Poulenc, Francis. (1899–1963) & Fournier, Pierre. (1906–1986). Annotated Proofs for the Cello Sonata. Important and highly interesting collection of heavily annotated and revised printed and manuscript pre-publication proofs, 1948 - 1953, for the first and revised editions of Poulenc's Sonata for Piano and Cello, detailing the composer's final alterations to the score as well as Fournier's significant contributions to the final publication.
It was at the request of the great cellist Pierre Fournier (1906-1985) that Poulenc composed, between April and October 1948, his Sonata for Cello [FP143], using as a foundation the drafts of a Sonata sketched in Brive in the summer 1940. The cello part was established in collaboration with Pierre Fournier, who premiered the Sonata may 18, 1949, at the Salle Gaveau with the composer at the piano. It is in four movements: I Allegro, Tempo di Marcia; II Cavatina; III Ballabile; IV Finale.
The collection as follows:
Copyist manuscript in black ink, with extensive corrections in red ink, including the removal of two sections of 8 and 14 measures in the 1st movement. 61 pages in folio, divided into three gatherings. This is the manuscript used by Heugel for the engraving of the edition published late May 1949.
Autograph manuscript by Poulenc of the dedication to be placed at the top of the Sonata (1 fol. large page. in blue ink): " à Marthe Bosredon chez qui cette Sonate a été esquissée à Brive / à Pierre Fournier qui l’a créée le 18 mai 1949 à Paris" [" to Marthe Bosredon from whom this Sonata was sketched in Brive / Pierre Fournier that created may 18, 1949 in Paris"], with guidance about the presentation and layout, including "J’aimerais cette dédicace dans un cadre comme les dédicaces des Sonates de Debussy" ["I wish this dedication in a frame as the dedications of Debussy's sonatas"]. Followed by the proofs printed on blue negative paper with white notes and margins for the corrected version in 1953, music engraved by Buchardt, with corrections autograph by Poulenc throughout in red ballpoint pen ink (44 pages), corrected mistakes or note/dynamic/articulation alterations on almost on every page, and inscribed at the head: "Sans traîner Bon à tirer Fr. Poulenc Mai 53," with a second set of proofs for pages 35-38, 40, 43, as requested for verification (all but one including further new corrections).
Complete set of proofs for the cello part (paginated 2-14), printed on blue negative paper with white notes and margins for the corrected version in 1953, with the autograph corrections throughout by Pierre Fournier in black and red graphite, including bowings, fingerings, dynamics, articulations, phrase marks and even note changes. With the stamp of the engraver Buchardt at Levallois, and printed at the head "La partie de Violoncelle a été établie par l’auteur en collaboration avec Pierre Fournier " ["the cello part has been prepared by the author in collaboration with Pierre Fournier"].
Complete set of proofs of the cello part (paginated 2-14) printed in standard format on a white background, with autograph corrections throughout by Pierre Fournier in red pencil and inscribed on the blank front page in ink by Pierre Fournier: "Sonate Francis Poulenc. Partie de Violoncelle nouvellement annotée. Pour toutes les nouvelles annotations au crayon rouge, il ne faudra pas tenir compte des anciennes annotations imprimées. Pierre Fournier. 16 Janvier 1953. Respecter les 2 coupures dans le finale pour la nouvelle édition" ["Sonata Francis Poulenc. Cello part newly annotated. For all new annotations in red pencil, it is not necessary to take into account the old printed annotations. Pierre Fournier. January 16, 1953. Respect the 2 cuts in the finale for the new edition."]
Discography:Pierre Fournier, Francis Poulenc in 1953 (Tahra 2005).
"Woodwind pieces dominate Poulenc's chamber music oeuvre, but the Cello Sonata, like the somewhat earlier Violin Sonata, is a substantial work finding the composer at the height of his powers, and his tongue planted less firmly in his cheek...Despite a rather rude initial outburst from the piano, the sonata-form first movement, Allegro, leavens its fragmentary fanfare-like motifs with lyrical, good-humored material for the cello....The slow second movement , Cavatine, is one of Poulenc's most tenderly songful creations...Unusually for Poulenc, an extra movement separates the slow section from the finale. This Ballabile - a word suggesting a dance-like nature - is a playful intermezzo offering a nod to the music hall in its out sections....The Finale begins with a stern cello recitative over sour piano chords, pausing for an eerie passage of harmonics. The movement's main matter scampers quickly through several episodes of short-breathed cello phrases and rippling piano passagework, with time out midway and again just before the end for more tender if occasionally dizzy music." (James Reel, All Music Guide, p. 1018)
It was at the request of the great cellist Pierre Fournier (1906-1985) that Poulenc composed, between April and October 1948, his Sonata for Cello [FP143], using as a foundation the drafts of a Sonata sketched in Brive in the summer 1940. The cello part was established in collaboration with Pierre Fournier, who premiered the Sonata may 18, 1949, at the Salle Gaveau with the composer at the piano. It is in four movements: I Allegro, Tempo di Marcia; II Cavatina; III Ballabile; IV Finale.
