Francis Jean Marseille Pulenk (January 7, 1899, Paris - January 30, 1963, Paris) - French composer, pianist, critic, visible from the participants of the French "Sixters". Comes from the rich and famous French bourgeois family manufacturersIn which art loved and appreciated and contributed to the development of the artistic inconsistencies of the Son. The atmosphere of well-being, solid moral foundations and long-standing cultural traditions that reigned in a friendly family have determined the circle of interests and the worldview of Polenka. Student R. Vines (FP.) And III. Coollen (composition). Pulenk was mostly self-taught, although in student years, instead of fulfilling the strict prescriptions of parents in relation to his education, successfully used free time for piano and composition. Francis Pulenk - because of my weak health in childhood, the need to obtain classical education, on which my father insisted, and, finally, because of my early departure to the front in 1918, my music classes were carried out very unevenly. When I was five years old, my mother put my fingers on the keyboard, but soon invited one lady to help, whose name I forgot and who made a much greater impression of huge hats with sequins and gray dresses than their very mediocre lessons. Fortunately, when I was eight years old, I was entrusted for daily classes Mademoiselle Bute de Montviel, Sesar's niece Frank, who had a very good school. Every evening, after returning from the lyceum, I was seriously engaged in Her, and when I had several free minutes during my day, I ran to the grandfather and played with a sheet. The absence of technology did not prevent me quite deftly from difficulties and therefore in 1913 - I was then fourteen years old - I could enjoy the "six small plays" Schönberg, "Allegro Barbaro" Bartok, all that I could get Stravinsky, Debussy and Ravel.

In the early 1920s Participant of the creative Commonwealth "Sixer". Subsequently, Pulenk retained loyalty to the aesthetic program of this group and continued to compose good music, which cultivated simplicity, undisclosure, used Musichell motifs and often hid a sense under the mask of irony. Pulenk wrote a lot on the texts of the modern poets (Cokto, Elur, Aragon, Apolliner and Anui), and equally and on the texts of the poet 16 century. Ronsar. Ronsar verses vocal cycles (1924-1925) and gallant festivals (1943) are among the most frequently executed products of the composer. Pulenk was a first-class accompaniment in the performance of his own vocal essays. The brilliant possession of the piano was reflected in a number of Pulenka's plays for this tool, such as eternal movements (1918) and evenings in Nerll (1936). But Pulenk was not only a miniatureist. In his heritage, there are essays of a large form - for example, Mass (1937), a witty concert for two pianos with orchestra (1932), a concert for an organ with the orchestra (1938) and other successful choral and instrumental cycles. Pulenk also wrote music for theater, cinema, ballet; I composed two operas - Breasts Tyrziasia (1944) and the carmelite dialogues (1957), as well as a mono-operator. Human voice (1959).

He experienced the influence of E. Shabrie, I. F. Stravinsky, E. Sati, K. Debussy, M. Ravel, Sergey Prokofiev, spoke with reports about the work of Mussorgsky. The period when Francis Pulenk consisted of a group "Six" is the most bright in his life and work, at the same time laid the foundations of its popularity and professional career.

Starting from 1933, a lot acted as an accompaniator with the singer Pierre Bernakov, the first performer of many vocal essays of Polenka.

During the Second World War, he was a member of the resistance movement. Much for the development of opera art in France, Polenk, at the same time, hardly worked in other genres - from spiritual music and ballet to instrumental and entertainment vocal plates. Music Polenka is distinguished by thin melodium, ingenuity tools, grace of form. Among the main essays of the composer 4 Opera (the best of them is the "human voice" on Monodrame J. Kokto, 1958), 3 ballet, concert for FP. with orc., Patriotic Cantata "Lick Human" (on Sl. P. Eluara, 1943), "Rural Concert" for Chamblock with Orc., Concert for Organ with Orc., Over 160 songs on the verses of famous French poets, many chamber instrumental ensembles, etc.

P. wrote in Split. genres (FP., Wok., Camero-Inst. cit.). He took part in the collective work of the composers "Sixters" (dance. Divertisment "Newlyweds on the Eiffel Tower" - "Les Mariys De La Tour Eiffel", 1921). The first major produce. P. - Ballet "Lani" (1923, on request S. P. Dyagilev for the troupe "Russian ballet"). In his work, P. evolved from entertainment valve ("Negro Rhapsody", 1917), sometimes shallow content op. To significant on topics, dram. And tragic. By character, works. Much attention, the composer paid melodies; For the wealth and beauty of Cantilena, they are called the "French Schubert" homeland. Relying on the tradition of Franz. nar. SENSION, he also developed the principles of music. Question of K. Debussy and Wok.-Declamation Methods M. P. Mussorgsky. P. repeatedly spoke of the influence of the latter music on him: "I play without tired and replacing Mussorgsky. Incredible, how many I owe him." All the best finds P. in the field of wok. and Orc. Music concentrated in its three operas: the Buffon "Breast of Tyrumes" (on the play of Apolliner, 1944), the tragedy "carmelite dialogues" (according to J. Bernanos, 1953-56) and a lyrical and psychological "human voice" (on Monodrame J. Cockt, 1958). A great place in the work. Heritage P. occupy chamber-wok. . (St. 160 songs on the cl. Apolliner, P. Eluara, M. Jacob, L. Aragon, Cocteau, R. Dosnos, etc.). His music on the poems of the model. Franz. Poets are closely related to the text, the composer relies on the phonetic. The sound of poems and a new, "relaxed" rhythm. He managed to overcome the deliberate alogichic and eccentricity of surrealist. poems and move them into a slim muse. Form. In his wok. miniatures and choir. Music found a reflection of civil tags. During the fascist occupation, P. wrote patriotic. Cantatat "Lick of Human" (on the cl. Eloara, 1943, ed. secretly), in which the coming freedom was glorified in the swarm, and contempt for conquerors. Spiritual music P. (Mesa, Stabat Mater, Gloria, Motettes, etc.) is not limited to the close peace of the Relig. images; It has no archaic and cultivation of church. Psalmody, Grigorian Choral, and used a wide range of ariosis and songs and declamac. intonation. Composer-lyric in nature, P. and in spiritual music brings Lurism. LEAVE READ. As part of the stylistry. The norms of the tonal system, P. sought to develop harmonic drugs. For him, the appeal to the folk and archaic frets, the enrichment of the road diatonics, the complication of the chords of the TERS structure with alteration and additional tones. Deep nat. Composer, P. entered the history of music as a progressive artist, an expressant of humanist. Ideals of your era. Especially significant is its contribution to the opera lawsuit.

