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Francis Poulenc
21 Compositions
1918 | Mouvements perpétuels , FP 14 | 1111-1000-str(1.0.1.1.1) | 5' 00'' |
1923 | Les biches: Suite , FP 36 | 3333-4331-timp+2-hp-cel-str | 16' 00'' |
1928 | Concerto champêtre for Harpsichord , FP 49 | 2222-4211-timp+2-str-soloist(hschd) | 25' 00'' |
1928 | Concerto champêtre for Piano , FP 49 | 2222-4211-timp+2-str-soloist(pf) | 25' 00'' |
1929 | Aubade , FP 51 | 2222-2100-timp-soloist(pf) | 22' 00'' |
1932 | Concerto for 2 Pianos in D minor , FP 61 | 2222-2221-1perc-str-soloists(2pf) | 20' 00'' |
1935 | Suite française , FP 80 | 0202-0230-1perc | 13' 00'' |
1937 | Deux marches et un intermède , FP 88 | 1111-0100-str | 6' 00'' |
1937 | Sécheresses , FP 90 | 2222-4231-timp+2-hp-cel-str-chorus(SATB) | 17' 00'' |
1938 | Concerto for Organ in G minor , FP 93 | timp-str-soloist(org) | 24' 00'' |
1942 | Les animaux modèles: Suite , FP 111 | 3344-4331-timp+3-2hp-pf-cel-str | 21' 00'' |
1945/1963 | L'histoire de Babar le petit éléphant (arr. Françaix ) , FP 129 | 2222-2211-timp+1-hp-str-soloist(n) | 22' 00'' |
1945/1985 | L'histoire de Babar le petit éléphant (arr. Blomhert ) , FP 129 | 2222-2101-timp+1-hp-str-soloist(n) | 22' 00'' |
1945/1989 | L'histoire de Babar le petit éléphant (arr. D. Matthews ) , FP 129 | 1111-1000-1perc-pf-str-soloist(n) | 22' 00'' |
1948 | Sinfonietta , FP 141 | 2222-2200-timp-hp-str | 29' 00'' |
1949 | Concerto for Piano , FP 146 | 2222-4231-timp-str-soloist(pf) | 20' 00'' |
1951 | Stabat Mater , FP 148 | 3333-4331-timp-2hp-str-chorus(SATB)-soloist(S) | 31' 00'' |
1952 | La Guirlande de Campra: Matelote provençale | 2222-2200-timp+2-cel-str | 1' 45'' |
1957/1973 | Sonata for Flute (arr. Berkeley ) , FP 164 | 0222-2000-timp-str | 12' 00'' |
1960 | Gloria , FP 177 | 3333-4331-timp-hp-str-chorus(SATB)-soloist(S) | 28' 00'' |
1962 | Sept répons des ténèbres , FP 181 | 3333-4331-timp-hp-str-chorus(TB) | 25' 45'' |
1 Arrangement
1889/1939 | Satie : Deux Préludes posthumes et une Gnossienne (arr. Poulenc ) | 2222-2220-hp-str | 9' 00'' |
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We Want Your Help!
Are you passionate about orchestral repertoire, equitable programming, and advancement of music of living composers? We'd like to work with you.