The collection as follows:
Copyist manuscript in black ink, with extensive corrections in red ink, including the removal of two sections of 8 and 14 measures in the 1st movement. 61 pages in folio, divided into three gatherings. This is the manuscript used by Heugel for the engraving of the edition published late May 1949.
Autograph manuscript by Poulenc of the dedication to be placed at the top of the Sonata (1 fol. large page. in blue ink): " à Marthe Bosredon chez qui cette Sonate a été esquissée à Brive / à Pierre Fournier qui l’a créée le 18 mai 1949 à Paris" [" to Marthe Bosredon from whom this Sonata was sketched in Brive / Pierre Fournier that created may 18, 1949 in Paris"], with guidance about the presentation and layout, including "J’aimerais cette dédicace dans un cadre comme les dédicaces des Sonates de Debussy" ["I wish this dedication in a frame as the dedications of Debussy's sonatas"]. Followed by the proofs printed on blue negative paper with white notes and margins for the corrected version in 1953, music engraved by Buchardt, with corrections autograph by Poulenc throughout in red ballpoint pen ink (44 pages), corrected mistakes or note/dynamic/articulation alterations on almost on every page, and inscribed at the head: "Sans traîner Bon à tirer Fr. Poulenc Mai 53," with a second set of proofs for pages 35-38, 40, 43, as requested for verification (all but one including further new corrections).
Complete set of proofs for the cello part (paginated 2-14), printed on blue negative paper with white notes and margins for the corrected version in 1953, with the autograph corrections throughout by Pierre Fournier in black and red graphite, including bowings, fingerings, dynamics, articulations, phrase marks and even note changes. With the stamp of the engraver Buchardt at Levallois, and printed at the head "La partie de Violoncelle a été établie par l’auteur en collaboration avec Pierre Fournier " ["the cello part has been prepared by the author in collaboration with Pierre Fournier"].
Complete set of proofs of the cello part (paginated 2-14) printed in standard format on a white background, with autograph corrections throughout by Pierre Fournier in red pencil and inscribed on the blank front page in ink by Pierre Fournier: "Sonate Francis Poulenc. Partie de Violoncelle nouvellement annotée. Pour toutes les nouvelles annotations au crayon rouge, il ne faudra pas tenir compte des anciennes annotations imprimées. Pierre Fournier. 16 Janvier 1953. Respecter les 2 coupures dans le finale pour la nouvelle édition" ["Sonata Francis Poulenc. Cello part newly annotated. For all new annotations in red pencil, it is not necessary to take into account the old printed annotations. Pierre Fournier. January 16, 1953. Respect the 2 cuts in the finale for the new edition."]
Discography:Pierre Fournier, Francis Poulenc in 1953 (Tahra 2005).
"Woodwind pieces dominate Poulenc's chamber music oeuvre, but the Cello Sonata, like the somewhat earlier Violin Sonata, is a substantial work finding the composer at the height of his powers, and his tongue planted less firmly in his cheek...Despite a rather rude initial outburst from the piano, the sonata-form first movement, Allegro, leavens its fragmentary fanfare-like motifs with lyrical, good-humored material for the cello....The slow second movement , Cavatine, is one of Poulenc's most tenderly songful creations...Unusually for Poulenc, an extra movement separates the slow section from the finale. This Ballabile - a word suggesting a dance-like nature - is a playful intermezzo offering a nod to the music hall in its out sections....The Finale begins with a stern cello recitative over sour piano chords, pausing for an eerie passage of harmonics. The movement's main matter scampers quickly through several episodes of short-breathed cello phrases and rippling piano passagework, with time out midway and again just before the end for more tender if occasionally dizzy music." (James Reel, All Music Guide, p. 1018)
Poulenc, Francis. (1899–1963) & Fournier, Pierre. (1906–1986). Annotated Proofs for the Cello Sonata. Important and highly interesting collection of heavily annotated and revised printed and manuscript pre-publication proofs, 1948 - 1953, for the first and revised editions of Poulenc's Sonata for Piano and Cello, detailing the composer's final alterations to the score as well as Fournier's significant contributions to the final publication.
