‘Now we are Six’ 1919–1924

This chapter explains how Francis Poulenc exorcized the influence of Claude Debussy's piano music through his multi-stave preludes. It also analyzes Poulenc's modelling of his solo piano music in that of Igor Stravinsky, although the eight little piano duets were more interesting with the imaginative use of ostinato. It looks at Poulenc's three pieces called Mouvements perpétuels, which was acclaimed by virtuosos and by amateurs and reflected a sense in which the “war had created a new world.” The chapter looks at the performing instructions on Mouvements perpétuels, such as the second piece that must be played three times consecutively: the first time in a casual manner, second with plenty of rubato, and third with fury. It also mentions how Poulenc described Mouvements perpétuels as no more than three simple little touches of colour on a ground of white paper.