"I WRITE MUSIC THAT SINGS TO ME": THE VOCAL IDEAL IN SOLO PIANO WORKS BY FRANCIS POULENC

by

SVETLANA KOTOV A

A LECTURE-DOCUMENT

Presented to the School of Music and Dance of the University of Oregon in patiial fulfillment of the requirements for the degree of Doctor of Musical Arts

June 2013 ''I

requirements This

Poulenc

Accepted

na Ann Committee

School

Dean

if

Write

B.

lecture-document

Kramer,

of

Tedards,

,

Music

"

by:

a

Music

in

lecture-document

for

Charge:

Chair

That

the

and Associate

Sings

Doctor

of

Dance

'

has

the

To

been

Examining

Dean

of

Me":

Claire David

Dean prepared

Musical

approved

and

The

Kramer,

Wachter

Riley

Director

Committee

by

Arts

Vocal

and

Svetlana

ii

degree

Chair

of accepted

Ideal

Graduate

Kotova

in

in

the

Solo

by:

School

Studies,

in

Piano

partial

of

Works

Music

fulfillment

by

and

Francis

Dance.

of

the © 2013 Svetlana Kotova

111 NAME

PROFESSIONAL DEGREES

GRADUATE

AREAS

Principal Late

Concetio Vocal

Bachelor Bachelor Assistant Staff Principal Repetiteur

Staff University Moscow University

Doctor

OF

OF

Andres

AUTHOR:

AWARDED:

Romanticism

SPECIAL

Accompanist,

Accompanist,

Reference

AND

of

Academic

Keyboard,

of of

Opera

Soloist,

Professor

Musical

for

of

of

EXPERIENCE:

Bello

Music,

Music,

UNDERGRADUATE

Chile,

Oregon,

National

INTEREST:

Coach

Svetlana

in

Chamber,

Santiago

Arts,

and

Piano

University

of 2008,

University

Music

1990,

Santiago,

Santiago

Piano,

Oregon

Music

and

Casts,

2013,

CURRICULUM

Kotova

Theory

Piano

Performance

College,

Philhannonic,

Repetiteur,

Chilean

University

Philhatmonic

for

Teatro

Chile

Piano

of

of

Performance,

Piano

Chile,

Oregon,

of

Moscow,

SCHOOLS

Chamber,

lV

Music,

Performance,

Municipal

Teatro

Catholic

of

Chilean

VITAE

2010

Chile,

Orchestra,

Moscow

Russian

University Municipal

SODRE,

ATTENDED:

to

de

University

2009

Symphony,

present

University

Santiago,

Academic

Federation

1991-2008

to

and

de

of

present

Santiago,

other

Chile

of

1991-1997

of

Santiago

Chile,

Music

Oregon

orchestras.

1991-2009

1999-2008

College

Classical, GRANTS,

PUBLICATIONS:

Hemy University

School

Mu School

Semi-Finalist, Honorable

Garcia, Concerto Messiaen, CONICYT/Becas

Vera-Rivera,Santiago, Poulenc,

2013

and 2012

AWARDS

Phi

N.

Technological

Kotova

of

of

Origin

Santiago,

zm

Nino,

Epsilon

Francis

Competition

and

Music

Music

Nuevo

Olivier,

of

Mention,

Oregon

Patricia

Svetlana

Records,

Seattle

AND

Plays

Scholarship,

and

and

and

Chile:

Siglo,

Chile

Idit

Bradshaw

HONORS:

Dance

Dance

and

Svetlana

Outstanding

Research, International

A.

Winner,

Svetlana

Shner,

Kotova

Santiago, 2013

FONDART,

Scholarship,

Easley

Sings

Outstanding

Outstanding

University

Svetlana

Kotova,

et

and

University

Poulenc,

Kotova

Program

Scholarship,

al.,

Chile:

Performer

Piano

Buono

v

Acercamiento

Chilean

1999

Les Touches

Kotova

et

of

SVR

Perfonner

Performer

CD

Competition,

for

al.,

of

International

Oregon,

the

in

Baby, Oregon,

University

National

Producciones, Santiago

et

Music,

Advanced

al.,

2012-2013

a

in

in

2013

Qui

Le

Ia

2011

Keyboard, Collaborative

Committee

20

2012-2013

Vera-Rivera:

Piano

Musica

Merle

of

Chan

II

Oregon,

Human

2010

tent:

Competition,

Nair,

de

2013

for

Nino

Svetlana

Capital,

2012-2013

Piano,

Seattle,

Mzlsica

Scientific

Garcia.