It was at the request of the great cellist Pierre Fournier (1906-1985) that Poulenc composed, between April and October 1948, his Sonata for Cello [FP143], using as a foundation the drafts of a Sonata sketched in Brive in the summer 1940. The cello part was established in collaboration with Pierre Fournier, who premiered the Sonata may 18, 1949, at the Salle Gaveau with the composer at the piano. It is in four movements: I Allegro, Tempo di Marcia; II Cavatina; III Ballabile; IV Finale.
The collection as follows:
Copyist manuscript in black ink, with extensive corrections in red ink, including the removal of two sections of 8 and 14 measures in the 1st movement. 61 pages in folio, divided into three gatherings. This is the manuscript used by Heugel for the engraving of the edition published late May 1949.
Autograph manuscript by Poulenc of the dedication to be placed at the top of the Sonata (1 fol. large page. in blue ink): " à Marthe Bosredon chez qui cette Sonate a été esquissée à Brive / à Pierre Fournier qui l’a créée le 18 mai 1949 à Paris" [" to Marthe Bosredon from whom this Sonata was sketched in Brive / Pierre Fournier that created may 18, 1949 in Paris"], with guidance about the presentation and layout, including "J’aimerais cette dédicace dans un cadre comme les dédicaces des Sonates de Debussy" ["I wish this dedication in a frame as the dedications of Debussy's sonatas"]. Followed by the proofs printed on blue negative paper with white notes and margins for the corrected version in 1953, music engraved by Buchardt, with corrections autograph by Poulenc throughout in red ballpoint pen ink (44 pages), corrected mistakes or note/dynamic/articulation alterations on almost on every page, and inscribed at the head: "Sans traîner Bon à tirer Fr. Poulenc Mai 53," with a second set of proofs for pages 35-38, 40, 43, as requested for verification (all but one including further new corrections).
Complete set of proofs for the cello part (paginated 2-14), printed on blue negative paper with white notes and margins for the corrected version in 1953, with the autograph corrections throughout by Pierre Fournier in black and red graphite, including bowings, fingerings, dynamics, articulations, phrase marks and even note changes. With the stamp of the engraver Buchardt at Levallois, and printed at the head "La partie de Violoncelle a été établie par l’auteur en collaboration avec Pierre Fournier " ["the cello part has been prepared by the author in collaboration with Pierre Fournier"].
Complete set of proofs of the cello part (paginated 2-14) printed in standard format on a white background, with autograph corrections throughout by Pierre Fournier in red pencil and inscribed on the blank front page in ink by Pierre Fournier: "Sonate Francis Poulenc. Partie de Violoncelle nouvellement annotée. Pour toutes les nouvelles annotations au crayon rouge, il ne faudra pas tenir compte des anciennes annotations imprimées. Pierre Fournier. 16 Janvier 1953. Respecter les 2 coupures dans le finale pour la nouvelle édition" ["Sonata Francis Poulenc. Cello part newly annotated. For all new annotations in red pencil, it is not necessary to take into account the old printed annotations. Pierre Fournier. January 16, 1953. Respect the 2 cuts in the finale for the new edition."]
Discography:Pierre Fournier, Francis Poulenc in 1953 (Tahra 2005).
"Woodwind pieces dominate Poulenc's chamber music oeuvre, but the Cello Sonata, like the somewhat earlier Violin Sonata, is a substantial work finding the composer at the height of his powers, and his tongue planted less firmly in his cheek...Despite a rather rude initial outburst from the piano, the sonata-form first movement, Allegro, leavens its fragmentary fanfare-like motifs with lyrical, good-humored material for the cello....The slow second movement , Cavatine, is one of Poulenc's most tenderly songful creations...Unusually for Poulenc, an extra movement separates the slow section from the finale. This Ballabile - a word suggesting a dance-like nature - is a playful intermezzo offering a nod to the music hall in its out sections....The Finale begins with a stern cello recitative over sour piano chords, pausing for an eerie passage of harmonics. The movement's main matter scampers quickly through several episodes of short-breathed cello phrases and rippling piano passagework, with time out midway and again just before the end for more tender if occasionally dizzy music." (James Reel, All Music Guide, p. 1018)
It was at the request of the great cellist Pierre Fournier (1906-1985) that Poulenc composed, between April and October 1948, his Sonata for Cello [FP143], using as a foundation the drafts of a Sonata sketched in Brive in the summer 1940. The cello part was established in collaboration with Pierre Fournier, who premiered the Sonata may 18, 1949, at the Salle Gaveau with the composer at the piano. It is in four movements: I Allegro, Tempo di Marcia; II Cavatina; III Ballabile; IV Finale.
