Although Francis Poulenc wrote majority of his most alluring piano works as accompaniments for other solo instruments, Les Soirées de Nazelles represents one of his greatest accomplishments for piano. This analysis examines the Préambule as a compilation of the variations that subsequently follow it, grafted together to create an opening that collectively glues together the overall work. It will take into consideration Francis Poulenc's use of keys, rhythms, dynamics, articulations, and overall character choices within the variations, and subsequently draw relevant correlations that flow into his treatment of the Préambule, proving that it is a graft of those compositional elements.
The concept of analyzing works as "grafts" was developed by music theorist René Rusch in order to examine closely related pieces. This analysis takes the concept of grafting out of its original musical context of analyzing multiple pieces, and instead applies it to one multi-movement work.
|Commitee:||Doyle, Alicia M., Richey, Craig, Shockley, Alan|
|School:||California State University, Long Beach|
|Department:||Bob Cole Conservatory of Music|
|School Location:||United States -- California|
|Source:||MAI 58/01M(E), Masters Abstracts International|
|Keywords:||Graft, Les Soirees de Nazelles, Poulenc, Francis, Rusch, Rene, Two piano concerto|
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