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2017 Two Examples of Neo-Classicism in France from the Early and Late Twentieth Century: Francis Poulenc's Trio for Oboe, Bassoon, and Piano (1926) and Jean Françaix's Trio for Oboe, Bassoon, and Piano (1994) Siobhán Marie Ciulla

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COLLEGE OF MUSIC

TWO EXAMPLES OF NEO-CLASSICISM IN FRANCE FROM THE EARLY AND

LATE TWENTIETH CENTURY:

FRANCIS POULENC’S TRIO FOR OBOE, BASSOON, AND PIANO (1926)

AND JEAN FRANÇAIX’S TRIO FOR OBOE, BASSOON, AND PIANO (1994)

SIOBHÁN MARIE CIULLA

A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music

2017

Siobhán Ciulla defended this treatise on April 10, 2017. The members of the supervisory committee were:

Eric Ohlsson Professor Directing Treatise

Richard Clary University Representative

Deborah Bish Committee Member

Jeffrey Keesecker Committee Member

The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements.

To my loving husband, Nicholas Peter Ciulla

iii TABLE OF CONTENTS

LIST OF FIGURES ...... v

ABSTRACT ...... vii

INTRODUCTION ...... 1

FRANCIS POULENC’S TRIO FOR OBOE, BASSOON, AND PIANO (1926) AN EXAMPLE OF EARLY TWENTIETH CENTURY NEO-CLASSICISM IN FRANCE ...... 6

JEAN FRANÇAIX’S TRIO FOR OBOE, BASSOON, AND PIANO (1994): NEO-CLASSICISM AT THE END OF THE TWENTIETH CENTURY...... 21

CONCLUSION ...... 38

BIBOLIOGRAPHY ...... 39

BIOGRAPHICAL SKETCH ...... 43

iv LIST OF FIGURES

Figure 1.1 Francis Poulenc, Trio for Oboe, Bassoon, and Piano, Mvt. I, mm. 147-149...... 14

Figure 1.2 Francis Poulenc, Trio for Oboe, Bassoon, and Piano, Mvt. II, mm. 29-30...... 14

Figure 1.3 Francis Poulenc, Trio for Oboe, Bassoon, and Piano, Mvt. III, mm. 171-174...... 15

Figure 1.4 Francis Poulenc, Trio for Oboe, Bassoon, and Piano, Mvt. II, mm. 19-22...... 15

Figure 1.5 Francis Poulenc, Trio for Oboe, Bassoon, and Piano, Mvt. I, mm. 7-9...... 16

Figure 1.6 Francis Poulenc, Trio for Oboe, Bassoon, and Piano, Mvt. II, m. 8...... 17

Figure 1.7 Francis Poulenc, Trio for Oboe, Bassoon, and Piano, Mvt. III, mm. 8...... 17

Figure 2.1 Jean Françaix, Trio for Oboe, Bassoon, and Piano, Mvt. II, mm. 29-34...... 28

Figure 2.2 Jean Françaix, Trio for Oboe, Bassoon, and Piano, Mvt. I, mm. 22-23...... 29

Figure 2.3 Jean Françaix, Trio for Oboe, Bassoon, and Piano, Mvt. II, mm. 5-10...... 30

Figure 2.4 Jean Françaix, Trio for Oboe, Bassoon, and Piano, Mvt. II, mm. 113-116...... 30

Figure 2.5 Jean Françaix, Trio for Oboe, Bassoon, and Piano, Mvt. III, mm. 5-6...... 32

Figure 2.6 Jean Françaix, Trio for Oboe, Bassoon, and Piano, Mvt. IV, mm. 137-141...... 32

Figure 2.7 Jean Françaix, Trio for Oboe, Bassoon, and Piano, Mvt. I, m. 1...... 33

Figure 2.8 Jean Françaix, Trio for Oboe, Bassoon, and Piano, Mvt. I, m. 9...... 33

Figure 2.9 Jean Françaix, Trio for Oboe, Bassoon, and Piano, Mvt. IV, m. 5...... 33

Figure 2.10 Dr. Clave, 3-2 Son Clave Three-Side and Two-Side, ...... 35

Figure 2.11 Jean Françaix, Trio for Oboe, Bassoon, and Piano, Mvt. I, m. 39...... 35

Figure 2.12 Jean Françaix, Trio for Oboe, Bassoon, and Piano, Mvt. I, mm. 9...... 35

Figure 2.13 Jean Françaix, Trio for Oboe, Bassoon, and Piano, Mvt. II, m. 105-106...... 36

vi ABSTRACT

This document is a compilation of two lecture recitals held on 5 December 2016 and 1

March 2017. The first recital was based on Francis Poulenc’s Trio for Oboe, Bassoon, and Piano, completed in 1926 and the second was based on Jean Françaix’s Trio for Oboe, Bassoon, and

Piano written in 1994. In each lecture, compositional elements and influences were examined to highlight the impact of neo-classicism on the composer.

The purpose of this research is to examine two French Trios in order to provide a musical perspective of neo-classicism during the early and late twentieth century. In studying both works it quickly becomes apparent that while Poulenc and Françaix used traditional formal models and tonalities for inspiration, they were still writing new music during the twentieth century. As a result, a multitude of twentieth century compositional devices such as planing, octatonicism, and chromaticism are used to embellish the neo-classical music of these composers.

By exploring the neo-classical compositional elements in each work, one can see a clear connection between Poulenc’s Trio for Oboe, Bassoon, and Piano and Françaix’s Trio for Oboe,

Bassoon, and Piano. Each composer aspired to write music that was easily understood, while combining classical artistic values and twentieth century techniques to create truly ‘neo’- classical works.

Due to their popularity and exposure, the Poulenc Trio and the Françaix Trio are now considered “standards” for this combination of instruments. By studying these trios, we are able to gain greater musical perspective, as we examine the influence of neo-classicism on these composers during the early and late twentieth century.

vii INTRODUCTION

From 1914 to 1918 World War I devastated Europe. Along with its population and infrastructure, the “Great War” tremendously impacted the once positive and hopeful attitudes of the entire western world regarding the new twentieth century. Across Europe there was a renewed longing for music of a simpler and more pleasant nature.1 German culture had largely dominated Europe in the nineteenth century and nowhere was this more evident than in the music of the great German romantic composers such as Beethoven, Brahms, Wagner, and

Mahler. Their music not only represented the country that was widely blamed for the conflict, but also the emotional and idealistic national pride that had helped launch the world into war.2 In addition to the romantic composers, the “Second Viennese School,” which was focused on utilizing a new harmonic language based on Schoenberg’s twelve-tone system, was also taking shape before and after the war. In its essence, the French neo-classical movement was a reaction against German romanticism, French impressionism, and the early twentieth century atonal language that represented the emotionalism and shapelessness of the past two decades.

The years after the “Great War” were truly a movement of “neo” classicism in France.

For a group of six young French composers, the writings of Jean Cocteau and the music of Erik

Satie became extremely influential. This group, soon to be known as Les Six included Georges

1 Elizabeth Ampler Ruppe, “Form and Tonality as Elements of Neo-classicism in two works of Jean Françaix: Divertimento pour Flute et Piano (1955) and Suite pour Flute Seule (1963) with three recitals of selected work of Mozart, Widor, Feld, Muczynski and Others” (DMA diss., University of North Texas, May 1996), 6, http://digital.library.unt.edu/ark:/67531/metadc278680/m2/1/high_res_d/1002727321-ruppe.pdf

2 John Graham Royde-Smith, “World War I,” in Encyclopedia Britannica, Encyclopedia Britannica Inc., December 9, 2016, accessed January 5, 2017, https://www.britannica.com/event/World-War-I

1 Auric (1899–1983), Louis Durey (1888–1979), Arthur Honegger (1892–1955), Darius Milhaud

(1892–1974), Francis Poulenc (1899–1963), and Germaine Tailleferre (1892–1983).

