The composer had written a catalogue of his works in 1921, which is reproduced in Schmidt's book.[2] According to this list, the first noted piece was in 1914 Processional pour la crémation d'un mandarin for piano, now lost or destroyed. Poulenc completed his last work, his Oboe Sonata, in 1962.
Piano, chamber music and songs
As a professional pianist, Poulenc wrote many pieces for his own instrument. He was a prolific writer of works of chamber music, often with piano, and some works for two pianos. Poulenc composed many songs (mélodies), most of them accompanied by piano, but some also in versions with a small instrumental ensembles, for example his Rapsodie nègre for baritone, flute, clarinet, string quartet and piano. He composed easily for woodwind instruments, scoring for example a piano trio with oboe and bassoon instead of the traditional violin and cello. Poulenc was less familiar with string instruments. The cellist Pierre Fournier helped him to write the Cello Sonata, which he premiered with the composer as the pianist.[3] Poulenc destroyed all sketches for string quartets and three for violin sonatas, while only the fourth one survived, but was received critically.[4]
Poulenc turned to writing also religious music in the 1930s, composing a Mass in G major for a cappella choir. He composed the Stabat Mater in 1950 in memory of the painter Christian Bérard in 1950. The late Gloria for soprano, choir and orchestra became one of his best-known works.[6][7] He drew inspiration for his sacred compositions mostly from liturgical texts.
The Music of Francis Poulenc (1899–1963): A Catalogue, abbreviated FP, is a chronological catalogue of Francis Poulenc's works which was published by Carl B. Schmidt in 1995. Schmidt provides for each known composition, which includes unfinished, unpublished and lost works, a detailed history of composition and performance, and lists manuscripts and publications.[9]
In the table, the works are initially listed by the FP number. Other information given is the French title, a translation if commonly used, the key, the scoring if not clear from the title, the year(s) of composition, the genre, text information, notes and a free score when available, and the page number in the catalogue. Abbreviations used are "rev." for "revised", "orch." for "orchestration", arr. for "arrangement" and "sc." for "score".[9]
In Genre, instrumental pieces are distinguished as orchestral and chamber music, particularly that for piano. The group of stage works contains operas, ballets and incidental music, while film scores are marked separately. Sacred and secular music for voice is divided in choral, for cantatas and motets, and vocal, holding songs and song cycles.
Les mariés de la tour Eiffel, ballet (1921; a collaborative work by all the members of Les Six except Louis Durey); Poulenc's contributions, Discours du General (Polka) and La Baigneuse de Trouville are listed as FP 23 in Schmidt's Poulenc catalog.
Pastourelle (1927; for the children's ballet L'éventail de Jeanne, to which ten French composers each contributed a dance; this excerpt became better known in its piano transcription), FP 45
Litanies à la vierge noire (SSA, org) (1936), orchestrated (1947), FP 82
Les Petites voix (SSA a cappella) (1936) FP 83 (Madeleine Ley) (I. La Petite Fille sage; II. Le Chien perdu; III. En rentrant de l'école; IV. Le Petit garçon malade; V. Le Hérisson)
Quatre motets pour un temps de pénitence (SATB): "Vinea mea electa", (1938); "Tenebrae factae sunt", (1938); "Tristis est anima mea", (1938); "Timor et tremor", (1939), FP 97
Chansons françaises: "Margoton va t'a l'iau", (SATB)(1945); "La belle se sied au pied de la tour" (SATBarB) (1945); "Pilons l'orge" (SATBarB) (1945); "Clic, clac, dansez sabots" (TBB) (1945); "C'est la petit' fill' du prince" (SATBarB) (1946); "La belle si nous étions" (TBB) (1946); "Ah! Mon beau laboureur" (SATB) (1945); "Les tisserands" (SATBarB) (1946), FP 130
Quatre motets pour le temps de Noël (Mixed chorus): "O magnum mysterium" (1952); "Quem vidistis pastores?" (1951); "Videntes stellam" (1951); "Hodie Christus natus est" (1952), FP 152
Ave verum corpus (SMezA) (1952), FP 154
Laudes de Saint Antoine de Padoue (Men's Chorus): "O Jésu perpetua lux" (1957); "O proles hispaniae" (1958); "Laus regi plena gaudio" (1959); "Si quaeris" (1959), FP 172
Vocal
Rapsodie nègre: see Chamber/Instrumental, above.
