For Francis Poulenc, his compositions were like offspring whose different characters owed much to his varied experiences and influences. One important aspect of their character was the musical borrowing they contained. Poulenc quoted folk songs and military bugle calls and modeled pieces on compositions by Tchaikovsky, Mozart, Haydn, and Saint-Saëns. He used musical borrowing to proffer friendship, to make political statements, and as a form of emulation.

Works: Poulenc: Les Biches (55), Les Animaux modèles (58-59), Concert champêtre (78), Concerto for Two Pianos and Orchestra (83), Concerto for Piano (133), Les Mamelles de Tirésias (101), Stabat Mater (101), Trio for Piano, Oboe, and Bassoon (121).

Index Classifications: 1900s

Contributed by: Cathleen Cameron