DOCSLIB.ORG

Francis Poulenc

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Francis Poulenc CORO CORO Palestrina – Volume 6 “Christophers artfully moulds and heightens the contours of the polyphonic lines, which ebb and flow in a liquid tapestry of sound...[The Sixteen] are ardent and energetic in ‘Surge amica mea’, radiant in ‘Surgam et circuibo FRANCIS POULENC civitatem’, painting and animating the words to vibrant effect.” ***** Performance ***** Recording Mass in G BBC MUSIC MAGAZINE cor16133 Choral & Song Choice October 2015 Un soir de neige James MacMillan: Litanies à la Vierge Noire Stabat Mater Edmund Rubbra “A masterpiece.” “Harry Christophers balances Quatre motets pour artsdesk the soaring soprano of Julie le temps de Noël Cooper caressingly against the ensemble singers, in a “A haunting and Quatre motets pour powerful new performance which achieves choral work.” ecstasy without any element un temps de pénitence of overstatement.” guardian cor16150 cor16144 bbc music magazine To find out more about The Sixteen, concert tours, and to buy CDs visit The Sixteen www.thesixteen.com cor16149 HARRY CHRISTOPHERS oulenc is a composer who has fascinated me Whilst the death of his friend Ferroud had a devastating impact on Poulenc, the poetry Pever since I was a schoolboy struggling with the of Paul Éluard gave him inspiration beyond measure. Poulenc grew up with him and technical difficulties of his clarinet sonata. His music once said that ‘Éluard was my true brother – through him I learned to express the most always bears a human face and he himself felt he put his secret part of myself’. They both felt the savagery of WWII deeply, the social anguish, best and most authentic side into his choral music; the internal conflict and ignominy of the Nazi occupation. However, it gave them both an American composer Virgil Thomson said that Poulenc inner strength. Un soir de neige, composed in December 1944, reflects ‘both the inner was ‘incontestably the greatest writer of melodies in our Borggreve Marco Photograph: feeling of peace generated by Christmas and the bleak solitude of another winter of time’ and few would disagree. My singers love singing occupation in France’. his music. With his renewed Catholic faith, Poulenc composed sacred music of unique quality Francis Poulenc was born and bred a Catholic but lapsed that for me makes him stand out among more recent composers. Of the Agnus Dei during and after the First World War, preferring to live from his Mass in G, Poulenc said that the high soprano solo ‘symbolises the Christian a witty and hedonistic life in 1920s Paris, where he took soul, confident of a life after death’. But it was his Quatre motets pour un temps de pénitence great delight in tweaking the noses of the powers-that- which Poulenc himself regarded as a major turning point. They are totally individual, be at moribund establishments. Aged 18, he had been rejected by the director of the powerfully subjective and I really get the feeling that he lives every emotion in this Paris Conservatoire: the director said to the student Poulenc: ‘Your music stinks, it is music. Claude Rostand once said of him: ‘In Poulenc there is something of the monk nothing but a load of balls. Are you trying to make a fool of me? Ah, I see you have and something of the rascal’. I rather like that, and it comes across in his music, especially joined the gang of Stravinsky, Satie and co. Well then: I’ll say goodbye’. Some statement in the way he sets his liturgical and secular texts. Every sentence has a different inflection, that … and, ironically, Poulenc enjoyed huge popular success. He never really looked a personal stamp – he’s telling us ‘this is what these words mean to me’. back until he received the devastating news in 1936 of the death in a horrendous car crash of his friend, Pierre-Octave Ferroud. He sought solace in a pilgrimage to the holy shrine of the Vierge Noire at Rocamadour, and as a result he regained his faith. On his return, he composed his Trois Litanies à la Vierge Noire de Rocamadour. Here we get an insight into the way Poulenc treats text and the sheer variety of vocal declamation. Tempos fluctuate according to the emotion, fierce dissonances are followed by calm, but then that calm is interrupted by dramatic outbursts for ‘priez pour nous’ (pray for us). 