Loosely modeled after the five Russian composers known as The Mighty Handful or The

Russian Five, Les Six focused primarily on creating simple French music, dissimilar to German romanticism.3 These values are clearly expressed in Jean Cocteau’s manifesto written in 1918 and dedicated to Georges Auric, titled the Rooster and the Jester, or Le coq et l'Arlequin. This work would become the group’s “unofficially official” manifesto.4 The principles in this book are essential to understanding the common ideals that governed the early music of Les Six. In this book, Cocteau routinely employs a metaphorical comparison between a male rooster and a court jester, admiring the rooster for being varied and unique, while jeering the jester for being a servant to his master. In this case, an ideal French composer such as Erik Satie is the rooster, and the typical French impressionist, for example Claude Debussy, is merely a silly servant of

German romanticism. While articulating his feelings regarding romanticism, Cocteau compared the music of Bach to Beethoven, saying:

Beethoven is irksome in his developments, but not Bach, because Beethoven develops the form and Bach the idea. Beethoven says: ‘This penholder contains a new pen; there is a new pen in this penholder; the pen in this penholder is new’… Bach says: ‘This penholder contains a new pen in order that I may dip it in the ink and write,’ … There lies the difference5

Essentially Jean Cocteau suggests 19th century German composers were saying very little of importance, while writing distinctly longer and larger works. He also submits that German

3 Jean Cocteau, Cock and Harlequin: Notes concerning Music (London: The Egoist Press, 1921), 10.

4 Robert Shapiro, ed., Les Six: The French Composers and Their Mentors Jean Cocteau and Erik Satie (London and Chicago: Peter Owen Publishers, 2014), 18.

5 Ibid.

2 romanticism was a “colossus” or deity that French composers drew inspiration from out of obligation. As an alternative, Cocteau encourages French composers to try and mirror the distinctly French compositions of Erik Satie saying, “Satie teaches what, in our age, is the greatest audacity, simplicity.”6

The composers of Les Six sought to create a new emphasis on functional tonality, traditional forms and lighter textures in stark contrast to the ever-expanding romantic forms and increasingly chromatic tonalities used by German composers. This new ideology shaped and gave birth to some of the masterpieces of the French composer, pianist, and member of Les Six,

Francis Poulenc (1899-1963).7 While composing his Trio for Oboe, Bassoon, and Piano (1921-

1926), Francis Poulenc looked to classical composers such as Haydn and Mozart for inspiration.

After the completion of Poulenc’s Trio, France’s cultural landscape was once again affected by world events. These years were characterized by War, governmental progress, consumerism and technological development. After enduring a ten-yearlong depression followed by German occupation during World War II, General Charles de Gaulle headed a new government of the Fourth Republic in 1946. In the 1950's and 1960's, there was the war of

Algerian independence and in May 1968 a massive student revolt against government policies and lack of social reform led to a national labor strike.8 By the 1970’s, France’s efforts to become a modern scientific and technological society led to a governmental effort to be on the forefront of artistic innovation. This effort was led by Pierre Boulez (1925-2016), a French composer and the director of the newly formed the “Institute for Research and Coordination in

6 Ibid., 20.

7 Henri Hell, Francis Poulenc (New York: Grove Press Inc., 1959), 1.

8 BBC News. “France Timeline.” BBC News. Accessed April 09, 2017. http://news.bbc.co.uk/2/hi/europe/country_profiles/999717.stm

3 Acoustics/Music.” The Institute was heavily funded by government subsidies and favored the works of atonal and experimental composers such as Luciano Berio (1925-2003) and Pierre

Boulez.9 As a result, composers like Jean Françaix had a difficult time promoting their music, which was written in traditional tonalities and forms to be performed by major French musicians and ensembles. It is indeed remarkable that despite all of these changes to French society Jean

Françaix remained entrenched in the style of his early twentieth century predecessors and chose to compose in traditional forms and tonalities.

Jean Françaix’s Trio for Oboe, Bassoon, and Piano was written in 1994, thirty-two years after the death of Poulenc, and yet it exemplifies the music of the French neo-classical movement. With this Trio, Françaix further cemented his stance against atonality and unstructured music by utilizing traditional forms and a harmonic language that is easily understood. Although Jean Françaix was not a member of Les Six, he maintained an eclectic and neo-classical compositional style throughout his lifetime.10 Along with Nadia Boulanger, his biggest musical influences were Emmanuel Chabrier, Igor Stravinsky, Maurice Ravel, and

Francis Poulenc.11

The purpose of this research is to examine their two French Trios in order to provide a musical perspective of neo-classicism during the early and late twentieth century. In studying both works it quickly becomes apparent that while Poulenc and Françaix used traditional formal

9 G.W. Hopkins and Paul Griffiths, "Boulez, Pierre." Grove Music Online.

10 Elizabeth Ampler Ruppe, “Form and Tonality as Elements of Neo-classicism in two works of Jean Françaix: Divertimento pour Flute et Piano (1955) and Suite pour Flute Seule (1963) with three recitals of seclected work of Mozart, Widor, Feld, Muczynski and Others” (DMA diss., University of North Texas, May 1996), 19. http://digital.library.unt.edu/ark:/67531/metadc278680/m2/1/high_res_d/1002727321-ruppe.pdf

11 Muriel Bellier, “Françaix, Jean”. Grove Music Online.

4 models and tonalities for inspiration, they were still writing music during the twentieth century.

As a result, a multitude of twentieth century compositional devices such as planing, octatonicism, chromaticism and distorted forms are used to embellish the works. Musicologist

Arnold Whittall wrote “Since a neo-classicist is more likely to employ some kind of extended tonality, modality or even atonality than to reproduce the hierarchically structured tonal system of true (Viennese) Classicism, the prefix ‘neo-’ often carries the implication of parody, or distortion, of truly Classical traits.”12 In order to truly understand this concept, one must review the definition of the prefix ‘neo’, which according to the Oxford English Dictionary is “a revised form of.” 13 In this case, neo refers to a revised form of music from the classical period, hence

Neo-classicists were not trying to perfectly replicate the music of Mozart and Haydn. They were instead using their formal structures and tonal centers as inspiration in combination with modern compositional techniques. Above all, neo-classical composers subscribed to the ideals of the classical period, namely music that was structured, balanced, and easily understood.

One can see a clear connection between Poulenc’s Trio for Oboe, Bassoon, and Piano and Françaix’s Trio for Oboe, Bassoon, and Piano by exploring the neo-classical compositional elements in each trio and the aims of each composer to write music combined classical artistic values and twentieth century techniques to create truly ‘neo’-classical works.