Toréador chanson hispano-italienne (poem by Jean Cocteau) (1918, revised 1932) FP 11
Le Bestiaire, ou le Cortège d'Orphée pour Baryton et Orchestre de Chambre, FP 15a (poems by Apollinaire) (I: Le dromadaire II: La chèvre du Thibet III: La sauterelle IV: Le dauphin V: L'écrevisse VI: La carpe) (1918–1919)
Le Bestiaire, ou le Cortège d'Orphée pour Baryton et Piano, Trois Melodies Inedites (VII La Colombe, VIII Le Serpent, IX La Puce), FP 15b
Cinq poèmes de Max Jacob (I:"Chanson Bretonne" II:"Cimetière" III:"La petite servante" IV:"Berceuse" V:"Souric et Mouric") (1931), FP 52
Miroirs Brûlants (2 Poems by Paul Eluard. I:"Tu vois le feu du soir" II:"Je nommerai ton front") (1938), FP 98
Poèmes de Ronsard (I:"Attributs", II: "Le tombeau", III: "Ballet", IV: "Je n'ai plus les os", V: "À son page") (1925), FP 38
Chansons Gaillardes (anonymous 17th-century texts, I:"La Maîtresse volage", II: "Chanson à boire", III: "Madrigal", IV: "Invocation aux Parques", V: "Couplets bachiques", VI: "L'Offrande", VII: "La Belle Jeunesse", VIII: "Sérénade") (1925–1926), FP 42
Tel jour telle nuit (poems by Paul Éluard), I: "Bonne journée", II: "Une ruine coquille vide", III. "Le front comme un drapeau perdu", IV. "Une roulotte couverte en tuiles", V. "A toutes brides", VI. "Une herbe pauvre", VII. "Je n'ai envie que de t'aimer", VIII. "Figure de force brûlante et farouche", IX. "Nous avons fait la nuit" (1936–1937), FP 86
Fiançailles pour rire (poems by Louise de Vilmorin: I: "La Dame d'André", II: "Dans l'herbe", III: "Il vole", IV: "Mon cadavre est doux comme un gant", V: "Violon", VI: "Fleurs") (1939), FP 101
Banalités (poems by Apollinaire: I: "Chanson d'Orkenise", II: "Hôtel", III: "Fagnes de Wallonie", IV: "Voyage à Paris", V: "Sanglots") (1940), FP 107
Chansons villageoises (I: "Chanson du clair tamis", II: "Les gars qui vont à la fête", III: "C'est le joli printemps", IV: "Le mendiant", V: "Chanson de la fille frivole", VI: "Le retour du sergent"), FP 117 (1942)
Deux poèmes de Louis Aragon (I: "C", II: "Fêtes galantes") (1943), FP 122
Métamorphoses (1943) FP 121 for voice and piano (Louise de Vilmorin) (I. Reine des mouettes; II. C'est ainsi que tu es; III. Paganini)
Calligrammes (Guillaume Apollinaire): I. L'Espionne; II. Mutation; III. Vers le Sud; IV. Il pleut; V. La Grâce exilée; VI. Aussi bien que les cigales; VII. Voyage (1948), FP 140
La Fraîcheur et le feu (poems by Paul Éluard), I: "Rayon des yeux", II: "Le matin les branches attisent", III: "Tout disparut", IV: "Dans les ténèbres du jardin", V: "Unis la fraîcheur et le feu", VI: "Homme au sourire tendre", VII: "La grande rivière qui va" (1950), FP 147
Rosemonde (poem by Apollinaire) (1954), FP 158
Parisiana (poems by Max Jacob: I: "Jouer du Bugle", II: "Vous n'écrivez plus?") (1954), FP 157
Le travail du peintre (poems by Paul Éluard), I: "Pablo Picasso", II: "Marc Chagall", III: "Georges Braques", IV: "Juan Gris", V: "Paul Klee", VI: "Joan Miro", VII: "Jacques Villon" (1956), FP 161
Deux mélodies (I: "La Souris" (Apollinaire), II: "Nuage" (Laurence de Beylié)) (1956), FP 162
La Courte Paille (poems by Maurice Carême), I: "Le sommeil", II: "Quelle aventure!", III: "La reine de Coeur", IV: "Ba, be, bi, bo, bu", V: "Les anges musiciens", VI: "Le carafon", VII: "Lune d'Avril" (1960), FP 178
Roy, Jean: Francis Poulenc Oeuvres complètes (1963–2013) L'Édition du 50e Anniversaire, EMI/Warner France Classics' 20 CD release marking the 50th anniversary of Poulenc's death. The in-depth accompanying material entitled, Francis Poulenc 1899–1963, L'intégrale de ses oeuvres, Edition du 50e anniversaire 1963–2013 was translated to English by Hugh Graham.