Improvisation No. 1

Instrumentation

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Musical Terms (4)

• Improvisation (Poulenc) en
  Poulenc's fifteen Improvisations (1932-1959) are carefully crafted character pieces despite their improvisatory title. They range widely in mood, from the playfully piquant to the deeply lyrical, and document Poulenc's pianistic voice across three decades. The set ends with No. 15 'Hommage a Edith Piaf' (1959), a moving tribute to the singer written in the popular-chanson style Poulenc admired in her work. Together the set is one of the most accessible and revealing bodies of work in 20th-century French piano literature.
  Each improvisation is a complete world in miniature. Avoid generic 'modern French' colouring; attend to Poulenc's specific dynamic and articulation markings, which are precise and idiomatic. The lyrical pieces respond well to a singing tone; the ironic or witty pieces require a deliberately dry, non-legato touch.
• Improvisation (Poulenc) en
  Poulenc's fifteen Improvisations (1932-1959) are carefully crafted character pieces despite their improvisatory title. They range widely in mood, from the playfully piquant to the deeply lyrical, and document Poulenc's pianistic voice across three decades. The set ends with No. 15 'Hommage a Edith Piaf' (1959), a moving tribute to the singer written in the popular-chanson style Poulenc admired in her work. Together the set is one of the most accessible and revealing bodies of work in 20th-century French piano literature.
  Each improvisation is a complete world in miniature. Avoid generic 'modern French' colouring; attend to Poulenc's specific dynamic and articulation markings, which are precise and idiomatic. The lyrical pieces respond well to a singing tone; the ironic or witty pieces require a deliberately dry, non-legato touch.
• Les Six en
  A loose association of six French composers — Poulenc, Honegger, Milhaud, Auric, Durey, and Tailleferre — grouped by the critic Henri Collet in 1920 under the influence of Erik Satie and Jean Cocteau. They shared a reaction against both Wagnerian heaviness and Impressionist vagueness, favouring wit, clarity, economy, and everyday subject matter.
  In performance, Les Six aesthetics often translate to a certain deliberate dryness: avoid over-pedalling, keep textures clear, resist the urge to inflect every phrase romantically. Irony and understatement are as expressive as full emotional intensity.
• Les Six en
  A loose association of six French composers — Poulenc, Honegger, Milhaud, Auric, Durey, and Tailleferre — grouped by the critic Henri Collet in 1920 under the influence of Erik Satie and Jean Cocteau. They shared a reaction against both Wagnerian heaviness and Impressionist vagueness, favouring wit, clarity, economy, and everyday subject matter.
  In performance, Les Six aesthetics often translate to a certain deliberate dryness: avoid over-pedalling, keep textures clear, resist the urge to inflect every phrase romantically. Irony and understatement are as expressive as full emotional intensity.