The collection as follows:
Copyist manuscript in black ink, with extensive corrections in red ink, including the removal of two sections of 8 and 14 measures in the 1st movement. 61 pages in folio, divided into three gatherings. This is the manuscript used by Heugel for the engraving of the edition published late May 1949.
Autograph manuscript by Poulenc of the dedication to be placed at the top of the Sonata (1 fol. large page. in blue ink): " à Marthe Bosredon chez qui cette Sonate a été esquissée à Brive / à Pierre Fournier qui l’a créée le 18 mai 1949 à Paris" [" to Marthe Bosredon from whom this Sonata was sketched in Brive / Pierre Fournier that created may 18, 1949 in Paris"], with guidance about the presentation and layout, including "J’aimerais cette dédicace dans un cadre comme les dédicaces des Sonates de Debussy" ["I wish this dedication in a frame as the dedications of Debussy's sonatas"]. Followed by the proofs printed on blue negative paper with white notes and margins for the corrected version in 1953, music engraved by Buchardt, with corrections autograph by Poulenc throughout in red ballpoint pen ink (44 pages), corrected mistakes or note/dynamic/articulation alterations on almost on every page, and inscribed at the head: "Sans traîner Bon à tirer Fr. Poulenc Mai 53," with a second set of proofs for pages 35-38, 40, 43, as requested for verification (all but one including further new corrections).
Complete set of proofs for the cello part (paginated 2-14), printed on blue negative paper with white notes and margins for the corrected version in 1953, with the autograph corrections throughout by Pierre Fournier in black and red graphite, including bowings, fingerings, dynamics, articulations, phrase marks and even note changes. With the stamp of the engraver Buchardt at Levallois, and printed at the head "La partie de Violoncelle a été établie par l’auteur en collaboration avec Pierre Fournier " ["the cello part has been prepared by the author in collaboration with Pierre Fournier"].
Complete set of proofs of the cello part (paginated 2-14) printed in standard format on a white background, with autograph corrections throughout by Pierre Fournier in red pencil and inscribed on the blank front page in ink by Pierre Fournier: "Sonate Francis Poulenc. Partie de Violoncelle nouvellement annotée. Pour toutes les nouvelles annotations au crayon rouge, il ne faudra pas tenir compte des anciennes annotations imprimées. Pierre Fournier. 16 Janvier 1953. Respecter les 2 coupures dans le finale pour la nouvelle édition" ["Sonata Francis Poulenc. Cello part newly annotated. For all new annotations in red pencil, it is not necessary to take into account the old printed annotations. Pierre Fournier. January 16, 1953. Respect the 2 cuts in the finale for the new edition."]
Discography:Pierre Fournier, Francis Poulenc in 1953 (Tahra 2005).
"Woodwind pieces dominate Poulenc's chamber music oeuvre, but the Cello Sonata, like the somewhat earlier Violin Sonata, is a substantial work finding the composer at the height of his powers, and his tongue planted less firmly in his cheek...Despite a rather rude initial outburst from the piano, the sonata-form first movement, Allegro, leavens its fragmentary fanfare-like motifs with lyrical, good-humored material for the cello....The slow second movement , Cavatine, is one of Poulenc's most tenderly songful creations...Unusually for Poulenc, an extra movement separates the slow section from the finale. This Ballabile - a word suggesting a dance-like nature - is a playful intermezzo offering a nod to the music hall in its out sections....The Finale begins with a stern cello recitative over sour piano chords, pausing for an eerie passage of harmonics. The movement's main matter scampers quickly through several episodes of short-breathed cello phrases and rippling piano passagework, with time out midway and again just before the end for more tender if occasionally dizzy music." (James Reel, All Music Guide, p. 1018)