2 3 FRANCIS POULENC (1899-1963) 1 Salve regina (1941) FP 110 4.30 Un soir de neige (1944) FP 126 bm De grandes cuillers de neige 1.23 Quatre motets pour un temps de pénitence (1938-9) FP 97 bn La bonne neige 1.34 2 Timor et tremor 2.44 bo Bois meurtri 2.25 3 Vinea mea electa 3.28 bp La nuit le froid la solitude 1.06 4 Tenebrae factae sunt 3.59 5 Tristis est anima mea 3.19 bq Ave verum corpus (1952) FP 154 2.31 6 Litanies à la Vierge Noire (1936) FP 82 8.38 Mass in G (1937) FP 89 br Kyrie 3.15 Quatre motets pour le temps de Noël (1951-2) FP 152 bs Gloria 3.52 7 O magnum mysterium 3.44 bt Sanctus 2.30 8 Quem vidistis pastores 2.28 bu Benedictus 3.25 9 Videntes stellam 2.47 cl Agnus Dei 4.50 bl Hodie Christus natus est 2.11 Total Running Time: 64.39 4 5 of France – that has always been death of the composer Pierre-Octave my religious ideal … I like religious Ferroud in a car accident in Debrecen, inspiration to express itself clearly in Hungary. Ferroud was almost exactly FRANCIS POULENC the sunshine with the same realism one year younger than Poulenc, and as we can see on those Romanesque the incident seemed to bring him face rancis Poulenc is so often associated colleagues Georges Auric, Germaine capitals’. to face with mortality. Fwith musical insouciance, wit and Tailleferre, Arthur Honegger, Darius irony that discovering his religious Milhaud and Louis Durey aimed to The composer enjoyed the busy social ‘The atrocious extinction of this works can come almost as a surprise. liberate French music from the heady life and wild parties of the 1920s. Yet musician so full of vigour had left me The directness and sincerity of the romanticism of Wagner’s influence, the witty, extrovert ‘Poulet’ (chicken), stupified’, he told the critic Claude music condenses his personal voice to besides the impressionistic generation as he sometimes signed his letters, was Rostand. ‘Pondering on the fragility of its essence. Indeed, Poulenc described that had gone before them. also sensitive and insecure; and over our human frame, the life of the spirit his faith as akin to that of ‘a country the years he suffered intense personal attracted me anew’. He asked Bernac priest’, rooted in simple instincts for Poulenc, born into a wealthy family crises over both his homosexuality to drive him to Rocamadour, a place worship and spiritual celebration. famous for its part in founding the and his religious faith. of pilgrimage favoured by his father, pharmaceutical giant Rhône-Poulenc, where a small chapel held a statue in It was in the music of the ‘everyday’ had the luxury of being able to devote In 1936 a seismic change took place in black wood of the Virgin Mary. that he started out, under the his time to music. But his forefathers his spiritual life. As he found it difficult influence of Jean Cocteau, with the had been peasants in Aveyron in to compose in the hectic environs Here he underwent a mystical group of composers known as ‘Les the Midi-Pyrenées; this heredity, he of Paris, he had taken to spending experience that brought him back to Six’. ‘Enough of clouds, of waves, of told the interviewer Stéphane Audel, his summers in the Morvan area of the Catholic faith of his childhood. aquariums, of water-nymphs, of played a vital role in his religious Burgundy, near Anost and Autun. ‘Outwardly, nothing changed’, noted nocturnal perfumes, we need an outlook. ‘Poulenc is a typical southern That summer, staying at Uzerche Gouverné, ‘yet from that moment earthbound music, AN EVERYDAY name’, he declared. ‘In architecture it with the baritone Pierre Bernac and everything in the spiritual life of MUSIC …’ Cocteau wrote in 1919. is Romanesque art – particularly the the pianist Yvonne Gouverné, he was Poulenc changed’. The same evening, With this outlook, Poulenc and his examples to be found in the south horrified to hear about the sudden the composer began to write his first 6 7 religious choral piece, Litanies à la told Audel. ‘It has a realistic side, which followed by an extended passage questioning and sustained meditative Vierge Noire, for women’s voices and is characteristic of Mediterranean art’. in unison. This almost mystical passages trace their way through the organ; he completed it within a week. The work is dedicated to his father, movement is Poulenc at his purest and final Tristis est anima mea. who had died 20 years earlier. most touching. ‘In this work I have tried to express the Their counterpart,Quatre motets feeling of “peasant devotion” which The setting is essentially a Missa Brevis The Quatre motets pour un temps de pour le temps de Noël (Christmas had so strongly impressed me in that (there is no Credo) and the feel of simple, pénitence (the Lenten Motets) were Motets) date from considerably later lofty place’, he recalled. ‘The invocation solid, yet beautifully proportioned next, composed in 1938-9. Their –1952 – offering four varied images must be sung simply, without architecture is present from the start. unsettling atmospheres, with frequent of the Nativity story, full of fervour pretention’.
