ABSTRACT
In this chapter, all three groups will be examined but particular attention will be given to the first. The programmes devoted to classical composers include Weber, Gounod, Messager, Debussy, Satie, Ravel, Falla, Prokofiev, Bartok, Berg, Stravinsky, Walton, Milhaud, Britten, Menotti, Sauguet. The essential elements of his professional life are presented: childhood, youth, training, genesis of his own works and discussion of his favourite composers and poets. In general the Audel interviews are more oriented towards the literary influences on Poulenc’s life, while those by Rostand tend more towards the musical influences. For Poulenc, ‘popular music’ would seem to include what he terms ‘folklore of the twentieth century’, namely ‘very well known tunes by unknown composers’ as well as ultra-famous, accessible music by great composers of which he notes: ‘delectable bad music cuts both ways. Despite Poulenc’s insistence on the pre-eminence of Debussy, it appears to be Stravinsky who prevails.