Works: Operas - Breasts Tyrumes (Opera-Buffa, 1944, post. 1947, T-R "Opera comedian", Paris), Dialogs of Carmelite (1953-56, post. 57, T-R "La Scala", Milan and "Grand -Opera ", Paris), human voice (Lyrich. Tragedy in one Act, 1958, post. 1959, T-R" Opera comedian ", Paris); Ballets - Lani (ballet with singing, 1923, post. 1924, English ballet troupe, Montte Carlo), Morning Serenada (choreography. Concert for FP. and 18 tools, 1929, post. 1930, "Theater of the Champs Elysees", Paris), exemplary animals (Les Animaux modles, according to J. Lafontaine, 1941, post. 1942, "Grand Opera", Paris); For soloists, choir and orc. - Kantat Drought (on poems by E. James, 1937), Stabat Mater (1950), Gloria (1959), Sept Rypons Des Tynybres (for soprano (children's voice), children's and husband. Chorans, 1961); For Orc. - Symphony (1947), Suites, etc.; Concerts with Orc. - A rural concert for harpsichord (with a small orchestra, 1928, is dedicated to V. Landovskaya), for the organ, strings. orc. and Litavr (1938), for 2 FP. (1932), for FP. (1949); For FP. - Continuous movements (1918), 5 Intermezzo (1920-21), walks (1924), French Suite (1935; Topics are used from Sat. Dance of the composer of the 16th century. K. Zhervelza), 8 Nocturnes (1929-38), 15 (1932-59) and others; Chamber inst. ensembles; Choir with ins. Sopir. - Litania to the Black Mother of God (for wives or children's choir and organ or strings. Orc., 1936); Choolds A Cappella - 7 Chorans on the verses of Apolliner and P. Eluara (1936), Mass G-DUR (1937), Cantata Lick Human (, to the poems of eloars, for double blood. Chora, 1943), 8 Franz. Songs on vintage nar. Texts (1945); For voice with orc. - secular cantata Masquerad Ball (on the text M. Jacob, for Bariton or Metzo-soprano and Chamber Orc., 1932), peasant songs (on poems M. Fombor, 1942); For voice with an ins. An ensemble - Negro Rhapsody (for Baritona, 1917), Bestiary (6 songs on the poems of Apolliner, 1919), Cokardy (3 songs on poems J. Kokteo, for tenor, 1919); For vote with FP. - Romances on the poems of Eloara, Apolliner, F. Garcia Lorca, Jacob, L. Aragon, R. Dosnos; Music for dram. T-ra, cinema, etc.

i composed my first religious work of the "Litania of the Black Botomateri Rocamadurian

What composers had an impact on you in youth?

F. P. - I answer without oscillations - Schabrie, Sati, Rowel and Stravinsky.

S. O. - What composers do you like more than others?

F. P. - I love Monteverdi, Scarlayti, Gaidna, Mozart, Beethoven, Schubert, Chopin, Weber, Verdi, Mussorgsky, Debussy, Row, Bartock and so on.

to get together with thoughts, I need to work in solitude. That's why I can't work in Paris and, on the contrary, I feel great in the hotel's room if there is a piano. For all that, I need to have a joyful, cheerful landscape before my eyes - I am very prone to melancholy, and a visual impression can take me out of balance. My best working hours - Morning. After seven o'clock in the evening, with the exception of concert activity, I'm not gung to anything. But to work for work at six am for me joy. As I already spoke you, I work a lot for Royal as Debussy, Stravinsky and many others. Contrary to the fact that I usually think about me, I work hard. My drafts - something like a strange musical stenograph record - full of blots. Each melodic thought occurs in my definite tonality, and I can state it (for the first time, of course) only in this tonality. If I add to this that the least bad of all my music I found between eleven o'clock in the morning and noon, I think that I told you everything.

In creativity, the combination of tenderness and irony is one of the charming features of his lyrics. Pulenk has talent (maybe art?) It is easy to communicate with people of various social layers. "Pursuant" and his music directly perceived by various listeners. It combines Pulenk's composer activity from the first steps with the performer, but unlike many of its contemporaries, it is not immediately decided to betray their thoughts about music. Only in adulthood and not without hesitation, the composer begins to share his views in articles, books and on radio in carefully prepared conversations, which were then turned into books that retained, however, a peculiar shape of the casual exchange of thoughts with an inquisitive interlocutor. For the first time, Pulenk spoke in print in 1941 with a small article-memoil entitled "The Heart of Maurice Ravel" (1941, I).

In 1955, the article "Memory of Bella Barthok" (1955) was written in the closest key and the tone of the memories prevails, although Pulenk communicated a little with a barthot, but was repeatedly present at his concerts, and admired him as a pianist and composer. A more special detailed character is the article by Poolenka "Piano Music Eric Sati" (1932), in which he explains what exactly the power of Sati's innovation and the secret of exposure to young people in the 40-20s. The article "Piano Music Prokofiev" is sufficiently well known for us, as it has been published repeatedly. In it, Pulenk considers the writings of Prokofiev as a composer and a pianist, determines the features of the unique originality of Prokofiev and expresses his admiration for them. The most detailed among articles is the essay "Music and Russian ballet Sergei Dyagileva" (1960). In it, Pulenk mobilized all his memories of personal communication with Dyagilev and his troupe and with amazing impartiality stated that the most important thing that had for French musical art business Dyagileev and his personal impact on French musicians.

The most significant work of the music general plan is the monograph of Poilka about Emmanuel Shabrie (1961). It is designed for a wide and at the same time enlightened reader; Her goal is to protect the Shabrie, unfairly forgotten and undervalued in his historical role. The book is written alive, hotly and simply, although this simplicity hides an exhaustive knowledge of the heritage of the shabra and its environments, careful selection of facts, the courage of analogy and comparisons, accuracy of ratings. The text is replete with many subtle and insightful comments on the subject of the essays of the Shabrar, about its style, the nature of his language, about the bold interpretation of the genre and the people began, about the successful links of the Shabriery with the Raveme and with modern musicians, among which he mentions and itself as a "musical grandson" Shabra. The greatest interest is the two of his books that have arisen on the soil of conversations, and a very special place occupies a posthumously published by friends "My Diary of My Songs". Back in 1954, the book "Conversations with Crate Rostan", which is a record of conversations that sounded in a series of programs of National Radio and Television of France from October 1953 to April 1954. This kind of conversation with various outstanding figures became a new common form of stories about themselves and their own business. So, in 1952, "Darius Miyo conversations with Claude Rostan" appeared, and among later, "Olivier Messiana conversations with Claude Samuel" (1967) should be mentioned. The form of conversations or stories about himself is a whole series of books published by the Publishing House "Conquistador". In the "conversations with Claude Rostan" Pulenk talks about his childhood, teachers, friends, about their creative formation and history of creating their writings, their artistic tastes and philosophical views.

Ten years later, Pulenk returns to this form of communication with the audience, having prepared a series of transmissions on the proposal of radio French Switzerland in the form of conversations with a young musicologist Stefan Del. The record did not take place because of the sustainable death of the composer. These conversations have become the book "I and My Friends", prepared for the press of Dia.