Load more

Recommended publications
  • 05-11-2019 Carmelites Mat.Indd
    Synopsis France, April 1789 to July 1794. Act I The first signs of the French Revolution are beginning to shake the country. In his library, the Marquis de la Force and his son, the Chevalier, are worried about Blanche, the Chevalier’s fearful, nervous sister, whose carriage has been held up by a mob on her way home. When Blanche arrives, she makes light of the incident, but her anxiety is revealed when a servant’s shadow frightens her as she leaves the room. Shaken, she returns to tell her father that she has made up her mind to become a nun. Weeks later at the Carmelite convent in Compiègne, the aged and ailing prioress Madame de Croissy interviews Blanche and makes it clear to the girl that the convent is a house of prayer, not a refuge. Nevertheless, the prioress is touched by Blanche’s resolve to embrace her new life. In the workroom of the convent, Blanche and the young Sister Constance discuss their fear of death, which Constance claims to have overcome. Blanche admits her envy of her companion’s straightforward and easygoing nature. Constance shocks Blanche by telling her that she knows that they will both die young and on the same day. In the infirmary, Madame de Croissy is lying on her deathbed, struggling to appear calm. She blesses Blanche and consigns her, as the youngest member of the order, to the care of the loyal Mother Marie. The prioress confesses her terror in the hour of death, then falls lifeless. Act II That night in the chapel, Constance and Blanche keep vigil by the prioress’s bier.
    [Show full text]
  • Francis Poulenc Dalai
    CSEREKLYEI ANDREA FRANCIS POULENC DALAI DOKTORI ÉRTEKEZÉS 2017 Liszt Ferenc Zeneművészeti Egyetem 28-as számú művészet- és művelődéstörténeti besorolású doktori iskola FRANCIS POULENC DALAI Louise de Vilmorin dalciklusok CSEREKLYEI ANDREA DOKTORI ÉRTEKEZÉS 2017 I Tartalomjegyzék Rövidítések II Köszönetnyilvánítás III Bevezetés IV 1. A dalokról 1 1.1. Hatások 1 1.2. A húszas évek 7 1.3. A harmincas évek eleje 9 1.4. Pierre Bernac 15 1.5. Fordulat 16 1.6. Háborús évek 18 1.7. A háború utáni évek 25 1.8. Az utolsó évtized 29 2. Kompozíciós technikák Poulenc dalaiban 36 2.1. Szövegválasztás, fordítások 36 2.2. Zongorakíséret, hangszerelés 38 2.3. Forma, szerkezet, dallam, harmónia 40 3. Louise de Vilmorin 44 4. Trois poèmes de Louise de Vilmorin (FP 91) 51 5. Fiançailles pour rire (FP 101) 63 6. Métamorphoses (FP 121) 85 7. Záró gondolatok 93 8. Függelék – A dalok jegyzéke 94 9. Bibliográfia 101 II Rövidítések André de Vilmorin André de Vilmorin: Essai sur Louise de Vilmorin. (Paris: Édition Pierre Seghers, 1962.) Audel 1978 Stéphane Audel: My friends and Myself. [Moi et mes amis.] Ford: James Harding. (London: Dennis Dobson, 1978.) Bernac 1977 Pierre Bernac: Francis Poulenc. The Man and His Songs. [Francis Poulenc et ses mélodies]. Ford: Winifred Radford. (London: Victor Gollancz, 1977.) Correspondance 1967 Francis Poulenc: Correspondance 1915-1963. (Paris: Éditions du Seuil, 1967.) Daniel 1982 Keith W. Daniel: Francis Poulenc. His Artistic Development and Musical Style. (Ann Arbor, Michigan: UMI Research Press, 1982.) Gyergyai Gyergyai Albert: „A szép kertésznő”. Kritika 17/4 (1979. ápr.) 19-21. Henri Hell 1958 Henri Hell: Francis Poulenc.
