Editing Francis Poulenc (section)

===Orchestral and concertante===
[[File:Bach-mozart-schubert-chabrier.jpg|thumb|alt=Four mugshots of old composers|Influences on Poulenc: from top left clockwise, [[Bach]], [[Mozart]], [[Schubert]] and [[Chabrier]]]]
Poulenc's principal works for large orchestra comprise two ballets, a [[Sinfonietta (Poulenc)|Sinfonietta]] and four keyboard concertos. The first of the ballets, ''[[Les biches]]'', was first performed in 1924 and remains one of his best-known works. Nichols writes in ''Grove'' that the clear and tuneful score has no deep, or even shallow, symbolism, a fact "accentuated by a tiny passage of mock-[[Wagnerian]] brass, complete with emotive [[Ninth#Minor ninth|minor 9ths]]".<ref name=grove/> The first two of the four concertos are in Poulenc's light-hearted vein. The ''[[Concert champêtre]]'' for harpsichord and orchestra (1927–28), evokes the countryside seen from a Parisian point of view: Nichols comments that the [[fanfare]]s in the last movement bring to mind the bugles in the barracks of [[Vincennes]] in the Paris suburbs.<ref name=grove/> The [[Concerto for Two Pianos and Orchestra (Poulenc)|Concerto for two pianos and orchestra]] (1932) is similarly a work intended purely to entertain. It draws on a variety of stylistic sources: the first movement ends in a manner reminiscent of [[Bali]]nese [[gamelan]], and the slow movement begins in a Mozartian style, which Poulenc gradually fills out with his own characteristic personal touches.<ref>Delamarche, p. 4</ref> The [[Organ Concerto (Poulenc)|Organ Concerto]] (1938) is in a much more serious vein. Poulenc said that it was "on the outskirts" of his religious music, and there are passages that draw on the church music of [[Bach]], though there are also interludes in breezy popular style. The second ballet score, ''[[Les Animaux modèles]]'' (1941), has never equalled the popularity of ''Les biches'', though both Auric and Honegger praised the composer's harmonic flair and resourceful orchestration.<ref>Hell, p. 64</ref> Honegger wrote, "The influences that have worked on him, Chabrier, Satie, Stravinsky, are now completely assimilated. Listening to his music you think&nbsp;– it's Poulenc."<ref>Schmidt (2001), p. 275</ref> The Sinfonietta (1947) is a reversion to Poulenc's pre-war frivolity. He came to feel, "I dressed too young for my age&nbsp;... [it] is a new version of ''Les biches'' but young girls [''biches''] that are forty-eight years old&nbsp;– that's horrible!"<ref name=moore/> The [[Piano Concerto (Poulenc)|Concerto for piano and orchestra]] (1949) initially caused some disappointment: many felt that it was not an advance on Poulenc's pre-war music, a view he came to share. The piece has been re-evaluated in more recent years, and in 1996 the writer Claire Delamarche rated it as the composer's finest concertante work.<ref>Delamarche, p. 6</ref>