This is a list of works written by the French composer Francis Poulenc (1899–1963). As a pianist, Poulenc composed many pieces for his own instrument in his piano music and chamber music. He wrote works for orchestra including several concertos, also three operas, two ballets, incidental music for plays and film music. He composed songs (mélodies), often on texts by contemporary authors. His religious music includes the Mass in G major, the Stabat Mater and Gloria.

Toccata (from Italian toccare, literally, "to touch", with "toccata" being the action of touching) is a virtuoso piece of music typically for a keyboard or plucked string instrument featuring fast-moving, lightly fingered or otherwise virtuosic passages or sections, with or without imitative or fugal interludes, generally emphasizing the dexterity of the performer's fingers. Less frequently, the name is applied to works for multiple instruments (the opening of Claudio Monteverdi's opera L'Orfeo being a notable example).

La valse (The Waltz), poème chorégraphique pour orchestre (a choreographic poem for orchestra), is a work written by Maurice Ravel between February 1919 and 1920; it was first performed on 12 December 1920 in Paris. It was conceived as a ballet but is now more often heard as a concert work. The work has been described as a tribute to the waltz; the composer George Benjamin, in his analysis of La valse, summarized the ethos of the work: "Whether or not it was intended as a metaphor for the predicament of European civilization in the aftermath of the Great War, its one-movement design plots the birth, decay and destruction of a musical genre: the waltz." But Ravel denied that La valse is a reflection of post-World War I Europe, saying, "While some discover an attempt at parody, indeed caricature, others categorically see a tragic allusion in it—the end of the Second Empire, the situation in Vienna after the war, etc... This dance may seem tragic, like any other emotion... pushed to the extreme. But one should only see in it what the music expresses: an ascending progression of sonority, to which the stage comes along to add light and movement." Ravel also said in 1922, "It doesn't have anything to do with the present situation in Vienna, and it also doesn't have any symbolic meaning in that regard. In the course of La Valse, I did not envisage a dance of death or a struggle between life and death. (The year of the choreographic setting, 1855, repudiates such an assumption.)" In his tribute to Ravel after his death in 1937, Paul Landormy called La valse "the most unexpected of the compositions of Ravel, revealing to us heretofore unexpected depths of Romanticism, power, vigor, and rapture in this musician whose expression is usually limited to the manifestations of an essentially classical genius."