12 Arnold Whittall "Neo-classicism." Grove Music Online.

13 Oxford Dictionaries, s.v. “neo-,” accessed April 10, 2017, http://www.oxforddictionaries.com/definition/english/neo-.

5 CHAPTER 1

FRANCIS POULENC’S TRIO FOR OBOE, BASSOON, AND PIANO (1921- 1926) AN EXAMPLE OF EARLY TWENTIETH CENTURY NEO-CLASSICISM IN FRANCE

Francis Poulenc’s Early Life

Born into a wealthy Parisian family on 7 January 1899, Francis Poulenc was constantly surrounded by artists in the French tradition.14 His father was the director of a chemical company and a devout Catholic, while his mother was a local artist and an amateur pianist.15 At the age of five, his mother started teaching him basic piano skills. When he was fifteen, he began taking private piano lessons with Ricardo Viñes, who was not only a teacher but also a “spiritual mentor” and dedicatee of some of Poulenc’s first works.16 Poulenc credited Viñes for much of his success, saying: “In reality it is to Viñes that I owe my fledgling efforts in music and everything I know about the piano.” From 1914 to 1917 while studying with Viñes, he became acquainted with the composers George Auric, Manuel de Falla, and Erik Satie.

Poulenc’s parents wanted him to pursue a business degree and, as a result, he never enrolled in a formal music school. Instead, he learned from his own examination of musical

14 Malorie Danielle Jessup, “An Analysis Of Francis Poulenc’s Sextuor First Movement” (Research Paper., Ball State University, 2009), http://cardinalscholar.bsu.edu/bitstream/handle/123456789/193566/Mjessup_2009-2_BODY.pdf

15 Myriam Chimènes and Roger Nichols, “Poulenc, Francis,” Grove Music Online. Oxford Music Online. Oxford University Press, accessed March 13, 2017, http://www.oxfordmusiconline.com.proxy.lib.fsu.edu/subscriber/article/grove/music/2220 2.

16 Malorie Danielle Jessup, “An Analysis Of Francis Poulenc’s Sextuor First Movement”

6 scores. From 1918 until 1921, Poulenc served in the military. Once he was released, he began taking private lessons with Charles Koechlin to improve his compositional abilities.

Overview of Poulenc’s Compositional style

Poulenc composed over 150 works for numerous ensembles in various styles. Throughout his life, his compositional style continued to evolve. When addressing his works, Poulenc once stated, “I am not concerned with principles and I am proud of that; thank God! I have no system of writing...and as for inspiration, it is so mysterious that it is wiser not to try to explain it.”17

Beginning in the 1920’s, Poulenc’s compositions represented the neo-classical movement, based on the works of early composers and the influence of Stravinsky, Satie and Les

Six.18 During this time, his compositions were traditionally shorter, using conventional forms and monikers, such as rondo or sonata. Often thought of as his first well-known chamber work,

Poulenc’s Trio for Oboe, Bassoon, and Piano marked a turning point in his career.19 He worked on the Trio in various forms from 1921 to 1926, which was during and after his studies with

Koechlin. The work was based on his understanding of functional tonality, traditional forms, and lighter textures.

17Muriel Bellier, “Poulenc, Francis,” Grove Music Online.

18 Keith W. Daniel, Francis Poulenc: His Artistic Development and Musical Style (Ann Arbor: UMI Research Press, 1982) 57.

19 Barbara Moroncini, “About the Piece: Trio for Oboe, Bassoon, and Piano.” LA Phil. Accessed February 02, 2017. http://www.laphil.com/philpedia/music/trio- for-oboe-bassoon- and-piano-francis-poulenc

7 Premiere and Reception

The Trio was premiered on 2 May 1926 at the Salle des Agriculteurs in Paris, France.

The performance was part of a concert featuring the compositions of Poulenc and another member of Les Six, Georges Auric. Poulenc was joined in this performance by oboist Roland

Lamorlette and bassoonist Gustave Dherin. In 1928, the same personnel recorded the Trio on the

French Columbia record label.20 According to a review by Stephen Colburn in The Double Reed, the recording “...provides an invaluable window into French woodwind artistry, an open door into a distant world of inspired creation, elegant French woodwind playing, and a chance to hear for oneself how these pieces were performed at their inception.”21

The work was dedicated to the Spanish composer, Manuel de Falla, a good friend and colleague. The Trio was well received, and was considered to be Poulenc’s “first major achievement in the sphere of chamber music.”22 In a thank-you letter to Poulenc, de Falla remarked: “I was so overjoyed to receive my Trio-MY TRIO! -So eagerly awaited. I like it so much that, at the very first opportunity, we will perform it in Seville (keeping the piano part for myself of course).”23

When commenting on his achievement, Poulenc said, “I worked on it a lot. It’s in a style

20 “Francis Poulenc - Trio for Oboe, Bassoon, and Piano,” YouTube video, 13:20. Posted (August 2011) https://www.youtube.com/watch?v=mcLyfLwkD6c

21 Stephen Colburn, “CD Review: The French Accent: Original Performances of Poulenc, Auric and Others (French Composers - Historical Recordings 1928-1958),” The Double Reed, Vol. 39, No. 2, pp. 171-172, Available at http://openmusiclibrary.org/article/739364/

22 Henri Hell, Francis Poulenc (New York: Grove Press Inc., 1959), 32.

23 James Keller, Chamber Music: A Listener’s Guide (Oxford: Oxford University Press., 2011), 365.

8 new to me yet at the same time very Poulenc.”24 Being largely self-taught and inexperienced with writing for this combination of instruments, the success he achieved with this work is extraordinary. Due to its popularity and exposure, Poulenc’s Trio quickly became the standard work by which all other works for the oboe, bassoon, and piano were judged.

In 2016, the International Double Reed Society sponsored the Italian oboist and composer Sandro Caldini in the publication of a new edition of this Trio, based on the editorial work of Poulenc’s second and final manuscript, dated 16 March 1928 (courtesy of Ned Rorem and May Marshall).25 The performance was recorded and live-streamed during the IDRS convention on 29 June 2016, featuring oboist Nicholas Daniel, bassoonist Saxton Rose, and pianist Naruhiko Kawaguchi. According to the publisher, “there are countless changes from the original and the parts and score are beautifully engraved.”26 In a blog entry by bassoonist and scholar Kevin Eberle, the Caldini edition is said to mark “Poulenc's departure from the shackles of pianistic wind writing!”27 Among its revisions, the most notable involved eliminating some of the doubling in the piano.

24 Eduqas, “Trio for Oboe, Bassoon, and Piano – Poulenc.” 2015. http://resource.download.wjec.co.uk.s3.amazonaws.com/vtc/2015-16/15-16_23/Poulenc- TrioNotes%20.pdf.

25 Musicroom.com, “Francis Poulenc: Trio for Oboe, Bassoon, and Piano - Revised Version (Score And Parts),” http://www.musicroom.com/se/id_no/01125093/details.html

26 Delmar Willams, “New Edition of Poulenc Trio Is Available,” Double Reed Music – IDRS Forum (Forum), Accessed February 02, 2017, https://www.idrs.org/IDRSBBS/viewtopic.php?id=19413

27 Kevin Eberle, “A New Poulenc Trio!,” (blog), July 2016, http://www.kevineberle.net/blog/a-new-poulenc-trio.

9 Formal Structures

Throughout the Trio, Poulenc’s affinity for clarity and simplicity is evident in his utilization of traditional formal structures. Poulenc acknowledged his compositional influences upon the form of the Trio, stating:

For those who accuse me of being careless with form, I will not hesitate to divulge my secrets: the first movement is based on the structure of a Haydn allegro, and the Rondo finale derives from the scherzo movement of Saint Saens’ second concerto for piano and orchestra. Ravel always counseled me to use this method, which he often followed himself.28