In the initial records, Pulenk returns to its first experiments in the vocal genre, related to 1918; And then, writing songs, along the way, writes his thoughts about them. Pulenk writes about poetry, the choice of poems and the difficulties of their musical incarnation, about the genre of vocal lyrics, about the peculiarities of chamber vocal performance, about the indispensable conditions for equality and the interpenetration between the vocal and piano on the beginning, on the requirements of the requirements for the performers of his songs, about the best and worst requirements His performers. Not once mentions the name of the singer Pierre Bernaka, considering it an ideal performer not only of his "songs, but many others first of all French composers. Pulenk devoted to Bernaka "My songs diary." The composer and singer tied a long creative friendship - 25 years of joint concert speeches, who played an important role in the musical life of that time. According to many critics, their perfect duo contributed to the wide familiarization of many countries of the world with the French vocal music of all stages of its development, as well as with the vocal writings of Schubert, Shuman, Wolf and Beethoven.

Pulenk intended his "diary" first of all by performers. The considerations expressed by them, based on his personal rich experience, he calls advice, undoubtedly essential for each artist. Pulenk gives interesting, subtle guidelines on the details of the execution - articulation of the word, vocal intonation, pedalization, rhythm, tempo, textures, roles of piano accessories and conclusions mainly in their songs. Remarkable close creative friendship that arose between the bulk and poets. Max Jacob calls a young bullet with his favorite musician. Paul Elur is the first sender for his feedback to his verses. Cocteau, Aragon introduce him to his new essays.

songs on their poems occupy a significant place among his vocal essays. But no less significant place is given by the composer in his vocal lyrics to the Guillaume Apolliner, at different periods of Pulenk found for himself the Apolliner diametrically opposed to the content of the verses: joking Aphorisms "Bestiary" (1918) and Nostalgia "Montparnasses" (1945), bold eccentricians "Breath Terezia "(1947) and sorrowful bitterness" Vasilka "(1939).

the name of Francis Pulenka is connected with the "big hill", a beautiful house built in the XVIII century, where everything was so thought out comfortably, comfortable and cozy. Pulenk found peace and silence in this house, conducive to his work.

The "big hill" leaned against a low rocky grief made by ancient deep caves, in which people may have ever lived. Large windows of the house overlook the terrace hanging over the French park. On the right side - a greenhouse that serves as a summer dining room, with the left - centenary linden, giving up on hot days shadow and cool, and right in front of the "terrace - lower garden with a garden of vegetables, a vineyard, giving light golden wine, and, most importantly, with flowers , abundance of colors.

The inner decoration of the house reflected the impeccable taste of his host. Each piece of furniture, each picture, each bauble was carefully chosen and placed so that in general created the impression of complete harmony. The richest library with many books on art and rare publications was not inferior to the disco, the diversity of which testified to the eclecticism of the pump.

A large cabinet, where there were a piano and grand piano, stuck with photos of friends, decorated a huge fireplace. When the evening came, it was buried, having fun cracked, lamps. Vocal and orchestral sounds were filled from the electric player, and Francis, dropping into a deep chair, followed the scores for Verdi operations, Pucchini, Symphony, Maero, Hindext, Barthok concerts, Defali, Debussy, Shabra (his dear Schabrie!), Mussorgsky, Stravinsky, Prokofiev, works of Viennese Dodecafonists.

Pulenk subordinated his days unchanged schedule. A man of order in everything, he as neatly kept placed in places of book, scores, collections of photographs, autographs, letters, how accurately observed hours dedicated to work. Run early in the morning, after a light breakfast, consisting of croutons with confiture and tea, Francis Pulenk was closed in his office. Turning his back to the windows through which the streams of the Sun were broken, he worked at the table or behind the piano. From my room I was heard, as he took chords, began the musical phrase, changed it, repeated her tirelessly - and so until the sudden deep silence testified that, coming to his office, he wrote something On tank paper or scraping what he did not satisfy it, with a half-eating blade from constant consumption.

Such a stubborn work lasted before breakfast. Then Francis raised himself into the room, quickly performed his toilet, and from that moment he devoted himself to friendship. Dressed in tweed and flannel, as a real gentleman in his estate, he checked whether all the vases are filled with magnificent bouquets. He himself was with art that could envy the most sophisticated flower water.

I love only real aristocrats and a simple people, "he admitted to me once. He should have add: and my friends, but it was so obvious to him that he did not even consider it necessary to mention it. There was no friendship more faithful, more constant than the friendship of this great egocentric. From the moment Francis gave his friendship, she remained unchanged forever. He showed his friendly attitude everywhere, wherever he was, despite his work and the duties imposed on him fame. His friends received from him to lead from America, England, Italy or any other country where his concert performances or concerts in which his works were performed. Pulenk never forgot to inform friends about his plans, I was interested in their plans, invited them in advance, for the month, for breakfast in his Parisian apartment, from the windows of which the entire Luxembourg garden was visible. Correspondence was an urgent need for him, the obligation from which he did not try to shy away. He devoted to her the afternoon, after pretending the breakfast, who had a good and abundant to eat this amateur. In the calf days of coffee, and later tea drank on the terrace, where a harmonious landscape was spread before his eyes, noted, if so to speak, purely Cartesian clarity and balance. There were no speech about walking; Pulenk did not recognize them. In return, he enjoyed funny stories, secular and theatrical gossip, memories of travel. How many times he asked me about South America, where I had to live long enough, although I was not going to go there at all. He stated: "Once I was in a concert trip along North Africa. This exotic is enough for me! "

Human voice (Fr. "La Voix Humaine") - One-act opera for one artist, Music of Francis Polenkaan Librettezhan Cocteau, based on his 1932 play. The first statement took place in Paris of a variety of comic on February 1959. The opera of the opera for the Duval, FrenchSopran, conducted Pretr's premiere load.

February 17, 1959 the first execution in Russia - a concert, under the control of the city of Christmas, 1965; Theatrical Premiere: Moscow, Big Theater, June 28, 1965, with the participation of the city of Vishnevskaya.

"Human voice" is a musical monodram. A woman left his beloved, last time talking to him by phone. On stage she is alone. The replicas of her interlocutor are not heard, and a listener can guess about the heroine reaction. The whole action consists of its large dialogue with a missing partner, - dialogue embodied in the form of a dramatic monologue. There is no external action in the opera, everything is focused on the disclosure of the internal drama. An expressive vocal party in which the melody flexibly transfers the shades of the feelings and mental state of the heroine, rich in the tambes of the orchestra reveal the subject of the suffering of a woman, her longing fortunately.

Opera Polenka - a product of high humanism and dramatic power. It enters the concert repertoire of many outstanding singers. One of the latest productions in 1992 at the Edinburgh Festival (soloist - E. Soderstrom).