    [Show full text]
  • A Feminist Analysis Of
    A Feminist Analysis of Francis Poulenc’s Sonata for Oboe and Piano A thesis submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Performance Studies Division of the College-Conservatory of Music 2006 by Margaret Jean Grant B.M, University of Georgia, 1977 M.F.A., University of Georgia, 1979 M.M., Florida State University, 1986 ABSTRACT Francis Poulenc’s final work, his Sonata for oboe and piano, is one of the standard works in the oboe repertoire. However, this beloved sonata presents many puzzles and challenges for the thoughtful performer. This thesis came about because of those puzzles and challenges. One of the most exciting and innovative directions in music scholarship has come from the feminist movement and its many influences on the way scholars look at, talk about, listen to, and perform music. Feminist music theory steps outside the bounds of traditional techniques, seeking ways to offer new kinds of music analysis that may have more value to a wider audience. This thesis begins with an overview of feminist waves, terms, and philosophies before moving to how feminism has influenced music scholarship. The second chapter explores feminist music theory, citing examples of analysis from important feminist music scholars and drawing conclusions about the nature and work of feminist music theory. The third chapter presents an analysis of Poulenc’s oboe sonata, drawing primarily upon feminist techniques but not neglecting traditional theoretical systems when appropriate. The analysis begins by discussing Poulenc’s contextuality, personal life, and musical style, and then proceeds to deconstruct the music.
    [Show full text]
  • Hysteria in Francis Poulenc's Dialogues Des Carmélites
    Unraveling Voices of Fear: Hysteria in Francis Poulenc’s Dialogues des Carmélites Colette Patricia Simonot Schulich School of Music McGill University Montreal, Quebec, Canada November 2010 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of PhD in Musicology Colette Patricia Simonot 2010 All rights reserved ACKNOWLEDGEMENTS I first read about Francis Poulenc’s Dialogues des Carmélites while completing research on Poulenc’s Gloria for a set of program notes. As fate would have it, I attended a production of the opera a few short months later at the Faculté de musique at the Université de Montréal. The rest, as they say, is history. I would like to extend heartfelt thanks first to my parents, Joseph and Gloria Simonot, without whose unflagging support I would not have been able to undertake graduate studies. My supervisor Steven Huebner and my second reader Lloyd Whitesell provided guidance and inspiration throughout this challenging process. Several fellow graduate students contributed directly to this project by editing text and citations, formatting musical examples, translating, discussing ideas, and providing moral support. I especially want to thank Jon Godin, Heather White Luckow, Erin Helyard, Dana Gorzelany-Mostak, Remi Chiu, Adalyat Issiyeva, and Michael Ethen. I am grateful for many McGill music graduate students not named here, past and present, who provided me with friendship and encouragement. Thank you also to my friends Cathleen Gingrich, Michael Ryneveld, and Manuel Cardoso, who have all helped me to maintain a healthy perspective. My research was made possible by financial support from the J.W.
    [Show full text]
  • Francis Poulenc Cd Notes & Texts 2013
    FRANCIS POULENC (1899-1963) SEPT CHANSONS (1936) 1. La blanche neige 1.06 2. À peine défigurée 1.40 3. Par une nuit nouvelle 1.30 4. Tous les droits 2.46 5. Belle et ressemblante 2.09 6. Marie 2.06 7. Luire 2.16 8. Ave verum corpus (1952) 2.28 9. Salve Regina (1941) 4.54 10. Exultate Deo FIGURE HUMAINE (1943) 11. De tous les printemps du monde 2.27 12. En chantant les servant s’élancent 2.15 13. Aussi bas que le silence 1.34 14. Toi ma patiente 1.49 15. Riant du ciel et des planètes 1.07 16. Le jour m’étonne et la nuit me fait peur 1.39 17. La menace sous le ciel rouge 3.07 18. Liberté 4.16 QUATRE PETITES PRIÈRES DE SAINT FRANÇOIS D’ASSIS (1948) 19. Salut, Dame Sainte 2.16 20. Tout puissant Dieu 1.20 21. Seigneur, je vous en prie 1.22 22. O mes très chers frères 1.58 UN SOIR DE NEIGE (1944) 23. De grandes cuillers de neige 1.11 24. La bonne neige 1.56 25. Bois meurtri 2.17 26. La nuit, le froid, la solitude 0.59 QUATRE MOTETS POUR LE TEMPS DE NOËL (1951-52) 27. O magnum mysterium 3.28 28. Quem vidistis pastores 2.52 29. Videntes stellam 3.23 30. Hodie Christus natus est 2.04 Total time: 68.02 JOYFUL COMPANY OF SINGERS PETER BROADBENT Produced by Chris Hazell Recorded by Simon Eadon Recorded in St. Silas Church, Kentish Town, February 20-21 1999 The early influences that shaped Francis Poulenc's musical personality nourished his native flair for spontaneous melody and expressive harmonic colour.