With the exception of the second movement, each movement of the Trio demonstrates traditional musical forms, as stated by Poulenc himself. The first movement demonstrates a

“Haydn Allegro” or sonata allegro form (exposition, development, recapitulation). Marked Lent and using stately dotted rhythms, the introduction mirrors that of a “French overture,”29 while presenting a series of dissonant harmonies and cadenza-like figures. The lively Presto introduces two themes in 2/4-meter. The primary theme (mm. 17-28) is twelve bars in length, beginning with an ascending chromatic flourish in the winds and ending with a series of descending eighth notes in the key of A major. The secondary theme, marked tres chante (very singing), is twenty bars in length, beginning with a dramatic oboe melody in the key of f-minor (mm. 106-126). The development, marked sans ralentir (without slowing down) begins with a sudden change of mood and key area and a clear thematic shift. It is in the developmental section that Poulenc diverges from traditional sonata allegro form. Rather than developing the material from the

28 Eduqas, “Trio for Oboe, Bassoon, and Piano – Poulenc,” 2015, http://resource.download.wjec.co.uk.s3.amazonaws.com/vtc/2015-16/15-16_23/Poulenc- TrioNotes%20.pdf

29 George Gow Waterman and James R. Anthony, “French overture.” Grove Music Online.

10 exposition, he expands on the cadenza-like material from the introduction as well as introduces new thematic material. This begins in m.147, with a four-bar phrase for the piano in the key of F

Major. The new material continues, with added oboe and bassoon, until m. 160. Following a dramatic two bar transition, the expansion of introductory material, marked le double plus lent, begins at m.162. This section is 30 measures in length, mm. 162-192, and includes a new melody introduced by the oboe in m. 165 as well as the cadenza-like material from the introduction. This section leads directly to the recapitulation, at m. 193.

Marked Presto, the recapitulation presents the same primary themes as heard in the exposition, including a shortened version of the first theme from the development. Similarly, the coda restates portions of material from the development and the exposition, ending with a perfect authentic cadence in the key of A-major.

Poulenc never mentioned his approach to form as it relates to his sweet and melancholic second movement. Overall, it appears to demonstrate a ternary (ABA) form. Much like a lullaby, the movement’s A section begins with a gentle theme introduced by the piano in Bb major.

Beginning with the bassoon, the winds soon take over the melodic role, eventually truncating it and using it as a means of modulation. The B section begins with a series of minor seconds presented in the key of b minor, beginning with the oboe. The final section restates the A material beginning in the key of F major and quickly changes to f minor, where it remains for the rest of the piece. The three-measure coda provides a peaceful extension to the ending of the movement in the key of f minor.

The third movement, titled Rondo, has five sections, ABACA. The A section begins with a lighthearted arpeggio presented in in key of Db major on the piano. The B section begins with lyrical oboe melody in b-flat minor. The third section (A’) restates the first theme in its original

11 key of Db major, eventually leading to section C with transitional material and its continuation.

Section C presents new material in the key of F major with a stately melody in the piano that is playfully imitated by the bassoon. Returning in the original key, the final recapitulation (A’’) features a restatement of the first three themes. The coda begins at m. 171 and reuses thematic material from the A section, as well material from the introduction and the development of the first movement.

Harmonic Devices

When addressing his approach to harmony, Poulenc stated: “I know perfectly well that I am not one of those composers who have made harmonic innovations like Igor, Ravel or

Debussy, but I think there’s room for new music which doesn’t mind using other people’s chords. Wasn’t that the case with Mozart-Schubert?”30 In a 1963 article from The Musical

Times, the composer Lennox Berkeley wrote “All through his life, he was content to use conventional harmony, but his use of it was so individual, so immediately recognizable as his own, that it gave his music freshness and validity.”31

Harmonically, the trio is clearly tonal. The American musicologist George Russell Keck believed that overall, Poulenc’s harmonic language was “as beautiful, interesting and personal as his melodic writing ...using clear, simple harmonies moving in obviously defined tonal areas with chromaticism that is rarely more than passing.”32 To establish a tonal center, Poulenc

30 Muriel Bellier, “Poulenc, Francis,” Grove Music Online.

31 “Francis Poulenc,” The Musical Times vol. 104, issue no. 1441 (1963): 205, http://www.jstor.org/stable/949032.

12 sometimes uses tonic and dominant pedals. In order to mark major sections and themes, Poulenc also uses clear authentic cadences. In some instances, he delays cadences for an unexpected amount of time. For example, the introduction to the first movement avoids a strong cadence for seventeen bars, finally resting on the dominant of the exposition to create an authentic cadence in the key of A Major (V-I).33 Poulenc frequently delays the establishment of a tonic chord by removing cadences or weakening them with a “wrong note” dissonance. In the last bar of the second movement, for example, the listener expects to hear a strong cadence, however, Poulenc uses an added seventh to prolong harmonic closure until the final movement. Throughout the

Trio, modulations occur as a result of chromaticism, modal mixture, pivot tones, pivot chords, sequences.34 In contrast to the first and third movements, for example, he uses modal mixture to frame the opening and closing sections of the second movement, beginning in Bb major and ending in f-minor. Poulenc also uses added note chords, diatonic planing, dissonance, arpeggios and chromatic flourishes. Poulenc’s use of planing is visible in each movement as seen in the three consecutive images below (Figure 1.1, Figure 1.2, and Figure 1.3).

Some of the less-common harmonic features include augmented and diminished chords

and the use of octatonicism. For example, in the piano part of the second movement, there are rare examples of octatonicism, beginning with the c-major chord built on an f-sharp in m.21, and ending with a descending octatonic scale in m.22 (Figure 1.4).

32 George Russell Keck, Francis Poulenc – A Bio-bibliography (New York: Greenwood Press., 1990) 8.

33 J. Michael Allsen, “Poulenc, Francis: Trio for Oboe, Bassoon, and Piano,” Fort Wayne Philharmonic, 2011, accessed March 1, 2017, https://www.fwphil.org/composers/composition/139

34 Ruth Allison, “Analysis of a Poulenc trio (for bassoon, oboe, and piano)” (MM Diss., University of Rochester, 1947), 54, http://hdl.handle.net/1802/14578.

Figure 1.1 Francis Poulenc, Trio for Oboe, Bassoon, and Piano, Mvt. I, mm. 147-14935

Figure 1.2 Francis Poulenc, Trio for Oboe, Bassoon, and Piano, Mvt. II, mm. 29-3036

35 Francis Poulenc, Trio for Oboe, Bassoon, and Piano (Copenhagen: Wilhelm Hanson, 1926), 10.

36 Ibid, 18.

Figure 1.3 Francis Poulenc, Trio for Oboe, Bassoon, and Piano, Movement III, mm. 171-17437

Figure 1.4 Francis Poulenc, Trio for Oboe, Bassoon, and Piano, Mvt. II, mm. 19-2238

37 Ibid, 32.

38 Ibid, 17.

15 Thematic Material

The American composer, Virgil Thomson, once declared Poulenc to be “incontestably the greatest writer of melodies in our time.”39 His themes are often constructed in even phrases, unless the pattern is offset, as demonstrated by the short segments of conversational dialogue between the instruments in the first movement.40 The majority of his themes are constructed around ascending and descending scales, based on the harmonic structure, such as arpeggios beneath. He writes ascending diatonic flourishes at various speeds throughout the work as seen in the images below (Figure 1.5, Figure 1.6, Figure 1.7).

