Booklet-SIGCD272.Pdf

CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer YELLOW Catalogue No. BLACK Job Title Page Nos. 40 1 291.0mm x 169.5mm CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer YELLOW Catalogue No. BLACK Job Title Page Nos. Airs chantés [SF] 21. v. Unis la fraîcheur et le feu ....................[1.25] 1. Air romantique .............................................[1.38] 22. vi. Homme au sourire tendre .................[2.08] 2. Air champêtre................................................[1.20] 23. vii. La grande rivière qui va.....................[0.53] 3. Air grave ..........................................................[2.38] Calligrammes [TO] 4. Air vif................................................................[1.08] 24. i. L’espionne ..................................................[1.48] 5. Colloque [TO] and [LA]........................[3.13] 25. ii. Mutation.....................................................[0.44] n his notorious little 1918 pamphlet Le Coq et l’Arlequin,Jean Cocteau pronounced 26. iii. Ver s le sud ..................................................[1.52] that ‘a composer always has too many notes on his keyboard.’This was a lesson the 6. Mazurka [TO] ............................................[3.45] 27. iv. Il pleut.........................................................[1.12] Iyoung Francis Poulenc took to heart and observed throughout his career; and nowhere 7. La grenouillère [AM].............................[2.10] 28. v. La grâce exilée..........................................[0.39] more tellingly than in the piano parts of his songs – far better written, he thought, than 29. vi. Aussi bien que les cigales....................[1.52] his works for piano solo. 8. ................................. Montparnasse [TO] [3.12] 30. vii. Voyage ........................................................[2.49] After the First World War, the ethos of French art across the board lay in the direction of 9. ........................................ Hyde Park [TO] [0.55] 31. La souris [LM] ...........................................[0.54] clarity and simplicity. Cocteau further cried for ‘an end to clouds, waves, aquariums, water Deux mélodies nymphs, an end to fogs’, and Erik Satie, the cultural godfather of the new French music, 32. Monsieur Sans Souci [JL] ...................[3.05] warned that fogs had been the death of as many composers as sailors.Another target was 10. i. Le pont [RM] ...........................................[1.39] (Il fait tout lui-même) the ‘music one listens to head in hands’ – Wagner most notably, but also Schumann. For 11. ii. Un poème [TO] .....................................[1.15] Poulenc then, in quest of song texts, the 19th century was largely to be avoided and only 33. Nous voulons une 12. Le portrait [JMA] .....................................[1.52] one of his texts,Théodore de Banville’s Pierrot,was published during it,while Jean Moréas’s petite sœur [LA]........................................[5.08] four poems forming the Airs chantés were printed in the ﬁrst decade of the 20th. Otherwise Miroirs brûlants [SF] To t a l t i m i n g s : ................................................[61.59] Poulenc sought either distancing through pre-Romantic poetry or immediacy through 13. i. Tu vois le feu du soir ..............................[4.14] poetry of his own time. The present volume begins with the Airs chantés and continues with settings of poems entirely by Poulenc’s contemporaries. 14. ii. Je nommerai ton front...........................[1.15] Lorna Anderson [LA] John Mark Ainsley [JMA] 15. …Mais mourir [JMA]............................[1.38] It is not always wise to take composers at their word. Poulenc was not alone in occasionally Sarah Fox [SF] liking to tease his readers, so his claim, that he loathed the poetry of Jean Moréas (Yannis 16. Main dominée par le cœur [TO]....[1.12] Jonathan Lemalu [JL] Papadiamantopoulos, 1856-1910) and chose these poems as being suitable for mutilation, Lisa Milne [LM] should probably be taken with a slight pinch of salt, as should his condemnation of ‘Air La fraîcheur et le feu [JMA Ann Murray [AM] grave’ as ‘certainly my worst song’, though it may be true that he was more successful 17. i. Rayons des yeux .....................................[1.17] Robert Murray [RM] elsewhere in imitating ‘ancient’ textures. He professed to be annoyed by the success of the 18. ii. Le matin les branches attisent............[0.45] Thomas Oliemans [TO] second and last songs of the set, and the only one to escape censure was the opening ‘Air 19. iii. To u t d i s p a r u t ............................................[1.52] romantique’, where he concentrates the music around the tonic E minor, in parallel with 20. iv. Dans les ténèbres du jardin ................