The recordings were done at the RAI studios in March 1953 and sent on air in numerous occasions in the so called "National Programme" and "Third Programme". The Trois Piecs for piano, written in 1928, are a clear message from the author that he had no intention of succumbing to the dodecaphonic system. The bright harmonies that wink to a dissonant note here and there are the fruit of a school more typical of his fellow nationals than of the radicalism of central Europe. The interpretation of the wonderful piece by Schumann Phantasiestcke op. 73, is instead marvellously surprising, full of a lyricism of which Fournier and Poulenc, albeit at times dissonant, make themselves excellent bards. The violoncello, decisive and impassioned, is indeed a sign of that very romanticism so detested at the start to the last century. So very contrasting instead are the Sonata by Debussy and Stravinskij's Suite Italienne from Pulcinella that follow. Most modern the first, neoclassical truly the second. In Debussy the attention is drawn to the audacious brilliance of the piano but curious in the violoncello which goes back to being dark, a rsum of role and script in Starvinskij's Pulcinella. In the same way the instrument becomes the protagonist of the lament of the heartrending Srnade, in which that marked propensity to song that was the fortune and the damnation of Poulenc emerges in all its drama. With the choreographic concert Aubade, the portrait of the musician is completed and framed. Written in 1929 for piano and small orchestra, it was conceived as a ballet for a single ballerina who was to impersonate Diana the huntress, goddess of chastity, in which the pianist, incapable of facing his own homosexuality, reflected his alter ego.