History of creation

A year after the premier of the Opera "Carmelite Dialogues", in 1957, held with tremendous success in several cities in Europe and America, Pulenk, at this time one of the most authoritative composers of the 20th century, began to create his last opera, who became the crown of his opera creativity. He again turned to the work of Jean Cocteau (1889-1963), fruitful cooperation with which began exactly forty years ago. Cokto - Writer, artist, theatrical figure, film storage and film director, a member of the French Academy - was one of the most interesting figures of the French art of the first half of the 20th century. With his name, many experiments in the field of poetry, painting, ballet are connected. In the early 1920s, he wrote a libretto for Dyagilev troupe, friendly with Stravinsky, Sati, Picasso, with young members of the "six". Onerger wrote Opera Antigon on his text, the Orik on his libretto-ballet "Fedra". Pulenk turned to the work of Kokto for the first time in 1919, when three songs wrote on his verses under the general name "Cokardi". In 1921, it was created by music to Comedy-Buff Coket and Radigo "incomprehensible gendarme", in the same year, together with other members of the Six, he composed music to the play of Cocteo "Newlyweds from the Eiffel Tower."

The idea of \u200b\u200bthe last opera arose spontaneously. Pulenk, together with the representative of the most famous Italian publishing house in Paris, Erve Dugarden was on one of the performances, which gave a troupe in Paris of the Milan theater and Rock. The composer saw, as in continuation of the evening, the legendary Maria Callas gradually pushes his partners to the background. At the end of the play, she already went out one on the challenges of the public as the only heroine. Dugarden under the impression of this phenomenon immediately suggested a bulletka to write a opera for one performer to the plot of the monodram Kokto "Voice of Man". Later in an interview for the magazine "Musical America", the composer with humor noticed: "Perhaps the publisher thought about the time when Callas would cut off with all the performers so much that no one would want to speak with her. And then the Opera with one act is suitable for magnificent, but too prison soprano. " However, not at all for Callas operated opera. The heroine was to become the French singer Deniz Duval. "If I hadn't met her, and if she had not entered my life, the" human voice "would never have been written," the composer continued in an interview. Monodrama dedicated to the eternal female tragedy - treason beloved. This is not a special case. Cocteo emphasizes the generalization of the image by what does not give his heroine named. The whole play consists of a telephone conversation with a lover who is crowned tomorrow on the other. "The only role of" human voice "should be executed by a young elegant woman. It is not about an elderly woman, abandoned by a lover, "emphasizes Pulenk in the preface to the score. The play is full of non-infertion: it seems that the phone is the only thing that still connects abandoned with life; When the tube falls out of her hands, she herself falls. And it is unclear whether she loses consciousness from despair, or this last conversation literally kills her, or maybe even before the phone rang, she took poison.

In gratitude for the suggestion plot, Pulenk dedicated to Opera Desi and Erve Dugardenam. The premiere of "Human Voice" took place on February 8, 1958 at the Paris Theater of the Comic Opera. Sang Deniz Duval. The famous critic Bernard Gajni wrote about her: "How many musicians, starting with Debussy, spoke on the same language of the soul, as passionate and restrained, as ordinary? Recipient for 45 minutes against the background of colorful harmony - and that's all. Rich music, trucing the nudity of his feelings, beating on the continuous rhythm of the human heart.<...> One in an empty room like a beast in a locked cage<...> suffering from nightmares, with expanded eyes, approaching the inevitable, pathetic and excellent simple, Deniz Duval found the role of all his life. " After the brilliant Paris success, the opera defined by the author as a lyrical tragedy in one act, in the same execution and with the same success took place in Milan. Over the next years, she won many scenes of the world.

"Its music is so frank that he immediately reaches his goal," the contemporaries spoke about the work of the French composer Francis Poolenka, which is more famous in the history of music, as a member of the famous Association "Sixer". The youngest of his participants with a direct and original talent, which has an incredible charm, kindness, sincerity and a subtle sense of humor, he gained such respect and authority that many of the creative personalities were looking for friendship with him. The multifaceted creativity of the composer, which absorbed all the best not only from classical, but also modern music, in combination with the charming power of the natural melodic gift, ensured the success of the music of Francis Poolenka for a long time not only in France, but also throughout the world.

A brief biography of Francis Poolenka and many interesting facts about the composer read on our page.

Brief biography Polenka

Francis Jean Marseille - such a name received a boy who appeared in the very center of Paris on January 7, 1899 in the family of rich French manufacturer Emil Poolenka. The child grew up in an atmosphere of a large veneration of art. His mother, who was called Zhanny, perfectly owned the piano and tried to instill with his children taste and love for music. Houses often, the works of great classics sounded in her performance: Mozart, Beethoven, Chopin, Schubert and Griga. In addition, a significant impact on the formation of the future composer was rendered by the theater, which little Francis began to attend from the seven-year-old age. A very bright impressions of the boy received from performances in the "Opera comedian".

Francis began his musical education at eight years, and since the game on the piano he gave great pleasure, he spent his own free minute for the tool. The young musician preferent with the reading of new works from the sheet, but soon he had a desire to try something to write himself. According to the biography of Polenka, in 1910 the Francis family was forced to leave Paris for a while and move to Fontainebleau. There, a young musician in an insatiable thirst for the knowledge of new works has acquired on occasion " Winter Path"F. Schubert - the vocal cycle, which played a key role in the decision of Francis to become a musician.

However, the desires of a young man did not coincide with the intentions of his father who had determined the young man into one of the best Paris lyceum to obtain a bachelor's degree. The boy with great difficulty mastered training, as he did not show much interest in subjects taught in an educational institution, but he spent back every free minute for the piano and in 16 years finally set a goal: to devote all his life to music. Initially, the bullet was very lucky: with him agreed to engage in the outstanding pianist-virtuoso Ricardo Vinz, who had a great influence on the formation of the future composer. The teacher developed in his student not only executive skill, but also helped in his composer endeavors, and also introduced to Eric Sati and George Orikom, in the future became very close friends of Francis.

Seasonal youth and the beginning of the creative way

In the summer of 1914, the First World War began. The front constantly had to replenish the new forces, did not escape military fate and seventeent-year-old Pulenk, which was mobilized in 1916. At first, he remained in Paris, then he was seconded in the vicinity of Vensen, an emergency compound, which was subsequently translated into Saint-Martin Island. Even here, Francis, not forgetting about his favorite occupation, found an old piano, which helped him to compose "continuous movements", sonate in four hands, and a little later - "Three pastorals."

Approximately by the same time the appearance of "Negro Rhapsody" is the works for Bariton, which was first fulfilled with success at the end of 1917. And the day after the premiere, all the musical Paris spoke about the newly appeared by the young talented composer. From the summer of 1919 to the fall of 1921, Pulenk was served in the Ministry of Aviation, which was located in the capital. While in Paris, he actively participated in concerts, in which the works of young composers supported by E. Sodi, who became extremely popular in the cultural environment. After one of such concerts, the birth of the famous "six" was proclaimed, in which Darius Miyo, Arthur Oneggger, Germain Daefer, Louis Dühre, George Orik and Francis Pulenk. This union began to perceive as an independent aesthetic community representing a new trend flow. All the time actively writing Pulenk by 1920 was the author of three-color suite and five expression, and in 1921 he writes ten piano plays called "Walking" and Comedy-Buff "incomprehensible gendarme".