Figure 1.5 Francis Poulenc, Trio for Oboe, Bassoon, and Piano, Movement I, mm. 7-941

39 Carol Kimball, Song: A Guide to Art Song Style and Literature, (Hal Leonard Corp., 2006), 225.

40 Ibid.

41 Francis Poulenc, Trio for Oboe, Bassoon, and Piano (Copenhagen: Wilhelm Hanson, 1926), 1.

Figure 1.6 Francis Poulenc, Trio for Oboe, Bassoon, and Piano, Mvt. II, m. 842

Figure 1.7, Francis Poulenc, Trio for Oboe, Bassoon, and Piano, Mvt. III, m. 843

42 Ibid, 16.

43 Ibid, 22.

Additionally, he often groups a string of fast chromatic notes together, such as sextuplets or elevenths, prior to the end of a phrase.

Like Stravinsky and Satie, some of his melodic lines employ chromaticism. For example, the second section of the Andante movement is based on an alteration between the sixth and seventh scale degrees of the chromatic harmony.44 Of the many thematic intervals in the Trio, the most common are seconds, and thirds, often approached by a leap in contrary motion.45

Poulenc uses passing and neighboring tones throughout the trio. Although less common, he uses anticipations, escape tones, appoggiaturas, and suspensions. As seen in the introduction,

Poulenc uses imitation at the fifth and octave to make the most of his thematic content.

Additionally, he extends melodies using sequences, contrary motion, and repetition. 4647 In the

Andante, two themes are joined together and played simultaneously, which only happens once in the piece.

The articulation markings throughout the trio are also an important thematic element.

Usually when seeking short notes composers would write leggiero (lightly) or staccato

(detached). However, Poulenc uses a marking that was frequently used in Igor Stravinsky’s works; sec (dry) or tres sec (very dry). These markings are found throughout the piece and are especially prevalent in the first movement.

44 Ruth Allison, “Analysis of a Poulenc trio (for bassoon, oboe, and piano)” 31.

45 Ibid, 41-47.

46Keith W. Daniel. Francis Poulenc: His Artistic Development and Musical Style (Ann Arbor: UMI Research Press, 1982), 390.

47Ruth Allison, “Analysis of a Poulenc trio (for bassoon, oboe, and piano)” 54.

Rhythm and Meter

According to author Keith W. Daniel, Poulenc’s rhythmic inspiration can be “traced in part to standard and Baroque dance meters.”48 In his Trio, there is little variation in the time signatures of each movement. The Presto is mostly in 2/4 and 3/4, with the exception of the 4/4 bars in the coda and the single bar of 3/2 in m.60. The Andante is mainly in 4/8, and the third movement is typically in 6/8 and 9/8. Throughout the work, he uses meter to subdivide, shorten, and lengthen his phrases. He sometimes combines standard and irregular meters as seen in the second movement when a single measure of 3/8 interrupts content written in 4/8 (mm.7-9). This also happens in the third movement, as an irregular measure of 5/8 is placed in-between material written in 6/8 (mm.163-165).

Orchestration and Ensemble

This Trio demonstrates Poulenc’s fondness for double reeds and his habit of orchestrating grandiose piano parts that often double the melody. Poulenc once stated, “I quite like my Trio because it comes over clearly and is well balanced.”49 Many of the lines begin with a solo and end in unison. With three instruments involved, this pattern can present some balance concerns.

For instance, when the bassoon and piano are both in the low register, it is easy for the bassoon to get lost in the texture. Even when the bassoon is playing in the upper register, the balance can be a challenge. In her dissertation on the Trio, Ruth Allison noted that the orchestration is

48 Keith W. Daniel. Francis Poulenc: His Artistic Development and Musical Style, 390.

49 Malorie Danielle Jessup, “An Analysis Of Francis Poulenc’s Sextuor First Movement”

19 “linear in many respects and that many times a theme will be stated in one voice, answered in another, and finally doubled in another.” 50 An example of this pattern occurs during the development of the first movement. In mm.165-168 the oboe plays the four-bar melody followed by the bassoon from mm.169-172 and then they play it together from mm. 173-176.

Conclusions

Throughout his Trio for Oboe, Bassoon, and Piano, Francis Poulenc combines the forms and tonalities of Mozart and Haydn, with the twentieth century innovations of Stravinsky and

Satie make this a truly neo-classical work.

By studying Poulenc and his trio, we gain a musically and historically fine perspective as we look forward to the end of the century, as to pieces like Jean Françaix’s Trio for Oboe,

Bassoon, and Piano (1994).

50 Ruth Allison, “Analysis of a Poulenc trio (for bassoon, oboe, and piano)” 35.

20 CHAPTER 2

JEAN FRANÇAIX’S TRIO FOR OBOE, BASSOON, AND PIANO (1994): NEO-CLASSICISM AT THE END OF THE TWENTIETH CENTURY

Jean Françaix’s Early Life

Born 23 May 1912 in Le Mans, France, Jean Françaix was constantly surrounded by musicians in the French tradition. His mother was a vocal performer and teacher and his father was an accomplished musicologist, composer, and pianist as well as the Director of the Le Mans

Conservatoire.51 Early in Jean Françaix’s childhood, his father wrote to Maurice Ravel asking for advice regarding his son’s musical education. Ravel replied saying: “Among the child's gifts I observe above all, the most fruitful an artist can possess is that of curiosity: you must not stifle these precious gifts now or ever, or risk letting this young sensibility wither.” Ravel also encouraged that he study with Nadia Boulanger.52 It was his parent’s connections that helped him gain the attention of Boulanger, one of the foremost composition teachers of the twentieth century. After reviewing an early work of his, Boulanger soon took over as his composition and piano teacher and would eventually play or conduct for many of his early premieres. During this period, she wrote to his mother: “Madam, I do not know why we are wasting time to teach him harmony, he knows harmony. I do not know how, but he knows it, he is born knowing it.” 53 This quote speaks to the deeply rooted understanding and relationship to tonal harmony that Françaix

51 Muriel Bellier, “Françaix, Jean.” in Grove Music Online.

52 Jennifer Bloomberg. “Jean Françaix: L’horloge de flore, an analysis, performance suggestions and a simplified, two-hand reduction of the piano accompaniment.” (DMA diss,. University of Iowa, 2015),8, Iowa Research Online etd 1934.

53 Muriel Bellier, “Françaix, Jean.” Grove Music Online.

21 continued to possess throughout his life. It is also important to note that Françaix was an accomplished pianist, eventually winning a premier prix in 1930.54 It was through this upbringing that Jean Françaix became a devout neo-classicist and champion of writing music using traditional forms and functional harmonies.

Overview of Françaix’s Compositional Style

Throughout his life, Françaix was constantly composing, eventually producing over 200 works for a variety of mediums such as orchestras, chamber works, and film scores.55 He was able to fully support his lifestyle via profits and royalties from these compositions. However, later in his career, his popularity among French orchestras and audiences was distinctly lacking when compared to the rest of classical music realm.56 In 1981, Journalist Judith Karp of the New

York Times interviewed the 69-year old Jean Françaix while he was in New York City to conduct a premiere of his Clarinet Concerto. The interview was primarily focused on the correlation between his neo-classical style and his popularity in his home country. He claimed that he was “one of only three composers in France who can support themselves by their royalties.”57 The other two composers included the distinctly avant-garde composer Olivier

54 Douglas A. Owens, Jr. “A Stylistic Analysis and Performance Guide to Jean Françaix’s Quatour Pour Flute, Hautbauis, Clarinette et Bassoon and Petit Quator Pour Saxophones” (DMA diss., University of Georgia, 2009), 1, https://getd.libs.uga.edu/pdfs/owens_douglas_a_200905_dma.pdf.

