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NOTE TO USERS This reproduction is the best copy available. ® UMI FRANCIS POULENC, NOSTALGIA AND PARISIAN POPULAR CULTURE by Charlene St-Aubin A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of the Faculty of Music University of Toronto © Copyright by Charlene St-Aubin 2008 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-44799-4 Our file Notre reference ISBN: 978-0-494-44799-4 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation. reproduced without the author's permission. In compliance with the Canadian Conformement a la loi canadienne Privacy Act some supporting sur la protection de la vie privee, forms may have been removed quelques formulaires secondaires from this thesis. ont ete enleves de cette these. While these forms may be included Bien que ces formulaires in the document page count, aient inclus dans la pagination, their removal does not represent il n'y aura aucun contenu manquant. any loss of content from the thesis. Canada Francis Poulenc, Nostalgia and Parisian Popular Culture Doctor of Philosophy 2008 Charlene St-Aubin Graduate Department of Faculty of Music University of Toronto Abstract In Poulenc scholarship, one repeatedly reads about this composer's propensity for using Parisian entertainment aesthetic in his oeuvre and for being described as moine et voyou. These persistent narratives give rise to numerous questions regarding the relationship that Poulenc cultivated with this type of lowbrow aesthetic. Despite the consensus that Poulenc made use of the popular idioms found in cafes-concert, Parisian music-hall, circus, country fair and bal musette, little in depth research has been done thus far to clearly ascertain what this aesthetic consists of and how it was applied. It also became apparent that the concepts of nostalgia and patriotism held important roles both in the composer's life and in his views of Parisian popular culture. Poulenc's memories of his youth in Paris and its suburb Nogent-sur-Marne were prominent in his mind during the compositional process of works containing a popular aesthetic. Yet instead of direct quotations or paraphrasing of the chanson, Poulenc tapped into the listener's memories of a lowbrow entertainment from a past era through the use of compositional and performance-related techniques that were familiar to his French audience. The cheerful, eclectic and chaotic surroundings found in popular establishments created a lasting memory that stimulated the composer in his attempt to reconstruct these disappearing modes of entertainment. The other element that encouraged the surfacing of the lowbrow aesthetic in Poulenc was his personal identification as a Frenchman. The composer's search for an identity ii occurred at a time when French politics and socio-cultural policies were engaged in developing a response to the First World War and the growing globalization. Thus, despite Poulenc's young age and his apparent lack of interest in politics, he could not be oblivious to the various social and political currents of his time and this question of national identity, which would return regularly throughout Poulenc's lifetime, was one for which the composer constructed a partial answer through his use of Parisian entertainment aesthetic. In conclusion, this research's goal was to provide scholars with a new view of Poulenc, one that addressed the cursory manner in which this composer's Parisian aesthetic had been dealt. Acknowledgements I am grateful to many people for their help in this project. First and foremost I want to thank Robin Elliott, my thesis advisor, for his constant support throughout this four-year process. His insight, patience and availability were invaluable and have made this research possible, especially during the last few months where the pace picked up drastically. Thank you as well to the members of my supervisory committee, John Haines and Ryan McClelland whose comments, advice and professional guidance were indispensable. From Paris, I want to extend my deepest thanks to Madame Rosine Seringe, Francis Poulenc's niece and secretary of the association Les Amis de Francis Poulenc. Mme Seringe's warm welcome and openness to discuss and answer all of my questions provided me with an indication of her uncle's legendary sociability and amiability. Another person I want to thank is Professeure Anne-Marie Green (Universite de Franche-Comte). Her