    [Show full text]
  • Francis Poulenc and the Post-War Context Christopher Moore
    Document generated on 09/28/2021 6:50 a.m. Intersections Canadian Journal of Music Revue canadienne de musique Constructing the Monk: Francis Poulenc and the Post-War Context Christopher Moore Volume 32, Number 1-2, 2012 Article abstract Following the Second World War Francis Poulenc took a keen interest in the URI: https://id.erudit.org/iderudit/1018584ar music of the French avant-garde and was compelled to react in both his music DOI: https://doi.org/10.7202/1018584ar and his writings to the aesthetic and technical experiments of the younger generation. Although the music of composers like Olivier Messiaen and Pierre See table of contents Boulez did not elicit a profound change on the substance of Poulenc’s compositional language, he did grow to the realization that the style he had embraced during the interwar period—one generally described as Publisher(s) light-hearted and ironic—had become largely out of sync with new critical trends and concerns. Poulenc’s self-conscious aim to assert a personal form of Canadian University Music Society / Société de musique des universités “seriousness” in his works—one constructed with recourse to religiosity, canadiennes stylistic homogeneity and the ostensibly concomitant values of sincerity and authenticity—formed the backbone of a new tone and persona that emerged ISSN following the war and which inflected his entire body of work up to his death in 1963. Poulenc’s desire to reinvent himself during this period forces us to 1911-0146 (print) re-examine his works, writings, and elements of his biography for the way in 1918-512X (digital) which they were constructed as a means of facilitating the discursive emergence of this new, more “serious,” persona.
    [Show full text]
  • Francis Poulenc Et La Musique Populaire
    UNIVERSITÉ PARIS-SORBONNE ECOLE DOCTORALE V (ED 0433) CONCEPTS ET LANGAGES EA 206 Observatoire Musical Français (OMF) T H È S E pour obtenir le grade de DOCTEUR DE L’UNIVERSITÉ PARIS-SORBONNE Discipline : Musique et Musicologie Présentée et soutenue par Dominique ARBEY le 14 octobre 2011 Francis Poulenc et la musique populaire sous la direction de Madame le Professeur Danièle PISTONE MEMBRES du JURY Monsieur Christian CORRE Professeur à l’Université Paris 8, président du jury Monsieur Luc CHARLES-DOMINIQUE Professeur à l’Université de Nice Monsieur François MADURELL Professeur à l’Université Paris-Sorbonne Madame Danièle PISTONE Professeur à l’Université Paris-Sorbonne 1 Remerciements Je souhaite exprimer mes remerciements à Mme Danièle Pistone, ma directrice de thèse pour ses conseils précieux, sa disponibilité et la qualité des échanges que nous avons eus. Son professionnalisme et son expérience ont été un soutien appréciable dans l’organisation de mon travail de recherche. Je remercie également MM. Christian Corre, Luc Charles-Dominique et François Madurell d’avoir accepté d’être membres du jury. AVERTISSEMENT : dans cette version en ligne de ma thèse, les illustrations sont cachées afin de respecter les dispositions du code de la propriété intellectuelle. 2 Introduction Cette thèse a pour objet l’étude d’un aspect important du langage musical de Francis Poulenc (1899-1963) : la présence d’idiomes populaires dans son écriture. Cette particularité confère à son œuvre une « couleur » et un style immédiatement reconnaissables : de nombreux emprunts à la chanson et au music-hall du début du XXe siècle jalonnent celle-ci. L’étude de cette caractéristique permettra de définir le style du compositeur, sujet jugé « tabou » par ce dernier.
