ABSTRACT
The ambiguity of Poulenc's relations with his patrons is well illustrated by the manner in which he engineered a first commission from Princesse Edmond de Polignac, which resulted in the Concerto for two pianos. Poulenc frequented the most renowned salons of the Parisian aristocracy, those of Madame de Saint-Marceaux, the Beaumonts, the Noailles and the Polignacs. Despite various proposals, Poulenc did not compose anything either for the private entertainments or for the public performances organised by the Comte de Beaumont. The Noailles also provided Poulenc with strong emotional support: it was with them that he sought refuge during the deep depression he suffered while composing Aubade. Poulenc’s letters to Marie-Laure de Noailles are often crammed with social gossip, revealing a frank complicity, explained by the network of acquaintances they had in common. Poulenc’s oldest memory of Marie-Blanche de Polignac was of a little girl, Marguerite di Pietro, daughter of celebrated couturiere Jeanne Lanvin, playing in the gardens of the Champs-Elysees.