unique perspective on music through a sociological approach was significant in clarifying my approach to Poulenc's youth. I also want to thank Professeure Green for accepting me into her home and providing me with complete access to her mother's irreplaceable collection of Parisian sheet music from the early-twentieth century. Thank you as well to Professeure Daniele Pistone (Sorbonne, Musicology) who willingly met with me during my stay in Paris to discuss my research in detail. Also thank you to the staff of the Bibliotheque nationale de France (Inatheque, site Frangois-Mitterand, Departement de la musique and Arts des spectacles) as well as the music library staff of the Sorbonne (Paris IV, musicologie) for their diligence, patience and friendly services. Closer to home, I want to thank the University of Toronto Faculty of Music library staff for their priceless guidance as well as their sincere interest in my research. My gratitude also extends to chief librarian iv Kathleen McMorrow who always found a way to purchase scores and compact discs necessary for my research. I also want to extend my gratitude to the various agencies that have financially supported my research: SSHRC (Social Sciences and Humanities Research Council of Canada), OGS (Ontario Graduate Scholarship), the University of Toronto (Fellowship) and the SGS (University of Toronto School of Graduate Studies Travel Grant). A special thank you goes to Professor Gerard Dunnhaupt who generously provided me with a fellowship award and continues to show interest in my research. And a final thank you goes to two individuals who have made this project possible: my husband Pierre and my son Vincent. Without their unconditional support, their incredible patience and their numerous concessions, this thesis would not have been possible. Thank you. v Table of Contents Abstract ii Acknowledgements iv List of Music Examples viii Preface 1 Research Challenges 8 Chapter Outlines 12 Conclusion 13 Chapter 1 -Youth, Patriotism and Nostalgia 15 Francis Poulenc's Youth 15 Humanism/Nationalism/Patriotism 35 Nostalgia 43 r Chapter 2 -Artistic Life in Paris from the Belle Epoque to the Late 1920s 50 The Intersection of Lowbrow and Highbrow Arts 50 The First World War 60 Parade 63 Les Annies Folles 67 Jean Cocteau, Erik Satie and Les Six 76 Le Boeuf sur le toit 84 Chapter 3 - Parisian Entertainment 89 Cafe-concert or Caf cone' 90 Music-hall 99 The Circus 110 The Fair -fete foraine 116 The bal musette 122 Chapter 4 - Patriotism, Nostalgia and the Chanson 126 Poulenc's Radio Broadcasts 134 The Chanson: History and General Characteristics 139 Chapter 5 - Poulenc's Early Compositions (1918-1932) 158 Toreador (1918).... 159 Cocardes (1919) 167 Novelettes (1927) 176 Quatre poemes de Guillaume Apollinaire and Cinq poemes de Max Jacob (1931)....... 180 Le Bal masque (1932) 183 vi • Chapter 6 - Poulenc's Later Compositions (1933-1963) 201 Interruption of Parisian Aesthetic 201 Return of Parisian Aesthetic 204 Les chemins de I'amour (1940) andNos souvenirs qui chantent (1962) 206 Les Mamelles de Tiresias (1944) 210 Post World War II Compositions 235 Conclusion 241 Conclusion . 243 Further research 247 Bibliography 249 vii List of Music Examples 4.1 Chorus from lis out rendu VAlsace et la Lorraine (1918) 4.2 Chorus from Quand Madelon ...(1914) 4.3 Verse 3 and Chorus 3 from Mes parents sont venus me chercher (1906) 4.4 End of chorus from Mes parents sont venus me chercher (1906) 4.5 Verse from Je connais une blonde (1912) 4.6 Verse from Lafemme aux bijoux (1912) 4.7 Chorus from C'est merveilleux (1925) 4.8 Transition between verse and chorus from J'ai perdu ma gigolette (1892) 4.9 Chorus from Sous les ponts de Paris (1914) 4.10 Chorus from La Diva de I 'Empire (1905) 4.11 Verse from J 'ai pas su yfaire (1922) 5.1 Opening from Toreador (1918) 5.2 Chorus from Toreador (1918) 5.3 Iberian style in Toreador (1918) 5.4 Stanza 4 from Toreador (1918) 5.5 Ending of "Miel de Narbonne" from Cocardes (1919) 5.6 "Enfant de troupe" R. 1 from Cocardes (1919) 5.7 Opening from Novelette in C major (1927) 5.8 Second phrase of B section in E-flat major from Novelette in C major (1927) 5.9 Opening from Novelette in B-flat minor (1927) 5.10 Opening of "Berceuse" from Cinq poemes de Max Jacob (1931) 5.11 Postlude of "L'anguille" from Quatrepoemes de Guillaume Apollinaire (1931) 5.12 "Preambule et air de bravoure" R.
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