    [Show full text]
  • Choral Problems in the Unaccompanied Music of Francis Poulenc
    / JI CHORAL PROBLEMS IN THE UNACCOMPANIED MUSIC OF FRANCIS POULENC THESIS PRESENTED TO THE GRADUATE COUNCIL OF THE NORTH TEXAS STATE UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS For the Degree of MASTER OF MUSIC by Jack R. Barnard, B. M. E. Denton, Texas January, 1966 PREFACE Many present day choral conductors neglect contemporary choral literature because they do not understand the factors which contribute to its construction. However, twentieth century choral music can be understood through a detailed study of the elements with which it is composed. The purpose of this study, ve to analyze the stylistic characteristics in the unaccompanied music of one twentieth century composer, Francis Poulenc, in order to discover the choral problems which would confront choruses and conductors as they performed his music. It is hoped that this study will not only enable choral conductors to better understand, interpret, and appreciate the music of Poulenc, but also will serve as a guide toward the investigation of other twentieth century composers and their works. iii TABLE OF CONTENTS Page LIST OF TABLES Pvi LIST OF ILLUSTRATIONS . vii Chapter I. STATEMENT OF THE PROBLEM . .1 The Purpose Sub-Problems Definition of Terms Delimitations Basic Assumptions Background for the Study Francis Poulenc (1899-1963) Les Six and Their Aims Methodology Plan of this Report II. STYLISTIC CHARACTERISTICS IN THE UNACCOMPANIED MUSIC OF POULENC ... .. *. .. 22 Melodic Characteristics Melodic Predominance General Characteristics Horizontal Dimensions Vertical Dimensions Melodic Progression Time Characteristics Meter Signatures Tempo Indications Rhythmic Patterns Harmonic Characteristics Chord Structure Chord Progression Tonality Consonance and Dissonance Formal Characteristics III. CHORAL PROBLEMS IN THE UNACCOMPANIED MUSIC OF POULENC .
    [Show full text]
  • Francis Poulenc, by Yvonne Gouverné
    Francis Poulenc, by Yvonne Gouverné Conference given at Rocamadour, 8th July 1973 Yvonne Gouverné (1889-1983) for many years directed the choirs of the French National Radio and collaborated closely with Francis Poulenc who was one of her very close friend. Since we are gathered in these venerable surroundings in the presence of Monseigneur Rabine, Bishop of Cahors, it is first of all Canon Péchuzal whom we must thank for his generous initiative, so moving for the family and friends of Francis Poulenc, as it was he who wished to pay tribute to this great musician, in this year, the 10th anniversary of his death. I find in this event, which may reach out today to many pilgrims who did not know Francis Poulenc, a significant intervention from the Black Virgin of Rocamadour, who never ceased to watch over him from his first approaches to her, he, one of the most gifted composers of our time, who enriched French music through many works of very different character which are performed the world over; it was here, though, that his religious feelings were first revealed in the music which he wrote to the words of the Litanies to the Black Madonna, as a result of a visit he decided to make from Uzerche in August 1936. The mysterious workings of her blessing allowed him to find once more that radiant faith which was never to leave him. It is an honour for me today to carry out a duty which I am only too aware I am not qualified for, but the friendship of certain people has guided my life and I feel, amongst those who are no longer with us, Francis Poulenc still in touch with me almost as though he were picking up the telephone to explain that I should be ready to do this or that where his music is concerned..