At the same time, after demobilization from the army, Francis decides to seriously engage in the improvement of theoretical knowledge in the field of harmony and counterpoint for what turns to the better in Paris teacher on the composition of Charlek Köklenu, whose lessons helped in grinding of the composer mastery of Polenka.

In 1923, the composer receives an order from the Theater Worker S.P. Dyagileev for troupe " Russian seasons»Write ballet" Lani ", in the music of which the creative individuality and the style of Polenka have already been traced. The premiere of the performance was successfully held in Monte Carlo in early January 1924, and almost six months later in Paris. Approximately the same creative period of the composer includes "songs" on the poems of the French poet of the XVI century Pierre de Ronsar, "Funny songs" on the poems of anonymous authors of the XVII century, "Trio for Piano, Goboy and Fagota", "Pastoral", "Two Piano Namellets ", Clavician" and "rural" concerts, written for the famous Clavesicist Vanda Landovskaya. " A little later, from under the pen Poolenka, by order, the poetess Anna de Noai comes out the ballet "Morning Star", as well as the secular cantata "Ball Masquerade".

Again War

In the mid-30s, when the fascist threat was hung over Europe, in France, the fighters - anti-fascists created a "folk front", and advanced artistic intelligentsia united into an organization called "People's Music Federation". Francis Pulenk did not enter into one of the parties, nevertheless, the works of the composer of this period such as "drought", a concert for the organ, "" Litania to the Black Rocamadurian Our Lady "and" Mass "are filled with special drama. Autumn 1939 came, England and France in response to the attack of the Hitler's troops to Poland, declared war in Germany. For this reason, Francis Pulenka again called on the army, where he served until June 1940, until the truce was proclaimed, according to the terms of which the Germans occupied all France. Demobilized, the composer stayed at his cousin to Bordeaux until the autumn, working there above the new works: a cello Sonata and a series of children's piano plays "History of Iloning Babara". In October, he returned to his country house in the town of Nuazei and took up the composition of the one-act ballet "Exemplary animals", the basis of which the fables of Jean Lafonden were laid. The premiere of the play took place in August 1942 at the Theater of the Paris National Opera.

In the summer of 1943, after the perfect pilgrimage to the sanctipers of the medieval town of Rocamadura, Pulenk settled in the city of Ill-sur-Dordogne, there was a thought in his head to write a protesting occupation regime - Cantatha "Human Lick", then it is illegally published, thereby present it to the French Gift for the day of liberation from German invaders. In the spring of 1944, the composer returns to his house of Nuazei, where it starts working on the opera-buff "Breasts of Tyrumes" on the unrestrained - the funny work of the French poet - the avant-gardeist Gioma Apolliner. The opera was taken to stand out in the National Comic Opera Theater in 1945, but the premiere took place only in two years. The creative activity of Polenka from the mid-40s does not weaken, from under his pen there is one product after another, among them: the vocal cycle "Calligram" (verses of the city of Apolliner) and the work for the choir A Capella "Four Little Prayers Francis Assisky" .

Tours in the USA

Biography Polenka says that in the fall of 1948, Francis, together with Vocal Bariton Pierre Bernak, leaves in his first concert tour of the United States of America, where Music Poilka was often fulfilled and therefore was quite popular. Tours lasted two months, covering many cities of the country. The composer was lucky to perform in the famous New Yor Karnegie-Hall, there, together with the Boston Symphony Orchestra, he performed his "rural concert". A trip to America left a lot of impressions from Poilka. Here he met with a friend of his youth by Vanda Landovskaya, met and listened to the game of an outstanding pianist Vladimir Horowitsa, talked with Igor Stravinsky whom he considered a perfect genius. Returning to Paris in January 1949, the composer immediately began to compose the piano concert, the order for which he received from the Directorate of the Boston Symphony Orchestra. The premiere fulfillment of this work was held in Boston in early 1950 during repeated tour of the United States.

The last stage of the creative way

In the fifties, Pulenk one after another loses his best friends, because of this, his creative focus changes significantly: the composer deepens into philosophical reflections and human experiences. An example of this can be the work of "Stabat Mater", which Francis devoted the memory of his friend - a talented artist Christian Berara. In 1953, after the next tour travel in the US, Canada, and then Italy, Pulenk starts working on the opera "Carmelite dialogues" for the scene of which the work of the French writer George Bernanosa was formed. The premiere of the play with a large triumph was held at the Milane Theater "La Scala" at the end of January 1957. In the last years of his life path, Francis continues to work as intensively. The most significant work of this period is Mono-Opera "Human Voice", written on the play of Jeanne Kato - a great creation, in which the composer realizedly displaced the entire tragedy of human feelings. In early 1963, returning home, after another concert tour of Holland, Francis called his friends and said that he could not meet with them, as I had a little blinded. It happened in the morning of January 30, and in the afternoon of the same day the composer did not become a heart suddenly stopped.

Interesting facts about Francis Polenka

• The most first musical instrument is a small toy piano - Francis received a two-year-old as a gift. Not quite well able to speak, the boy called him "my before, re, mi, laid out the colorful advertising prospectuses of stores and explained to everyone that these notes on which he plays.
• Francis's mother, being a good pianist, gradually began to engage in music with a boy when it turned four years. Some special abilities of the child could not be called, but at five years he could have played something on the instrument.

• Having brought up on the works of great composers who were constantly sounded performed by the Mother of Francis, the boy was experiencing special feelings, listening to music V.A. MozartAnd these impressions of childhood have been preserved at the Poolenka for life.
• Once in a youthful age, resting in the summer months with parents in a country house near Paris, Pulenk accidentally met Darius Miyo. Francis asked the autograph from the composer known already at the time, but received a refusal. A few years later they became good friends and participants of the famous Creative Association of Six.
• From the biography of Polenka, we learn that the composer did not study in any special musical educational institution. All his formation was made up of private lessons, which he took the piano, and then according to the composition.
• The Negro Rhapsody, written by eighteen-year-old Poilank, was successful at one of the events of the creative intelligentsia. Francis overwhelmed by social confession, Francis decided to seriously engage in composer practice. To replenish theoretical knowledge, he turned to the Antooue field see, the famous composer and conductor. Vidal, looking after the first tacts of the Negro Rhapsody, was very indignant, he was arugated a young man and drove away.

• In 1922, at the request of one American friend, Pulenk was supposed to write a choral work for students of Harvard University. The composer with joy who took an order, with diligence took up his execution by choosing the texts of the vaccine hymns of the 17th century. When the essay, which Francis called "drinking songs," was completed, Pulenk sent him to America, looking forward to a response. And what was the disappointment of the author, when he received a message, which said that, to great regret, the work could not be executed, as alcoholic beverages are chanting, while they are prohibited in the United States. "Feasty songs" were first fulfilled only after 28 years in 1950.
• Francis Pulenk was very proud of friendship with Sergey Prokofiev. They loved to play Bridge and chess, and before the performances of Prokofiev always rehearsed together on two pianos: the piano concerts lost from the beginning to the end (Pulenk performed on the orchestral party instrument). For each of them, such muscitis was very valuable: Prokofiev repeated the concert work, and Pulenk acquired to the creations of the composer, which was very valued.

