Autograph Manuscript, "Deux livres passionnants," 9 pp rectos only, folio, several corrections, possibly incomplete. A portion of a speech by Poulenc to a group of Swiss "Raveliens" and "Debussystes," discussing the best monographs on them: Ravel et nous by Jourdan-Morhange (Geneva, 1945) and Correspondance de Debussy et de Pierre Loüys (Paris, 1945). The composer crams his speech with his own memories, and sets both composers in context, invoking Cipa Godebski, Lautrec, Gide, Fargue, Roussel, Séverac, Satie, Stravinsky, Bonnard, Laprade, and Colette. Poulenc discusses Ravel's mysterious romantic life, and the presence of jazz in his works: "Few people were less cosmopolitan than Ravel, and this explains the American rhythms of some of his works that reflect more the French jazz of the Casino de Paris than the authentic records of Duke Ellington." The manuscript closes by quoting Debussy, "the true literary autodidact," on Stravinsky—"a spoiled child who at times sticks his finger up music's nose."
Autograph Manuscript, "Deux livres passionnants," 9 pp rectos only, folio, several corrections, possibly incomplete. A portion of a speech by Poulenc to a group of Swiss "Raveliens" and "Debussystes," discussing the best monographs on them: Ravel et nous by Jourdan-Morhange (Geneva, 1945) and Correspondance de Debussy et de Pierre Loüys (Paris, 1945). The composer crams his speech with his own memories, and sets both composers in context, invoking Cipa Godebski, Lautrec, Gide, Fargue, Roussel, Séverac, Satie, Stravinsky, Bonnard, Laprade, and Colette. Poulenc discusses Ravel's mysterious romantic life, and the presence of jazz in his works: "Few people were less cosmopolitan than Ravel, and this explains the American rhythms of some of his works that reflect more the French jazz of the Casino de Paris than the authentic records of Duke Ellington." The manuscript closes by quoting Debussy, "the true literary autodidact," on Stravinsky—"a spoiled child who at times sticks his finger up music's nose."
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