2013

2009-

WA:

para express doctoral

Kramer

my

work growth her best Yury extra

fascinating and preparation

addition,

for additionally

taking

vocal

patience,

Agustin

piano

responsibilities

in

Kotov

I

has

my

for

spite

requirements.

am

I

endeavors

care

teacher

want

topic,

no

introducing

gratitude

of

my

for sincerely

Andrei,

enthusiasm,

of

this

limits.

of

their

doing

doctoral to

our

for

ever.

acknowledge

document.

and

just

his

with to

constant

I

family

grateful

better

I

also

my me

I

want

for

encouragement

for

studies.

also

and

our

to

friend

want

offering

being

parenting. affairs

to

I

Poulenc's sincere

would

encouragement

children

to

would

ACKNOWLEDGMENTS

thank

this

to my

I

Tze-Wen

want

great

acknowledge

in

me

School

doctoral

like to

support

like to

Chile

my

during

I

to

children

piano

constant

regarding

want

beautiful

thank

Vl

thank "Julia"

of

during

thank

committee

in

and

these

to

music,

Music

my

my

thank

and

moral

my

my

their

my

my

these

Lin,

children years

exploration

husband

sister-in-law

allowing

for

voice

for

own

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adviser

conviction

suppoti.

for

for

four

helping

finding

while

parents

vocal

being

teacher

their

Javier

Javier

years. Finally, years.

me

and

fulfilling

of

ways

me

side,

assistance

a

to

Veronica

that

Tatiana

this

piano Anton,

Milagro

great

Contreras,

do

define

and

my

vocal

to

my

collaborator

his teacher

support

musical

Irina

Semenova

for

doctoral

this

Contreras, in

Vargas

I

own

side.

want

being

the

who

Amalia

Dean

In

to

took

for

the

and

in Chapter

I.

II. V.

III.

IV. VI. References

INTRODUCTION

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Edmond

in

Charles

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Europe,

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Arthur

great

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music.

de

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birth

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poet

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with

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time

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only

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and

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Garcia

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formal

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with

Paris

when

always

financial

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associations.

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partner,

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too, of In addition to the serious and experimental aspects of classical music, Poulenc

1 was under the strong creative influence of what he called "folklore of20 h century." Lucy

Kayas defines it as

... a city folklore that includes all those songs produced in music-halls, cafe­ concert and operetta, brought to life by Maurice Chevalier, Dramen, Mayo!, Polin, - all those on the performer's side, and by Yvain or Christine on the composer's side.23

Poulenc adored the theater and the music halls. He not only admired the popular singers of the cabaret tradition, he imitated their style in many works, for example, the famous Improvisation "Hommage a Edit Piaf" or the Valse-Musette "Les chemins de

!'amour," dedicated to cabaret singer Yvonne Printemps. Poulenc began one of the lectures on Radio France with the following shocking statement:

Today I will tell you whom I would like to be if I could have chosen my destiny at the cradle .... Don't try to find in this confession any paradox, any desire to impress the bourgeois. I will simply admit, because it is the exact tmth, that I would like to have been Maurice Chevalier.24

Not only classical and popular musicians exerted an undeniable influence on

Poulenc's style. His friendship and collaboration with the major exponents of the contemporary French literature were of no less importance. Poulenc says:

23 "II s'agit d'un folklore citadin comportant toutes ces chansons issues du music-hall; du cafe-concert et de l'operette; incarm!es par Maurice Chevalier, Dranem, Mayol, Polin- pour ce qui est des interpretes,­ et par Yvain et Christine du cOte des compositeurs." Poulenc and Kayas, A bdtons, 38.

24 "Aujourd'hui,je vi ens vous dire qui j'aurais voulu etre si j'avais pu choisir mon destin au berceau. Ne voyez dans cette confidence aucun paradoxe, aucun desir d'Cpaterle bourgeois, je vous avouerai tres simplement, parce que c'est l'exacte verite, que j'aurais voulu etre Maurice Chevalier." Poulenc and Kayas, A britons, 43.

13 melodies

very Paul "aesthetic."

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musicale."

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3

Lienard""

and

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describes

it

(next

describes

abridged

and

finished

was

Chimenes, Chimenes,

she

Lienard. He

and

(Touraine),

in enthusiastic begun

page)

with

wrote

is

1922

the

at

in

of

p01trayed

IV.

version

Virginie Lienard,

in

a

the

piece

writing

her

I

Correspondance, Correspondance, 55

Stravinsky.

country

1936

Poulenc

show

to

LES

great

commentary

which

Marie-

melomane

underwent

as

and

the

his

in

majority a

house

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piano

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considered

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327.

