Poulenc, Francis

a working manuscript notated in blue ink, on five two-stave systems per page, with some corrections, erasures, deletions and recompositions, Variation VII (p.11) crossed through and completely rewritten (both versions are present here), the Stichvorlage, marked by and for the printer, including autograph descriptive titles added to each variation and dedication to Geneviève Sienkiewicz, with the pagination, instructions and some titles added in red ball-point, and other annotations in blue ball-point, crayon and pencil

22 pages, folio, c.34 x 26 cms, in a spiral-bound volume of music paper, blind stamp of Flammarion of Paris, modern green folding case, gilt titles, Turin and Noizay, 1951-1952, some rust-staining from paper clips

Carl F. Schmidt, FP 151

Condition is described in the main body of the cataloguing, where appropriate
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This is one of Poulenc's longest and most ambitious piano works, comprising a theme, eleven variations, and a coda.  The variations travel through a series of tonalities: A flat, E, C, A, D flat, F, A, F sharp, E flat, and A flat (retained for the Finale and coda).  Normally a fast worker, the composer took a comparatively long time to complete this piece and it underwent a number of revisions both before and after this manuscript.  Poulenc revised Variation VII ("Elégiaque").  In a letter to Sauguet (15 August 1951), Poulenc announced that he had finished the composition, describing it as a "serious work, but I hope not boring.’’ (Francis Poulenc `Echo and Source’ Selected Correspondence 1915-1963, ed. Sidney Buckland (1991), p.191).  He told Doda Conrad in September thatwould need to rework passages.  This included rewriting the coda, which had been originally much longer and, uncharacteristically, used the main theme played backwards. Indeed Poulenc made further alterations to the score after submitting this manuscript and the piece was not published by Max Eschig of Paris until July 1952.

Geneviève Sienkiewicz (1878-1971), a friend of the composer's mother, was a fine amateur pianist who had played frequently with composers such as Fauré and Messager. She introduced Poulenc to the great pianist Ricardo Viñes when he was fifteen years old. Madame Sienkiewicz was a great lover of the arts and held a salon every Sunday at her apartment in the rue Chaptal.