|OPERA: The Cid; Fedra; Debora e Jaéle; Fra Gherardo.|
|CHORAL: La Nave; La Rondine; Mass.|
|ORCHESTRA: Overture for Tragic Comedy; incidental music to La Pisanella; Poem for Violin and Orchestra; Rondo Veneziano; Concerto dell'Estate; Concerto for 'Cello and Orchestra.|
|CHAMBER MUSIC: Quartet in A; Second String Quartet; Sonata for Violin and Piano; Sonata for Violoncello and Piano; Trio.|
|Pieces for piano; songs, etc.|
About Ildebrando Pizzetti:
Fondi Renato. Pizzetti.
Musical Quarterly 9:96 January 1923.
Important recordings of music by Ildebrando Pizzetti:
ITALIAN VICTOR: Excerpts from Pisanella; Three Songs.
"It is evidently premature to pass definite judgment on an artist so young, and with so many years of creation before him, but one must consider the author of Biches, of Bestiaire, of the Trio, of the Gaillards songs and the Concerto as one of the most gifted and most interesting of the new French school."-- HENRI PRUNIÈRES
FRANCIS POULENC, of the "French-six," I was born in Paris on January 7, 1899. His parents planned a classical education for him in which music could play only a secondary role. Francis Poulenc, therefore, could devote only his spare hours to musical study, pursuing instruction in piano- playing under Ricardo Vifies and acquiring a rudimentary technical knowledge by reading books. Composition engaged his interests from the very first, and long before his classical education had ended he had produced a series of works in which his individual style was already markedly apparent.
His name swept across the musical sky of Paris like a comet when he was still a youth. At the age of eighteen, he suddenly found himself a sensation among music-lovers in Paris, his name inspiring comment, enthusiasm and controversy in all musical circles. It was in that year that a group of young French composers, under the inspiring guidance of Erik Satie, joined into a band known as the "French-six"; and it was Francis Poulenc first important work--Rapsodie Nègre--that launched the "French-six" upon its career at the Vieux Colombier.2 Rapsodie Nègre, for flute, clarinet, string-quartet, piano and voice, made an indelible impression because of the color and spice and vigor of Poulenc's style. "The undeniable musical temperament, the peculiar ingenuity and the frank and yet discreet picturesqueness revealed by this work did not fail to fascinate the novelty- seeking Parisians assembled there." "It is a work," continues H. E. Wortham, "showing two qualities which distinguish contemporary French music-- an interest in weaving together of strongly marked rhythms, and in the contrast of timbres or 'sonorities' of which Stravinsky is the acknowledged master."
In 1918, Poulenc was called to military service, interrupting a musical career begun with such flashing brilliance. But upon his release from military duties, he returned to his composing with greater zest and produced several works in which his technique was becoming more and more solid and his pungent style began to acquire greater sting. In 1919, came his collection of songs Cocardes, on poems by____________________
For an explanation of the origin, aims and dissolution of the "French-six" see sketch of Georges Auric.