, 425-453.
Gillespie, J. (1965). Five centuries of keyboard music: An
historical survey of music for harpsichord and piano. New York:
Dover.
Gordon, S. (1996). A history of keyboard literature: Music for
the piano and its forerunners. New York: Schirmer Books.
Hinson, M. (1987). Francis Poulenc. In Guide to the pianist’s
repertoire (2d, Rev. & Enl. Ed.). Bloomington: Indiana
University Press.
Hughes, A. (1975). Francis Poulenc. International cyclopedia of
music and musicians (10th ed.). Edited by O. Thompson. New York:
Dodd & Mead.
Hutcheson, E. (1964). The literature of the piano: a guide for
amateur and student (3d ed., Revised and brought up to date by R.
Ganz). New York: Alfred A. Knopf.
Poulenc, F. Intermezzo in A-flat. (n.d.). Paris: Max Eschig.
Ivry, B. (1996). Francis Poulenc. London: Phaidon.
Kayas, L. (1999). Francis Poulenc-disc jockey. In S. Buckland
& M. Chimènes (Eds.), Francis Poulenc: Music, art, and
literature. Brookfield, VT: Ashgate.
Keck, G. R. (Comp.). (1990).Francis Poulenc: A bio-bibliography.
New York: Greenwood Press.
Poulenc, F. Les 15 improvisations pour le piano. (1990). Paris:
Salabert.
Poulenc, F. Les Soirees de Nazelles. (n.d.). Paris: Durand.
Machart, R. (1995). Poulenc. Paris: Seuil.
-
148 1�@
Poulenc, F. Mélancolie. (n.d.). Paris: Max Eschig.
Mellers, W. H. (1993). Francis Poulenc. New York: Oxford
University Press.
Poulenc, F. Mouvements perpétuels for piano. (n.d.). London:
Chester.
Orledge, R. (1999). Poulenc and Koechlin: 58 lessons and a
friendship. In S. Buckland & M. Chimènes (Eds.), Francis
Poulenc: Music, art, and literature. Brookfield, VT: Ashgate.
Poulenc, F. Piano album: Francis Poulenc. (1989). Collection
compositeurs du XXeme siecle. Paris: Salabert.
Poulenc, F. (1954). Entretiens abec Claude Rostand. Paris: R.
Julliard.
Poulenc, F. Promenades for piano. (1989). London: Chester.
Rogé, P. (Pianist). (1987). Poulenc: Piano music. (compact disc
Decca 417 438-2). London: Decca.
Roy, J. (1964). Francis Poulenc. Paris: Seghers.
Schmidt, C. B. (1995). The music of Francis Poulenc (1899-1963):
A catalogue. Oxford: Clarendon Press.
Schmidt, C. B. (2001). Entrancing muse: A documented biography
of Francis Poulenc. Hillsdale, New York: Pendragon Press.
Stutzenberger, L. P. (1979). The published solo piano works of
Francis Poulenc(1899-1963): A performance tape with commentary.
Unpublished D.M.A. dissertation, University of Maryland.
Stutzenberger, L. P. (1982). Poulenc's tempo indications: To
follow or not to follow. American Music Teacher, 31(3), 26.
Poulenc, F. Suite française pour piano. (n.d.). Paris:
urand.
Poulenc, F. Suite pour piano. (n.d.). London: Chester.
Poulenc, F. Thème varié pour piano. (n.d.). Paris: Max
eschig.
Poulenc, F. Three novelettes for piano. (1989). London:
Chester.
Poulenc, F. Trois pièces pour piano. (1990). Paris: Heugel.
Poulenc, F. Villageoises: Petites pièces enfantines.
(n.d.).Paris: Salabert.
Werner, W. K. (1970, March). Performer’s analysis of Poulenc’s
Mouvements perpétuels. Clavier, 9, 17-19.
��
Å�«'ÒXkcdl���b!\]cd
j7cdåm�NSC-91-2411-H-143-003"¸Ôùúש
����
×�n¸«ý¿oºCL��C\¸X�p��
Shiow-Lih Lillian Shieh is an Associate Professor of the
Department of Music Education, National Taitung University, Taitung
City, Taiwan. E-mail: [email protected]
-
Journal of Taiwan Normal University: Humanities & Social
Sciences 2005,50(1),131-149
Interpreting Francis Poulenc’s Piano Music
Shiow-Lih Lillian Shieh Department of Music Education, National
Taitung University
Abstract
Francis Poulenc�1899-1963"is one of the most important French
composers of the twentieth century. In the last decade, the
prolific Poulenc research has resulted in numerous
publications�books, articles, and recordings"and Poulenc’s music
has made its way into concert halls everywhere. However, Poulenc’s
piano music is still relatively unknown to many piano students in
Taiwan. Thus the purpose of this paper is to offer an
interpretation of Poulenc’s piano music. After providing a brief
biography and discussing the characteristics �melody, harmony,
tonality, etc."of Poulenc’s compositions, the author will
investigate the interpretation of Poulenc’s music in terms of
tempo, pedal and touch. Musical examples, drawn from important
works of Poulenc, are included to illustrate the suggested
practicing procedure. It is hoped that this paper may serve as a
reference for piano instructors and/or students.
Keywords: piano, piano music, piano pedagogy, Poulenc