• In 1944, Francis Pulenk, together with the singer Pierre Bernak, traveling in the Belgian Occupied by the Germans, at the end of one of the concerts performed the product of the composer, which sounded words about the suffering of the people of France. The audience, listening to the song, stood demonstratively, and the German officers present on the speech did not understand the text and this episode did not give any particular importance. There was no gestapovts at the concert at the concert, otherwise the musicians would have very big problems.
• Francis Pulenk never hidden and was not ashamed of his alternative orientation. However, he had a relationship not only with men, but also with women, for example, from the novel with Frederic Lebetfff, in 1946 he was born a daughter Marie-Ange, who after the death of the father became the beneficiary owner of his property.

Creativity Francis Pooleca

Francis Polenka's creative life, which lasted almost half a century, compared to other composers, can be called happy. He did not feel sorrowful disappointments due to the refusal of publishers to print his works, and his writings were not sent for a long time and almost immediately performed. Pulenk left the descendants a big heritage, which includes more than one hundred forty works written in different genres. These are operas, ballets, cantata, vocal cycles, concerts, piano and chamber-vocal essays. His creativity is very multifaceted and sometimes seemed even very contradictory. For example, comparing the composer's operas: Comedy-Buffa "Breasts Tyrumes", a tragic mystery poem " Dialogs Carmelite"And lyrical tragedy" Human voice", It is not easy to believe that these three popular works are written by the same author.

The world-famous vocal masterpieces of the composer are Cantata: "Lick of Man", "Drought" and "Masquerade", and from spiritual music: "Stabat Mater", motels and mass. In addition to vocal choral music, in which Pulenk most brightly expressed his melodic gift, the composer composer composed for piano - from small plays to major concerts, as well as in a duet with such instruments as cello, the flute, clarinet, french horn and bassoon.

Music Polenka in Cinema

Francis Pulenka's music can often be heard in the movies. To some movies, such as:

"Miaka, a girl with a bear" (1937), "Trip to America" \u200b\u200b(1951), "Symphony in White" (1942), "Duchess Lange" (1942), the composer wrote music specially. In addition, many directors use excerpts of the composer's works, including them in soundtracks for films, for example:

Francis Pulenk is a French composer and a pianist, one of the brightest representatives of the "six" group - is widely known in the musical world as the author of the opera "Human voice" and "Dialogues of Carmelite", Lani ballets and "Approximate animals" (on the bass of Lafontaine), Cantata "Lick Human" on the text of P. Eluar and Stabat Mater, a variety of writs for piano - from small plays to concerts with orchestra. And more - many romances on the verses of the city of Apolliner, M. Jacob, L. Aragon and Garcia Lorca, P. El ...

Francis Pulenk is a French composer and a pianist, one of the brightest representatives of the "six" group - is widely known in the musical world as the author of the opera "Human voice" and "Dialogues of Carmelite", Lani ballets and "Approximate animals" (on the bass of Lafontaine), Cantata "Lick Human" on the text of P. Eluar and Stabat Mater, a variety of writs for piano - from small plays to concerts with orchestra. And also - many romances on the verses of the city of Apolliner, M. Jacob, L. Aragon and Garcia Lorca, P. Eluara, Ronsar and R. Dosnosa - It is not by chance that the contemporaries of the composer told him "French Schubert".

Son of successful industrialist, F. Pulenk early discovered musical abilities. In the art of the game on the piano, he was cultivated at R. Vines. The lessons of the composition he was taught by S. Kequen - one of the patriarchs of French music, which was raised in the walls of the Paris Conservatory of many talented composers.

From youth, Pulenk was a regulance and great-wide salons, and noisy assemblies of artistic bohemia. He was in a sophisticated Society of the literary elite, whose evenings were held in the book shop on Square at the Odeon Theater. Among the close friends of Polenka - composers D. Miyo, J. Oric and E. Sati, poets of Apolliner and M. Jacob, P. Eloir, L. Aragon and R. Desna, singers D. Duval, J. Batori and P. Bernak, the famous Clavesicist V. Landovsk, a famous violinist E. Jourdan-Morants, music critic K. Rostan, writer and playwright P. Klodel. His creativity was awarded high praise M. Ravel and I. Stravinsky.

In his artistic preferences, Pulenk was absolutely free, he did not limit himself in any one style, and dismissed different directions enthusiastically. In his youth, was passionate about the eccentric, aesthetics of Music Hall, the ideas of urbanism. He was a man for the expression of A. Oneguger, "creating his own music." In his book "My Friends Musicians" E. Zhordan-Morange with his characteristic grace and poeticity devoted the following lines in the poetchiness: "Often, among the most stringent melodies, a playful song hears ... In his garden, Pulenk mixes seeds ... Rose, flourishing Near forget-me-not, it is no less beautiful. Everyone his time ... Pulenk, as well as Mozart in childhood, ready to ask: "Tell me, do you like me?" His music is a gift. There is no vulgarity in its ease. He creates as breathing. "

That's what contemporaries about Polenka said and wrote:

"How he is talented! If only he worked, "Maurice Ravel).

"Francis Pulenk is the music itself; I do not know another music that would act as directly, it would be just as pronounced and would achieve a goal with such an error in "(Darius Miyo).

"I did not know how to listen to myself, Francis - Thank you, Francis, from now on I hear my voice ..." (Paul Elolar).

"I admire the musician and a person who creates natural music that distinguishes you from others. In the whirlpool of fashionable systems, dogmas that try to impose the strengths of this world, you remain ourselves - rare courage, worthy of respect "(Arthur Ongger).

"Future generations will open Poolenka in his works as it was: in love with life, mocking, kind, gentle and bold, melancholic and sincere mystic, at the same time monk and a bad boy" (Stefan Odel).

Pulenk Francis

(7 I 1899, Paris - 30 I 1963, Ibid)

My music is my portrait.

F. Pulenk

F. Pulenk is one of the most charming composers who gave the world France in the XX century. He entered the history of music as a participant in the creative Union "Six". In the "six" - the youngest, barely overshadled threshold of twenties, - he immediately won the authority and universal love with his talent - distinctive, alive, immediate, and purely human qualities - unchanged humor, kindness and frequency, and most importantly - the ability to give people Unusual friendship. "Francis Pulenk is the music itself," D. Miyo wrote about him, "I don't know another music that would act as directly, it would be as simply expressed and would achieve the goal with the same ignorance."

