This work for two pianos was composed after Poulenc met the two American pianists, Arthur Gold and Robert Fizdale. At that time, Poulenc had also undertaken the composition for Henri Lavallée's film "Voyage en Amérique," from which "L'Embarquement pour Cythère" emerged. He had previously admired Antoine Watteau's painting and drew inspiration from it to create the music. He composed the buoyant departure in the style of a Valse Musette. This painting also influenced Debussy, who composed L'Isle joyeuse.

The piece as a whole has a light and bright character. It has seven sections and a coda.

A(1-16) B(17-48) A(49-64) B(65-80) A(81-96) C(97-128) A(129-158) Coda(159-)

Since Piano I (hereinafter Primo) and Piano II (hereinafter Secondo) alternately take on the melody, a face-to-face arrangement of the instruments is preferable. This arrangement also provides entertainment for the audience.

Melodic Themes

Three main melodies, A, B, and C, appear. (The beginning of each section serves as the melodic theme.) Melody A progresses stepwise, tracing an E-flat major scale in 3/4 time. For melodies separated by two octaves, it is advisable to carefully balance the sound.

Melody B features leaping arpeggio-like movements, contrasting with Melody A. As both hands involve chordal movements, it can be somewhat challenging to play, so determining the fingering is recommended.

C features movements with new harmonies. Since the upper and lower voices trace the melody, careful attention should be paid to the balance of the chordal sound. In the four measures before returning from C to A, Primo plays a chromatic descending figure while Secondo plays a unison chromatic ascending figure, creating clashing dissonances. This can be interpreted as Poulenc's unique treatment of sound, so it is important for each player to listen carefully to the other's part.

Since each section invariably involves a modulation, efforts should be made to create changes in transition, timbre, and resonance. The accompaniment figures take various forms, so keep "Valse" in mind to avoid a heavy touch or sound in individual instances, and prioritize rhythm. The balance with the melody should be adjusted by each player through careful listening. Regarding dynamics, do not forget the distinctions in volume: f, mf, mp, and p. Except for "sans pedal," the pedal should be used where necessary to sustain the sound, ensuring the performance is never forced. In the Coda section, the pedal should be used as instructed by the composer to soften and blur the sound, aiming for ppp, but ensuring the sound does not disappear. Since the combination of Primo and Secondo's registers varies by section, strive for a performance that brings out Poulenc's unique characteristics by carefully balancing the sound in each instance.