55Muriel Bellier, “Françaix, Jean”. Grove Music Online.

56 Judith Karp, “Music in France and Jean Françaix”, The New York Times, last modified June 21, 1981, http://www.nytimes.com/1981/06/21/arts/music-in-france-and-jean- Françaix.html?pagewanted=all

22 Messiaen and Georges Delerue, a composer of commercial music. He remarked that only one tenth of his royalties came from France and went further saying: “My music has not been played by French orchestras in almost ten years.”58 Françaix suggested that the reasons for the lack of interest lie within his traditional harmonic and formal language saying: “With Berlioz and

Debussy it was because the music was not understood. Mine is too easily understood.”59

Jean Françaix maintained an eclectic and neo-classical compositional style that did not undergo any drastic changes during his lifetime.60 Along with Nadia Boulanger, his biggest musical influences were Emmanuel Chabrier, Igor Stravinsky, Maurice Ravel, and Francis

Poulenc.61

Virtually all of Françaix’s compositions remain firmly planted in a tonal harmonic language and employ traditional sonata forms that have an exposition–development– recapitulation structure.62 His works often make use of traditional monikers such as “symphony” or “trio.” His themes are usually melodic or exhibiting a short motif that is then repeated in many different variations.63 He also employs dialogic (conversational) content that feels as though two

57 Judith Karp, “Music in France and Jean Françaix”, The New York Times.

58 Ibid.

59 Ibid.

60 Elizabeth Ampler Ruppe, “Form and Tonality as Elements of Neo-classicism in two works of Jean Françaix: Divertimento pour Flute et Piano (1955) and Suite pour Flute Seule (1963) with three recitals of seclected work of Mozart, Widor, Feld, Muczynski and Others” (DMA diss., University of North Texas, May 1996), 19. http://digital.library.unt.edu/ark:/67531/metadc278680/m2/1/high_res_d/1002727321-ruppe.pdf

61 Muriel Bellier, “Françaix, Jean”. Grove Music Online.

62 Ibid.

63 Ibid.

23 different instruments are conversing and evolving throughout an entire piece. Harmonically, he frequently delays the establishment of a tonic chord by weakening cadences or by removing them altogether.64 He also uses added note chords, modal mixture, and chromatic flourishes.

Rhythmically Françaix tends to use heavy syncopation and draws inspiration from standard dance meters. He often employs metric ambiguity to distort material using different meters underneath repeated material. These characteristics are very much present in his Trio for Oboe,

Bassoon, and Piano.65

Premiere and Reception

In 1994, thirteen years after his interview in New York City, Jean Françaix was 82-years old and still actively composing new works. It was at this time that the International Double

Reed Society, the British Double Reed Society, and the Japan Bassoon Society jointly commissioned him to write a new trio for oboe, bassoon, and piano. The work was premiered the following year at the 24th International Double Reed Society conference in Rotterdam,

Netherlands. Françaix dedicated his new Trio to the English bassoonist William Waterhouse, an esteemed musicologist and chamber musician. Waterhouse had been of significant importance to the project serving as the primary liaison between Françaix and the various commissioners.66

64 Douglas A. Owens, Jr. “A Stylistic Analysis and Performance Guide to Jean Françaix’s Quatour Pour Flute, Hautbauis, Clarinette et Bassoon and Petit Quator Pour Saxophones” (DMA diss., University of Georgia, 2009), 127, https://getd.libs.uga.edu/pdfs/owens_douglas_a_200905_dma.pdf.

65 Jennifer Bloomberg, “Jean Françaix: L’horloge de flore, an analysis, performance suggestions and a simplified, two-hand reduction of the piano accompaniment” (DMA diss., University of Iowa, Summer 2015), 10-17, http://ir.uiowa.edu/etd/1934

24 Oboist Han de Vries, bassoonist Milan Turkovic, and pianist Ivo Janssen premiered the work, which was well-received. In a review from the conference, bassoonist Christopher Weait remarked, “There will be no mistaking this new trio for a work by any composer other than

Françaix!”67 This quote makes it clear that over his long and productive career, Françaix had cultivated a musical language to which he was still loyal. The U.S. premiere of the trio took place in 1996 at the 25th Anniversary IDRS Conference held at Florida State University in

Tallahassee, Florida. Oboist John Mack, bassoonist David McGill, and pianist Elizabeth DeMio gave the performance. Bassoonist Kathleen Reynolds’ comments only reinforce the notion of

Françaix’s consistent compositional style saying, “anyone expecting a ‘grand departure’ from

Françaix was, of course, disappointed. It is vintage Françaix, with an especially lovely Satie-like melody for the bassoon in the slow movement. We welcome this addition to our repertoire.”68

Formal Structures

When speaking to New York Times reporter Judith Karp in 1981 about his music,

Françaix used a metaphor to compare the formal structures he used versus the unstructured forms of “modern” composers: “In classical music, you enter one room, then another, take a walk in the

66 Yoshi Ishikawa, “Message from the President,” The Journal of the International Double Reed Society no. 22, July 1994, http://www.idrs.org/publications/controlled/DR/JNL22/JNL22.Ishikawa.html

67 Christopher Weait, “A Bassoonist’s Report from the 1995 IDRS Meeting in Rotterdam, the Netherlands-August 29-September 2, 1995” The Double Reed, http://www.idrs.org/publications/controlled/DR/DR18.3.pdf/DR18.3/9_rott1.pdf

68 Kathleen Reynolds, “A Bassoonist’s Impression of Tallahassee 1996” The Double Reed, http://www.idrs.org/publications/controlled/DR/DR19.2.pdf/DR19.2.Reynolds.pdf

25 garden and return. With this new music you are locked in one room.”69 This quote is vital to understanding Jean Françaix’s approach to his formal structures as it provides a window into his mentality towards music that is both intelligible and pleasurable.

With the exception of the fourth movement, each movement of this trio demonstrates traditional musical forms. The first movement, Adagio/Allegro Moderato, is a ternary form

(ABA’) framed by an introduction and a coda. There is a brief eight bar introduction marked

Adagio followed by the first A section marked Allegro Moderato. The A section introduces two themes. The first theme (a, mm. 9-12) is four bars in length. The second theme (b, mm. 22-26) is also four bars in length. The B section (mm.43-46) begins with a brief introduction by the piano and then a new four bar theme. The final section, A’, briefly repeats the original themes (a’’, b’) and transitional material (c’). The coda begins at m. 92 and restates the introductory material from the first eight bars.

The second movement, titled Scherzo, demonstrates a five-part rondo form (ABACA’). It begins with a brief instruction of four bars followed by the first A section (m. 5). The A section has two themes (first theme a from mm. 5-12, second theme b mm. 21-26). The B section also contains two themes (c mm. 33-44 and d mm. 45-53). Following the brief A’ section, section C begins at m. 99 and has three new segments of material (e mm. 105-108, f mm. 121-124, g mm.

137-140). After a del segno, there is an eight-bar coda beginning at m. 157.

The andante third movement is written in a quasi-rounded binary form. It is labeled

“quasi” because of a missing repeat sign at the end of the B section (||: A :|| || B A’’ ||). After a four-bar introduction the first A section begins at m. 5 and has one theme (a mm. 5-12). The B section is only eight bars and contains one theme (b mm. 41-48). After a short restatement of the

69 Judith Karp, “Music in France and Jean Françaix,” The New York Times.

26 primary material (a’’), the coda begins at m. 61.