[0.29] Malcolm Martineau piano the unvarying tempo. 3 23 291.0mm x 169.5mm CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer YELLOW Catalogue No. BLACK Job Title Page Nos. Airs chantés [SF] 21. v. Unis la fraîcheur et le feu ....................[1.25] 1. Air romantique .............................................[1.38] 22. vi. Homme au sourire tendre .................[2.08] 2. Air champêtre................................................[1.20] 23. vii. La grande rivière qui va.....................[0.53] 3. Air grave ..........................................................[2.38] Calligrammes [TO] 4. Air vif................................................................[1.08] 24. i. L’espionne ..................................................[1.48] 5. Colloque [TO] and [LA]........................[3.13] 25. ii. Mutation.....................................................[0.44] n his notorious little 1918 pamphlet Le Coq et l’Arlequin,Jean Cocteau pronounced 26. iii. Ver s le sud ..................................................[1.52] that ‘a composer always has too many notes on his keyboard.’This was a lesson the 6. Mazurka [TO] ............................................[3.45] 27. iv. Il pleut.........................................................[1.12] Iyoung Francis Poulenc took to heart and observed throughout his career; and nowhere 7. La grenouillère [AM].............................[2.10] 28. v. La grâce exilée..........................................[0.39] more tellingly than in the piano parts of his songs – far better written, he thought, than 29. vi. Aussi bien que les cigales....................[1.52] his works for piano solo. 8. ................................. Montparnasse [TO] [3.12] 30. vii. Voyage ........................................................[2.49] After the First World War, the ethos of French art across the board lay in the direction of 9. ........................................ Hyde Park [TO] [0.55] 31. La souris [LM] ...........................................[0.54] clarity and simplicity. Cocteau further cried for ‘an end to clouds, waves, aquariums, water Deux mélodies nymphs, an end to fogs’, and Erik Satie, the cultural godfather of the new French music, 32. Monsieur Sans Souci [JL] ...................[3.05] warned that fogs had been the death of as many composers as sailors.Another target was 10. i. Le pont [RM] ...........................................[1.39] (Il fait tout lui-même) the ‘music one listens to head in hands’ – Wagner most notably, but also Schumann. For 11. ii. Un poème [TO] .....................................[1.15] Poulenc then, in quest of song texts, the 19th century was largely to be avoided and only 33. Nous voulons une 12. Le portrait [JMA] .....................................[1.52] one of his texts,Théodore de Banville’s Pierrot,was published during it,while Jean Moréas’s petite sœur [LA]........................................[5.08] four poems forming the Airs chantés were printed in the ﬁrst decade of the 20th. Otherwise Miroirs brûlants [SF] To t a l t i m i n g s : ................................................[61.59] Poulenc sought either distancing through pre-Romantic poetry or immediacy through 13. i. Tu vois le feu du soir ..............................[4.14] poetry of his own time. The present volume begins with the Airs chantés and continues with settings of poems entirely by Poulenc’s contemporaries. 14. ii. Je nommerai ton front...........................[1.15] Lorna Anderson [LA] John Mark Ainsley [JMA] 15. …Mais mourir [JMA]............................[1.38] It is not always wise to take composers at their word. Poulenc was not alone in occasionally Sarah Fox [SF] liking to tease his readers, so his claim, that he loathed the poetry of Jean Moréas (Yannis 16. Main dominée par le cœur [TO]....[1.12] Jonathan Lemalu [JL] Papadiamantopoulos, 1856-1910) and chose these poems as being suitable for mutilation, Lisa Milne [LM] should probably be taken with a slight pinch of salt, as should his condemnation of ‘Air La fraîcheur et le feu [JMA Ann Murray [AM] grave’ as ‘certainly my worst song’, though it may be true that he was more successful 17. i. Rayons des yeux .....................................[1.17] Robert Murray [RM] elsewhere in imitating ‘ancient’ textures. He professed to be annoyed by the success of the 18. ii. Le matin les branches attisent............[0.45] Thomas Oliemans [TO] second and last songs of the set, and the only one to escape censure was the opening ‘Air 19. iii. To u t d i s p a r u t ............................................[1.52] romantique’, where

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