Poulenc, Francis. (1899–1963) . Salabert Works Catalogue - Inscribed to Conductor Edvard Fendler after his recording of "Bal Masqué".
"Works by Francis Poulenc published by Salabert," signed and inscribed on the front cover by the composer around his portrait photograph: "Pour Edvard Fendler avec un grand merci pour le Bal Masqué / Francis Poulenc / N. York 50." 4 pp. Overall tonining, edges a little rough, rear page mounted to cardboard backing, else fine.
Leipzig-born Fendler (1902-1987), who would appear to have left Germany with the rise of Nazism, ended up with conducting jobs in places as diverse as the Dominican Republic, Costa Rica, Mobile (Alabama) and Beaumont (Texas). He had made recordings in France before the war and recorded in NY with various ad hoc bodies of New York players, including the "Vox Chamber Orchestra" and the unnamed chamber orchestra with which he recorded Poulenc's Bal Masqué for Esoteric Records in 1950. The recording has been reissed by Naxos: https://www.naxos.com/CatalogueDetail/?id=9.81028
Poulencs cantata is written to texts by the poet Max Jacob, whose work can be seen as closely approaching surrealism; it dates from 1932. The instrumentation is strongly reminiscent of Stravinsky's L'Histoire du Soldat: oboe, clarinet, bassoon, cornet a piston, piano, violin, cello, and percussion. In addition, the composer has precisely specified the placement of the nine performers and the conductor on the podium. Poulenc considered the work as a sort of carnival which he had set up in collaboration with the poet.
Poulenc, Francis. (1899–1963) . Salabert Works Catalogue - Inscribed to Conductor Edvard Fendler after his recording of "Bal Masqué".
"Works by Francis Poulenc published by Salabert," signed and inscribed on the front cover by the composer around his portrait photograph: "Pour Edvard Fendler avec un grand merci pour le Bal Masqué / Francis Poulenc / N. York 50." 4 pp. Overall tonining, edges a little rough, rear page mounted to cardboard backing, else fine.
Leipzig-born Fendler (1902-1987), who would appear to have left Germany with the rise of Nazism, ended up with conducting jobs in places as diverse as the Dominican Republic, Costa Rica, Mobile (Alabama) and Beaumont (Texas). He had made recordings in France before the war and recorded in NY with various ad hoc bodies of New York players, including the "Vox Chamber Orchestra" and the unnamed chamber orchestra with which he recorded Poulenc's Bal Masqué for Esoteric Records in 1950. The recording has been reissed by Naxos: https://www.naxos.com/CatalogueDetail/?id=9.81028
Poulencs cantata is written to texts by the poet Max Jacob, whose work can be seen as closely approaching surrealism; it dates from 1932. The instrumentation is strongly reminiscent of Stravinsky's L'Histoire du Soldat: oboe, clarinet, bassoon, cornet a piston, piano, violin, cello, and percussion. In addition, the composer has precisely specified the placement of the nine performers and the conductor on the podium. Poulenc considered the work as a sort of carnival which he had set up in collaboration with the poet.