The fourth movement finale consists of a two-measure introduction followed by three main sections (ABC) and ends with a coda. This movement does not demonstrate the characteristic restatements of material and sections of standard ternary or sonata forms. The A section has three sets of new material (a mm. 3-6, b mm. 19-22, c mm. 35-38). The B section introduces one new theme as well as repeating some of the material from the A section (d mm.

51-59, a’’’ mm.75-79). Section C consists of the final two sections of new thematic material (e mm. 85-93, f mm. 101-108). The coda begins at m. 109 and reuses thematic material from both the A and B sections (a, b, d).

Harmonic Devices

In his Trio for Oboe, Bassoon, and Piano Françaix’s affinity for a harmonic language that is easily understood is very much on display. Each movement begins and ends in the same key area (Mvt. I-GM, Mvt. II-AbM, Mvt. III-CM, Mvt. IV-GM).

While each movement revolves around a major key area, Françaix actually establishes a tonic key sparingly, often only as a means to indicate the beginning and end of formal sections.

In each movement, he delays the establishment of the tonic key until the end of the first thematic statement often by using a root position authentic cadence.

In the first movement, he begins with material in the relative minor of G major and avoids a strong cadence in G major until m. 12, the end of the first section of a material (V7-I).

He also does this in the second movement, waiting until m. 20 to finally cadence in Ab major.

He does this by using an Ab major scale that ends with an Ab in the bass and soprano and a C in

27 the tenor voice. In the third movement, he waits until the end of the initial a material and cadences in C major at m. 13 (V7-I). The fourth movement repeats this process by an authentic cadence in G major at m. 7 (V7-I). At the end of movements, I, II, and IV, he ends on root position tonic chords. The third movement ends on a I 6/4 chord in the tonic key of C major leaving it harmonically open for the opening chords of the fourth movement.

In the interior of the movements, Françaix uses the establishment of a tonal center to frame formal sections. However, he avoids strong authentic cadences in these areas. For example, as seen in the graphic below (Figure 2.1), the second movement B section is approached by root position D major chords on beat 3 of m. 29 and m. 30. This potential V-I cadence is weakened by the extended harmonies outlined by the oboe and bassoon as well as a two-bar interlude that has only an F# on the 3rd beat of m. 31 and m. 32. This weakens the G major chord at the downbeat of the new section marked Molto Ironico.

Figure 2.1 Jean Françaix, Trio for Oboe, Bassoon, and Piano, Mvt II, mm. 29-34.70

Françaix, Trio for Oboe, Bassoon, and Piano Copyright © 1996 Schott Music Gmbh & Co. KG, Mainz, Germany All Rights Reserved Used by permission of European American Music Distributors Company, sole U.S. and Canadian agent for Schott Music Gmbh & Co. KG, Mainz, Germany

70 Jean Françaix, Trio for Oboe, Bassoon, and Piano, (Germany: Edition Schott, 1996), 4.

28 In between main formal sections, Françaix uses extensive chromatic harmony as a method to build harmonic tension. A prime example of this is in the first movement in m. 23

(Figure 2.2). While the soprano, alto, and tenor voices play clearly in F major, the bass voice is moving by a semi-tone each beat. This Alberti-like bass structure (lowest, highest, middle, highest)71 is found throughout the piece as a way of creating a tonal atmosphere while keeping it harmonically unstable. Françaix also uses this Alberti-like configuration throughout his Quatour pour Flute, Hautbois, Clarinette et Bassoon, written in 1933.72

Figure 2.2 Jean Françaix, Trio for Oboe, Bassoon, and Piano, Mvt I, mm. 22-23.73

Françaix utilizes parallel harmony as a tool to either establish a tonal center or to distort the harmonic structure. The examples below show diatonic planing (the use of chords or

71 David Fuller. “Alberti bass.” Grove Music Online.

72 Douglas A. Owens, Jr. “A Stylistic Analysis and Performance Guide to Jean Françaix’s Quatour Pour Flute, Hautbauis, Clarinette et Bassoon and Petit Quator Pour Saxophones” (DMA diss., University of Georgia, 2009), 59, https://getd.libs.uga.edu/pdfs/owens_douglas_a_200905_dma.pdf.

73 Jean Françaix, Trio for Oboe, Bassoon, and Piano, (Germany: Edition Schott, 1996), 4.

29 intervals in parallel motion)74 in the piano from mm. 9-12 during the second movement (Figure

2.3)75 and whole-tone planing in mm. 113-116 in the second movement (Figure 2.4).76

Figure 2.3 Jean Françaix, Trio for Oboe, Bassoon, and Piano, Mvt II, mm. 5-10.77

Figure 2.4 Jean Françaix, Trio for Oboe, Bassoon, and Piano, Mvt II, mm. 113-116.78

74 Jennifer Bloomberg. “Jean Françaix: L’horloge de flore, an analysis, performance suggestions and a simplified, two-hand reduction of the piano accompaniment.” (DMA diss,. University of Iowa, 2015), 8, Iowa Research Online etd 1934.17.

75Ibid. 20.

76Ibid. 21.

77 Jean Françaix, Trio for Oboe, Bassoon, and Piano, (Germany: Edition Schott, 1996),8.

78 Ibid. 22.

30 Although he used chromaticism and unstable harmonies, Françaix was still writing in a harmonic language that was clearly tonal. This matches his philosophy expressed over a decade earlier in New York City. Ironically quoting Schoenberg, “…it was Schoenberg who said ‘there is still a lot of good music to write in C major’.”79

Thematic Material

Françaix often utilizes long lyrical melodies and short motifs to create thematic material.80 His Trio for Oboe, Bassoon, and Piano is no exception. Within each movement there are long lyrical phrases. These melodies are usually four or eight bars in length and, apart from the slower third movement, tend to be used in stark contrast with rhythmic and energetic accompanimental figures. The score examples below (Figure 2.5 and 2.6) are from the third and fourth movements. They show excerpts of the same melody being played over a relaxed accompaniment in the opening of the third movement and an energetic accompaniment in the finale.

The primary motif of the Trio for Oboe, Bassoon, and Piano is presented in the first measure of the piece (Figure 2.7). It consists of alternating stepwise motion between E and D.

This motif appears in each movement, using the original pitches as well as other transpositions and is used in both melodic lines and short sixteenth note figures. The first and second movements use the same variation of the motif. A series of four sixteenth notes passing between two lines (Figure 2.8). The fourth movement’s primary theme utilizes the motif as a series of descending sixteenth note runs (Figure 2.9).

79 Judith Karp, “Music in France and Jean Françaix”, The New York Times.

80 Muriel Bellier, “Françaix, Jean”. Grove Music Online.

Figure 2.5 Jean Françaix, Trio for Oboe, Bassoon, and Piano, Mvt III, mm. 5-6.81

Figure 2.6 Jean Françaix, Trio for Oboe, Bassoon, and Piano, Mvt IV, mm. 137-141.82

81 Jean Françaix, Trio for Oboe, Bassoon, and Piano, (Germany: Edition Schott, 1996), 27. 82 Ibid. 48.

Figure 2.7 Jean Françaix, Trio for Oboe, Bassoon, and Piano, Mvt I, m. 183

Figure 2.8 Jean Françaix, Trio for Oboe, Bassoon, and Piano, Mvt I, m. 984

Figure 2.9 Jean Françaix, Trio for Oboe, Bassoon, and Piano, Mvt IV, m. 585

As part of melodic themes, the motif appears in its original form in the coda of the first movement. A form of the motif is central to the thematic phrases of the lyrical third movement

(see Figure 2.5). This melody also appears in the final measures of the fourth movement (see

Figure 2.6).

