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French Simplicity

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French Simplicity French Reactions Against Romanticism Maurice Duruflé (1902-1986) Background • Early musical training at the cathedral in Rouen, with a famous school of Gregorian chant; later. studied at the Paris Conservatory where he came into the tradition of Fauré, Debussy, and Ravel, continuing in a reaction against the extremes and individualism of Romantic expression, choosing instead the more introspective models of French composers. • Reworked his compositions until ‘perfect’ with only 14 published Opus numbers to his name. Requiem, Op. 9 (1947) • Published in three versions: accompanied by organ alone; accompanied by full orchestra and organ, and accompanied by string quintet with harp, trumpets and timpani ad libitum. Duruflé stated that he preferred the baritone and mezzo-soprano solos to be sung by full choral sections. • Based directly on Gregorian chants of the Mass for the Dead and their associated modal scales, appearing complete or in fragments, in vocal and orchestral parts, at original pitch or transposed. o Duruflé intended 'to reconcile, as far as possible, Gregorian rhythm…with the exigencies of modern meter.' o Instead of a literal transcription of the original melodies with their irregular alternation of twos and threes, he brought out larger metrical patterns by subtly adjusting the rhythms yet shifting the meter frequently to preserve a sense of spontaneity. • Transparent and serene, in the tradition of Fauré’s setting of 60 years before (as is Rutter’s setting 40 years later), but with a more extensive stylistic range from plain chant to Debussy/Ravel coloristic harmonies. o Follows the text as set by Fauré except with minor additions. o As with Fauré’s Requiem, Duruflé’s Requiem is a polar opposite of Berlioz’s apocalyptic vision of the Last Judgment, with no Dies irae section (only two rather exalted and not terrifying lines), focusing instead on peace and serenity. o 3. “Domine Jesu Christe “ contains the most extreme dynamics o 4. Sanctus contains the primary fff expression on “Hosanna”, even more effective because of the overall serenity of the work. Quatre Motets: 1. Ubi caritas (1960) • Renaissance motet texture and form, within a French (Debussy) and 20th century harmonic language—can be mistaken for older music than it is! • Anticipates the intent and style of the “New Age” Spiritualism of Gorecki and Pärt, meditative and chant-like yet without minimalist or eastern influences of the later trend. Francis Poulenc (1899-1963) General Background • French Simplicity o Member of “Les Six” (Poulenc, Milhoud, Honegger, Durey, Auric, Tailleferre), French composers dedicated to Jean Cocteau’s manifesto and Satie’s musical example § against Expressionism-Primitivism, Mahlerian colossus and Debussian refinement, German, Russian, and American influences-- “Adieu New York!” § in favor of simplicity, a “grace without pedals,” a “metronomic unity,” and themes from everyday life drawn from the music hall, the circus, parades, jazz, and cabaret. § Poulenc was most loyal to Cocteaue’s manifesto after “Les Six” disbanded in 1921; Poulenc developed a simple but noble style in his religious works • Poulenc’s return to the church and search for an appropriate mode of expression followed the death of a friend in a horrific car accident and pilgrimage to Notre Dame de Rocamadour in 1936 Mass in G (1937) • An instant classic for unaccompanied choir divided into four to eight parts • Harmony: dramatic dissonances in the organ alternate with melodies originated in plain chant; chromatically and modally colored tonality o Kyrie and Agnus Dei recall 12th-century organum of St. Martial at Limoges with lengthy pedal points that sustain floating melismas • Influences of Stravinsky (see Ulrich): • Textures (see Ulrich): • Melodic character (see Ulrich): Gloria (1959) • S, Choir and orchestra; similar character to the Mass; orchestra plays a large role in setting the mood and is more colorful and extravagant than in the Stabat Mater—by comparison a “large choral symphony” though not in the same sense of the Beethoven tradition • I. Opening brass fanfare recalled in the final movement “Qui sedes” after a choral opening • II. “Laudamus te” joyful spirited theme typical of Poulenc’s repeated short-phrase melodies—intended to be like frescoes of angels sticking out their tongues or monks he saw one day playing soccer, it caused an uproar in the first performance • III. “Domine Deus” quotes Verdi’s Othello in a Surrealist contrast to the text-accented folk-like material .
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