The future composer was born in the family of a large industrialist. Mother - a wonderful musician - was the first teacher of Francis, she handed her son with his limitless love for music, worship before V. A. Mozart, R. Shuman, F. Schubert, F. Chopin. From 15 years, his musical education continued under the leadership of Pianist R. Vines and composer S. Köklen, who joined the young musician to modern art, to the creativity of K. Debussy, M. Ravel, as well as to new idols of young - I. Stravinsky and E. Sati. Youth Poilka coincided over the years of the First World War. He was called up to the army, it prevented him from entering the conservatory. However, on the musical arena of Paris, Pulenk appeared early. In 1917, an eighteen-year-old composer debuted at one of the concerts of the new music of Negritan Rhapsody for Bariton and the instrumental ensemble. This work had such a noisy success that Pulenk immediately became a celebrity. He was talking about him.

Inspired by success, Pulenk Following the Negro "Rhapsodia" creates the "Bestiary" vocal cycles (at Art. Apolliner), "Cokardi" (on Art. Zh. Kokto); Piano plays "Eternal movements, walks"; choreographic concert for piano with the Orchestra "Morning Serenade"; Ballet with singing "Lani", delivered in 1924 in Anthreprize S. Dyagilev. Miyo responded to this statement of an enthusiastic article: "Music" Lanie "is just like that and you can expect from its author ... This ballet is written in the form of dance suite ... with such wealth of shades, with such elegance, tenderness, charm, What kind of generous works are so generous and only the works of the Polenka ... The meaning of this music is incredible, the time will not touch it, and she will forever keep his youthful freshness and originality. "

In the early works of Polenka, the most essential sides of its temperament, taste, creative hand writing, a special purely Parisian color of his music, its inextricable connection with Paris Chanson. B. Asafiev, giving the characteristic of these works, noted "clarity ... and the liveliness of thinking, densit rhythm, acknowledged observation, purity of the pattern, compression - and concreteness of the presentation."

In the 30s. The lyrical talent of the composer blooms. He works with enthusiasm in vocal music genres: writes songs, cantata, choral cycles. In the face of Pierre Bernaka, the composer acquired a talented interpreter of his songs. With him as a pianist, he successfully toured over the cities of Europe and America for more than 20 years. Large artistic interest is the choral essays of Poilka on spiritual texts: Mass, "Litania to the Black Rocamadurian Our Lady", four motows for the time of repentance. Later - in the 50s. "Stabat Mater, Gloria", four christmas mottations will also be created. All writings are very diverse in style, they reflected the traditions of the choral music of France of various eras - from Gioma de Masho to Berlioz. The years of World War II Pulenk holds in deposited Paris and in his country mansion in NUAZ, sharing with his compatriots all the military life, deeply suffering for the fate of the homeland, their people, relatives and friends. The sorrowful thoughts and feelings of this time, but also faith in victory, reflected in the Cantata "LIC HUMAN" for the double choir A Cappella on P. Eluar verses. The poet of the French resistance Eloire created his poems in a deep underground, where the secret under the fictional name sent them to the bullet. The composer also kept the work on the Cantata and her edition. In the midst of war it was an act of big courage. It is not by chance that on the day of the liberation of Paris and his offend the score of the "Lick of Human" Pulenk proudly put in the window of his house next to the national flag.

An outstanding master of the playwright showed itself a composer in the opera genre. The first opera "Breast Terezia" (1944, on the text of the farce of Apolliner) - a fun, light and frivolous opera-buff - reflected the inclination of the Poilka to humor, joke, an eccentric. 2 Subsequent operas - in another genre. These are dramas with deep psychological development. "Carmelite dialogs" (Libr. J. Bernanosa, 1953) reveals the gloomy history of the death of the inhabitants of the Carmelitsky Monastery in the times of the Great French Revolution, their heroic sacrificial death in the name of faith. "Human voice" (in Drama J. Kokto, 1958) - a lyrical monodram, in which he sounds a living and stray human voice - the voice of longing and loneliness, the voice of an abandoned woman. Of all the works of Polenka, this opera brought him the greatest popularity in the world. It showed the brightest sides of the composer to give themselves. This is an inspirational essay, imbued with deep humanity, thin lyricism. All 3 operas were created on the wonderful talent of the French singer and actress D. Duval, which became the first performer in these operas.

The creative path of Poilka 2 Sonata - Sonata for Oboy and Piano, dedicated to S. Prokofiev, and Sonata for Clarinet and Piano, dedicated to A. Oneguer. A sudden death broke out the life of the composer during a period of great creative lifting, in the height of concert tour.

The heritage of the composer is about 150 works. His vocal music - operas, cantata, choral cycles, songs, the best of which are written on poems P. Eluara has the greatest artistic value. It was in these genres that the generous gift of a melodist Poolenka was truly opened. His melodies, like Motodes of Mozart, Schubert, Chopin, combine disarming simplicity, subtlety and psychological depths, serve as an expression of human soul. It was the melodic charm that provided a long and incomplete success of the music of a bullet in France and beyond.

Creative portraits of composers. - M.: Music. 1990 .

Watch what is "Polenk Francis" in other dictionaries:

Pulanc (Poulenc) (1899 1963), French composer, pianist. He entered the "six". Buffon Opera "Breast Tyrvicia", tragedy "Carmelite dialogues", Liriko psychological mono-source (for one artist) "Human voice" (1958), ... ... encyclopedic Dictionary

Francis Pulenk Francis Poulenc Photo by Roge ... Wikipedia

Francis Pulenk. Photo by Roger Viollet (1949) Francis Jean Marseille Pulenk (Fr. Francis Jean Marcel Poulenc; January 7, 1899, Paris January 30, 1963, Ibid) French composer, pianist, critic. Biography comes from rich and famous (by ... ... Wikipedia

Poolenc (more correctly Pulanc) (Poulenc) Francis (7.1.1899, Paris, 30.1. 1963, Ibid), French composer. Student R. Vines (Piano) and S. Köklen (composition). He entered the "six" (from 1920). Brought up on the samples of classic and ... ... Great Soviet Encyclopedia

Pulenk, Francis - Poolenc (Poulenc) Francis (1899 1963), French composer. Member "Six". Composer Lirik, Pulenk paid special attention to the melodies (the bullet was called "French Schubert"). Higher achievements are associated with the opera: Buffon "Breasts of Treezia" ... ... Illustrated Encyclopedic Dictionary

- (Poulenc, Francis) (1899 1963), French composer and pianist. Born on January 7, 1899 in Paris. Pulenk was mainly self-taught, although in student years, instead of performing strict prescriptions of parents in relation to his education, ... ... Encyclopedia Color

Pulenk Francis - French composer, pianist.

I-re on the piano taught by R. Vin-e-sa (1914-1917). As a com-near-zi-Mi-Mi-Rhur-Sia, under the influence of E. Shab-Rie, E. SAY, K. De-Bus-Si, M. Ra-Vela , I.F. Stroy-wine-ski.

In the late 1910s, there was a mustache as an Av-Ta-da or-Nal-Nal-Na-Nal-Na-Na-Na-Na-Na-Niy ("Nez-Ri-Tian Rap-co-diya ", 1917; the cycle" Bad-Tia-Rii "on the Spear of Apol Li-Na-RA, 1919; both co-si-non-niya for the go-lo-sa and the In-St-Ru-Men-Tal-But-th An-Samb-La).