83 Ibid. 3.

84 Ibid.

85 Ibid. 32.

33 Rhythm and Meter

Françaix uses traditional meters in each movement and only briefly changes an established meter once during the entire piece. The first and fourth movements are in common time. The second movement employs a traditional 3/8-meter in the A sections and switches to 5/8 during the B section. The third movement occurs entirely in 5/8. By framing the opening and closing movements in a common time and setting the interior movements in 3/8 and 5/8 he furthers the unresolved nature of the interior movements and helps to bring closure at the end of the piece.

Françaix also uses several irregular meters in the accompanimental role as a way of introducing thematic changes. This approach is apparent in the second movement B section where he switches to 5/8, exploiting the meter to set the musical landscape for the new thematic material. There is also a continuous string of running sixteenth or eighth notes throughout the entire piece. This constant motion helps maintains a light and energetic atmosphere.

A rhythmic pattern that very closely resembles the “3-2 son clave” is utilized in the B section of the first movement (for a comparison, see Figures and 2.10 and Figure 2.11). This rhythm is of Afro-Cuban origins and is often represented in a duple meter.86

Françaix uses metric ambiguity to obscure previously stated thematic material by placing it in a different meter. He does this most prominently in the B section of the second movement.

In the example below, it is visible that the primary thematic material from the first movement in

4/4 has been set in 5/8 (Figure 2.12, Figure 2.13).

86 Katherine Hagedorn. "Clave." Grove Music Online. Oxford Music Online. Oxford University Press, accessed April 14, 2017, http://www.oxfordmusiconline.com.proxy.lib.fsu.edu/subscriber/article/grove/music/A2248920.

Figure 2.10 Dr. Clave, 3-2 Son Clave Three-Side and Two-Side

By Dr Clave - Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=9979902

Figure 2.11 Jean Françaix, Trio for Oboe, Bassoon, and Piano, Mvt I, m. 39.87

Figure 2.12 Jean Françaix, Trio for Oboe, Bassoon, and Piano, Mvt I, m.9

87 Ibid. 21.

Figure 2.13 Jean Françaix, Trio for Oboe, Bassoon, and Piano, Mvt. II mm 105-106.88

Orchestration and Ensemble

Jean Françaix was widely regarded for his skilled orchestrations and transcriptions. In addition to re-orchestrating his own works, he often transcribed and orchestrated works of other composers such as Chabrier, Chopin, and Mozart. One of his best-known orchestrations is for

Francis Poulenc’s L’histoire de Babar (Barbar the Elephant), at the request of Poulenc himself.89

It comes as no surprise that his Trio for Oboe, Bassoon, and Piano features clearly defined roles for each instrument that are idiomatic and balanced.

The main melodic voices are the oboe and bassoon, with the piano repeating thematic

88 Ibid. 3, 22.

89 Muriel Bellier, “Françaix, Jean.” Grove Music Online.

36 material on several occasions. In the second and fourth movements, the piano has the melody at times, and in the third movement, the piano has only a four-measure solo. In the passages when the piano does have melodic material, the oboe and bassoon transition to an accompanimental role.

The oboe and bassoon are constantly trading thematic material between each other. From the initial introduction of the first movement and throughout the rest of the work, one makes a statement and the other repeats, usually in an antecedent/consequent relationship. As they overlap, their lines weave in and out of equally important contrapuntal roles.

Conclusions

“Why should we throw out the grammar that has given us such masterpieces?”90 This rhetorical question posed by Françaix in his 1981 interview truly captures his continued commitment to write music that was pleasant and easily understood. The form, texture, orchestration, melodic structure, harmonic structure, rhythm and mood are all written in a distinctly French neo-classical style, even at the end of the twentieth century.

90 Judith Karp, “Music in France and Jean Françaix”, The New York Times.

37 CONCLUSION

Francis Poulenc remains one of the most frequently performed French composers of the twentieth century. His seemingly effortless and endless variety of changing tempi and key areas as well his beautiful melodic lines contribute to the passionate and expressive nature of his Trio for Oboe, Bassoon, and Piano.91 His compositional style reflects elements of neo-classicism, making it well in line with the ideology of Jean Cocteau, Erik Satie and the other members of

Les Six.92 Composed almost a century before Jean Françaix’s Trio, one can see a clear connection between the two pieces. Like Francis Poulenc, Jean Françaix was committed to writing his trio in a neo-classical style that was clear and balanced.

When comparing the elements of composition, the two trios share many similarities. Each

Trio utilizes traditional forms while occasionally departing and distorting them. Harmonically, although they both employ techniques such as planing and chromaticism the Trios are tonal, usually beginning and ending in the same key area and remaining around a general tonal center.

The use of orchestration is similar in both trios, often with the main thematic material in the oboe and bassoon, while the piano is accompanimental.

Francis Poulenc and Jean Françaix’s trios for oboe, bassoon and piano incorporate compositional elements from the classical period as well as the twentieth century. By combining these elements into unique, balanced and easily understood works, they both represented French music that was clearly neo-classical.

91 Ruth Allison, “Analysis of a Poulenc trio (for bassoon, oboe, and piano)” 52.

92 Ibid.

38 BIBOLIOGRAPHY

Allsen, J. Michael. “Poulenc, Francis: Trio for Oboe, Bassoon, and Piano.” Fort Wayne Philharmonic. 2011. accessed March 1, 2017. https://www.fwphil.org/composers/composition/139

Allison, Ruth. “Analysis of a Poulenc trio (for bassoon, oboe, and piano).” MM Diss., University of Rochester, 1947. http://hdl.handle.net/1802/14578.

BBC News. “France Timeline.” BBC News. Accessed April 09, 2017. http://news.bbc.co.uk/2/hi/europe/country_profiles/999717.stm

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42 BIOGRAPHICAL SKETCH

Siobhán Ciulla began her collegiate studies at Baldwin Wallace University in Berea

Ohio, where she studied oboe with Jeff Rathbun and obtained a degree in Music Therapy. During all four years at Baldwin Wallace, she performed with the Baldwin-Wallace University

Orchestra, Wind Ensemble and Woodwind Quintet. Siobhán also performed with the prestigious

Baldwin-Wallace Bach Festival Orchestra on multiple occasions.

She completed her Master’s degree in Oboe performance under the direction of Danna

Sundet at Kent State University in Ohio. While at KSU, she worked as a graduate assistant in the band library department and was twice a finalist for the KSU graduate concerto competition.

During her spare time, Ciulla maintained a large private oboe studio and worked in assisted living facilities, providing music therapy services to patients with Alzheimer’s.

While pursuing her Doctoral Degree at Florida State University, Siobhán studied oboe with Dr. Eric Ohlsson and served as one of his graduate teaching assistants. In addition to her duties and course work at FSU, she maintained a busy performing schedule with orchestras throughout Florida such as the Jacksonville Symphony, Sinfonia Gulf Coast, and the Ocala

Symphony.

Throughout her career, she looks forward to finding new and exciting opportunities where she can continue to develop her unique skills as a pedagogue, performer and therapist.