In looking back over Francis Poulenc's output during the thirty years in which he has been writing, one is struck by two things: the intensely individual flavour of his music, and the way in which he has been almost completely unaffected by the various musical trends and fashions that have sprung up during that time. Indifferent to the frowns of those for whom an intellectual approach is all-important, he has gone his own way, developing those qualities that make him stand out so sharply from his contemporaries. His success may be said to be largely due to his understanding of the nature of his talent; he excels in the smaller forms – songs and piano pieces – into which he infuses a lyricism and human warmth for which one may look in vain in much contemporary music. He has therefore tended to avoid large works, and the list of his orchestral compositions is small in comparison with that of other composers of his standing. Nevertheless, he has shown himself capable of encompassing works on a large scale. Of these, perhaps the most important is the grave and moving cantata Figure humaine, while his orchestral works include the charming Aubade, the Concerto for two pianos and orchestra, the Concert champêtre for harpsichord and orchestra, and the more recent Sinfonietta.