173.

in

design

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suite de

of

Touraine

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variations.

publication

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is

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and

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of

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describing Lezardiere,

letters:

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Wagner

Poulenc

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quite

tenderly

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memory

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took

often.

house

of

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belonged

the

revising the

in

"Aunt

was

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way.

for

1930,

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of"Aunt

in

suite.

and

excited

the

Lienard,"

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to

at

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during

suite.

several

89

piece, final

about

was

5

7

56

In

a Table

before

58

59 composition

Poulenc

August

"Que

"Les

Although

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3.

finishing

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What

lie

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First

25'h,

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and

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1936.

de

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sketch

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en

joy

piano.

was

later

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savoir

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Romance

Frissons

Soupirs

Ibid.,

to

are

Nerfs

dans

Final

1930

de

project

very

de

in

au

and

know

59

Vieillesse

terminees

de

Ia

Correspondance,

up

life

Finale

Suspension

425.

les

vivre

Distinction

voulu

happy

final

to

Poulenc

and

that

de

Idees

their

c'est

les

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version

before

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with

ii

Soirees

Final,

dire

changed

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the

418.

a

the

of

dixjours

de

which

piece.

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first

Nazelles."

31

de

his

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perf01mance:

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means

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finished!

Cceur

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this

from

1936

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dans

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from

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et

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Enjoleur

completion.

58

Malheur

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letters

Main

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Idees

at

10,

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the

to

written

1936.

time

G.

Auric,

of technique. embarked Example and 61 not 60 Camaval key, title

"A "Anticipant and compte Soirees

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motivic

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a before the new idea begins. In all of these cases, the comma indicates a change in the timing that makes the musical declamation similar to words being spoken or sung.

Phrasing and Agogic Accents

The musical pluases in Poulenc's music are often very "square," and if interpreted literally sound like a technical exercise with little musical sense. There are many eighth- note passages, constant motion of sixteenth notes, and chordal ostinatos that are sustained for many pages without any rhythmic variety. To avoid a potentially monotonous perfmmance we can study how the French language is used in a musical setting.

In his dissertation on Debussy's Pelteas et Melisande, Stephen Barr touches on the very essence of the natural French speaking, the way French composers set words to music, and how the setting affects the phrasing in general. He argues that Debussy, in his case,

... set text sensitively according to a specific ideal, that being the approximation of the inflection and rhythm ofthe spoken French language. [ ... ] In spoken French, slight stresses of accent and duration do not impede the overall flow toward the final syllable of a pluase, and most often the final syllable of a phrase receives the strongest and longest emphasis. When an exception occurs, it is the penultimate syllable that receives the stress. [ ... ] Fmihetmore, the rhythm of spoken French tends to become quicker as the speaker approaches the final syllable of a phrase or sentence. Debussy's solution to this problem was to coordinate musical rhythm with the rhythm of the natural inflection of the French language. To accomplish this, he wrote vocal lines that are primarily syllabic, with frequent repeated notes and a nan·ow range. Each phrase often ends with a note that is stressed by being given a longer duration. Triplets and other figures that create polyrhythms

39 usually

otherwise

sing,

and,

67

Example

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Le Dauphin C. Croiza J=136 J=124

L 'i:crevisse C. Croiza J=96 J=92

La Carpe C. Croiza J=58 J=54 Chanson d'Orkenise P. Bemac J=126 J=138

Hotel P. Bemac J=SO J=46 Fagnes de Wallonie P. Bemac J=BB J=BB

Voyage aParis P. Bemac J.=96 J=92

Sanglots P. Bernac J=66 J=70 Chanson du clair tamis P. Bernac J=84 J=86

Avant /e Cinema P. Bernac J=126 J=126

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L'Enfimt Muet G. Touraine J=66 J=60 Adelina a Ia promenade G. Touraine J.=138 J.=120 Chanson de l'oranger sec G. Touraine J=69 J=60

50 markings.

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indications:

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82

peda/es.

Dans demande d'obtenir August 11

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as Bernac,

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Collaer,

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Hamilton, Daniel, Catalogue

Ferraty, Hell,

Kelly,

Hackin, Cox,

Jeremy

Henri.

Stephen

Dawn.

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!'ambivalence.

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The

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Away

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