In 1921-1924, he taught the com-in-zoni at S. Kyuk-le-on.

One of the first-year-old KOM-KOM-ESS "SHES-CURR-KI", at Ni-low-teaching in the number of co-chi-non-ni This group (Ba-Year "but-marriage on the hey-fa-les-lev-za-do not", Pa-Riga, 1921). According to Ca-Zu S.P. Dia-Guy-les-va-Pi-Sal One-No-Act Ba-Year "La Nor" ("Les Biches", according to Mo-You Kar-Tin A. VAT; mon- Te-Kar-Lo, 1924, Ba-Letter B.F. Nibine-Skye). In the distance-Shem, Copa gave some more co-chi in Ba-Yet Jean-Rea: "Ut-Ren-Nya Sea-re-on-yes" ("Aubade"; Paiga , 1929, Balletmaster Ni-Zhin-Skye), "Merry Star-Ri" (on bass y. de la background-te-at; PA-RIG, 1942, Balletmaster S. Li- Fart) and others.

In the case of many years, you-stu-fell as an Ak-Com-Pa-Nia-Tor P. P. Ber-on, for which-ro-th co-neil about 90 ro -man-owls (on-si-naya with Cyc-la "ve-villaged dog-neu", 1926; all-go on-Pi-Sal Over 160 PE-SES-STI-CHE-CE modern in Eto).

From the mid-1930s, a meaningful mea in the Creative Creator of the Muz-La Du-Xov-Naya Muz-ka in the framework of ka-etching trades: Li-Ta-Nii-Noi Ma-Don-No "(it is in Vi-Du Deviennaya Stroy in the French city of Ro-ka-Ma-Dur; 1936), Mes-Ca G -dur (1937), 4 ka-yang Mo-Te-Ta (1939), Stabat Mater (1951), 4 Ro-f-de-ve-ve -nyki Mo-Te-Ta ( 1952), Mo Tet "Ave Verum Corpus" (1952), 7 RES-PON-SO-RI-EB of Stroy Noy-Rea-Rea (7 Répons Des Ténèbres; 1962).

In the OK-Ku-Paras of the Para-Ryashai Germanically, Pulenk Na-Pi-sal Cant-Ta-Tu for a dual-na-go-shine-but-th ho-ra Cap-Pella "Figure Hu-Maine" ("Figure Hu-Maine", 1943, on the text of P. elua-ra from the collection "In Esu and Right-Da 1942 go-yes"; - Complex-on P. PI CAS-CO), in which-swarm of Rio-Zil Pat-Rio-Tica on-Stroynya Fran-Tsu-Zov and Ko-Rui His ray-shim co-chi-non-ni. Kan-Ta-Su is-floor-of-March 25, 1945 in English on the Ra Dio BBC, ahead of the French Pro-Soc CHA-LA in 1947.

Center Creative Creative Polenka - Three Opes: Gru-di Ti-Re-Sia (1944, according to sur-real-strain-sticker, Apol Li-Ra; Riga, "Ope-Ra-Ko-Mick", 1947), "Dia Lo-Gi-Cara-Lee-Tok" (according to Parya, J. Ber-on-No-Ca; Mi-Lan, " La Ska La ", 1957, to Italian, under the control of N. Sand-Zono; Forward in French, after becoming-le-on in the same go-Du in Para-Riga Ope-re) and "Che-Lo-Che-Sky-Los" (on the text J. Kok-Ti; PA-RIG, OPE-RA-Ko-Mick, 1959).

Pulenk - Av-torus of many In-St-Ru-Men-Talny Co-Chi-Nii, Cre-di-ry - "Sel-Sky Kon-Tint" for Claim-Si-on With Or-Ke-St-Rom (1928, by Svychen V. Lan-Dov-Skoy), Kon-sort for OR-GA-on, String or-Ke-St-Ra and Li Tavr (1938); Kon-chrot and other co-si-non-nih for piano; Ka-Merny An-Samb-Lee, including Co-on-You - For Flames and Piano (1957), Clar-Neu-Ta and Piano (1962), Go-battle and Piano (1962 year).

Pulenk co-chi-nyal pre-deliberate in the tradation Jean-Rahts and for the pre-dedicated IS-Paul-Ni-Tel-Socy-Stop-Warm, not you-good Ma-Zhor-No-Mi-Na-Na-Shi-Ren-Na-Nal-Nail with Mo-Da-Liz-Mi, with Is-Paul-Zo-Va Ni Tso-out Ak-Cor-Dov with at the BOD-MI-MI. The pain-tire-st-wo of his co-si-non-s-st-vessels of the iso-st and eleu-gant, Iro-Nost and Me-Lan-Ho The obviousness of the fact-Tu-Tu-Ry, RIT-Mi-Che-Skye, and iso-tel-tel.

On the me-dealer style of co-chi-non-1920s - mid-1930s influenced La Es-Ti-ka "Shes-Cool" (IS-Paul-Zo-Va Pu-lyric Muz-ki Pa-Ryasy). Calica Par-Tia Li Ri-Psi-Ho-Lo-Ko-Kho-Lo-Los-Lo-Los-Los " - for an ex-pe-re-ment-las musical deca-la-mage ("OMO-Zy-Ka-Lenn-ny" once-th thief on those-le-pho-well Shan-Noi WHO WHO LEX-LEN).

"Dia-Lo-Gor-Me-Lee-current" - the big-more known in the ethical as-pitch and emo-nap-na-but-no Poilka. SHES OPEA OS-NO-WAN on the IS-RICH SO-TII: July 17, 1794, a few days before the pa-de-one, the Bin-Skoy Dick-Tu-Tu 16 Mo-on-Hin Kar-Mu-Lit-Ski-Mo-on-Sty-rod in Kom-Pj E-not, if, at the time, to the duty Three-bo-na-scrap and Gil-O-Ti-Ni-Vasa (in 1906, at the number-les to Li-ko-wives); CE-Ku-La-Ri-Resection in the time of the French re-liable to the late XVIII century Polenk Os-Cape Li-Vasha as a tra-g-dyium in the domestic IS-Rii. The me-delicy style of this opa-ry is CO-SE-Nya-Calic Deca La Maja and the Trad Duration of the French Calica Muz-Ki of the End of the XIX - XX centuries (Pel-Le-AS and Me-Li-Zan-yes, K. De Bis-si, Muz-Ke M. Ra-Vela).

OB-RA-ZETS-LA Poolenka in Oba-Las Gar Mo-Riye, Rit-Ma, In-St-Piered Men-Tov - Kan-Ta-Ta-Mas-Ka-Rad "(On the text M. Zha-Ko-Ba, 1932). A. Ong-Ger Pi-Sal on the re-gradi "Red-Kim Moo-St-Vom" Poolenka, COP-GO-GOO "EU-TE-ST-VOHN MU-PS -Yo "" In the in-do -e-ro-th mods of the SIS-Top ".