    [Show full text]
  • Yhtenäistetty Francis Poulenc
    Suomen musiikkikirjastoyhdistyksen julkaisusarja 111 Yhtenäistetty Francis Poulenc Teosten yhtenäistettyjen nimekkeiden ohjeluettelo Heikki Poroila Suomen musiikkikirjastoyhdistys Helsinki 2012 Julkaisija Suomen musiikkikirjastoyhdistys Ulkoasu Heikki Poroila © Heikki Poroila 2012 Verkkoversio 2.0 01.4 Poroila, Heikki Yhtenäistetty Francis Poulenc : Yhtenäistettyjen nimekkeiden ohjeluettelo. – Helsinki : Suomen musiikkikirjastoyhdistys, 2012. – Verkkoversio 2.0 – 27 s. – (Suomen musiikkikirjastoyhdistyksen julkaisusarja, ISSN 0784-0322 ; 111). – ISBN 952-5363-10-4 (PDF) ISBN 952-5363-10-4 (PDF) Yhtenäistetty Francis Poulenc 2 Luettelon käyttäjälle FRANCIS POULENC (7.1.1899 – 30.1.1963) luetaan usein ranskalaiseen Les Six -ryhmään, mutta sä- veltäjänä hän kulki omaa, melodiaa korostavaa tietään, jolle antoivat omaa väriään sekä säveltäjän voimakas sitoutuminen katoliseen uskoon että homoseksuaaliseen identiteettiin. Poulencin sävel- lyksistä suhteellisen harvat ovat olleet varsinaisia suosikkiteoksia, mutta vuosien myötä hänen tuo- tantoaan on kasvavassa määrin levytetty ja esitetty konserteissa. Ehkä kasvavaa Poulenc-kiinnostusta kuvastaa sekin, että hänen tuotannostaan on ehditty koota kro- nologisesti järjestetty bibliografinen luettelo (Schmidt, Carl B. The music of Francis Poulenc (1899- 1963) : A Catalogue. – Oxford : Clarendon Press, 1995. – ISBN 0-19-816336-3). Schmidt on anta- nut jokaiselle tunnetulle Poulencin sävellykselle oman FP-numeron, joita ei juuri näe julkaisuissa, mutta joita esimerkiksi Groven tietosanakirjassa on hyödynnetty.
    [Show full text]
  • Ralph Votapek Music by Ginastera, Poulenc, Szymanowski & Piazzolla Ralph Votapek Music by Ginastera, Poulenc, Szymanowski and Piazzolla
    Ralph Votapek Music by Ginastera, Poulenc, Szymanowski & Piazzolla Ralph Votapek Music by Ginastera, Poulenc, Szymanowski and Piazzolla Alberto Ginastera (1916-1983) Alberto Evaristo Ginastera was born in Buenos Aires, April 11, 1916. From early childhood he showed interest in music, beginning formal studies when he was seven years old. At twelve he entered the Conservatorio Williams, eventually entering the National Conservatory of Music where his teachers included Athos Palma and Jose Andre. His first mature work, the score for the ballet Panambi, was also the first he allowed to survive. The suite from the ballet was premiered in 1937 and the complete ballet was intro- duced at the Teatro Colon in 1940. Primitive in its rhythms and modern harmonies, the score constantly reveals the composer’s interest in a national Argentine idiom. During this time he also wrote the wonderful piano work, Danzas Argentinas. In 1938 he graduated with honors from the National Conservatory. In 1941 he was commissioned the ballet Estancia, and his first symphony, Sinfonia Portena followed in 1942. In 1942 he received a Alberto Ginastera Guggenheim Fellowship and he visited the United States. World War II inspired his Twelve American Preludes for piano and the Elegiac Symphony (1944), dedicated to those who “died for freedom.” From 1945-1947 he lived in New York. In 1948 he became director of the conservatory of the province of Buenos Aires in La Plata. In 1948 he completed another important work — his first string quartet. Ginastera’s Piano Sonata No.1 (1952) and the Variaciones Concertantes (1953) followed. Because of his pronounced anti-Fascist sentiments, Ginastera became increasingly suspect in Argentina dur- ing the Peron regime.
    [Show full text]
  • Francis Poulenc and the Post-War Context Christopher Moore
    Document généré le 29 sept. 2021 22:39 Intersections Canadian Journal of Music Revue canadienne de musique Constructing the Monk: Francis Poulenc and the Post-War Context Christopher Moore Volume 32, numéro 1-2, 2012 Résumé de l'article Après la Deuxième Guerre mondiale, Francis Poulenc s’est intéressé à la URI : https://id.erudit.org/iderudit/1018584ar musique de l’avant-garde française, cette dernière l’ayant amené à réagir à la DOI : https://doi.org/10.7202/1018584ar fois au sein de sa musique et dans ses écrits aux expériences esthétiques et techniques de la jeune génération. Bien que la musique de compositeurs tels Aller au sommaire du numéro qu’Olivier Messiaen et Pierre Boulez n’ait pas eu un impact notable sur l’essentiel du langage musical de Poulenc, ce dernier est devenu de plus en plus conscient que le style qu’il avait développé dans l’entre-deux-guerres, défini Éditeur(s) comme léger et ironique, n’était plus en phase avec les nouvelles préoccupations et tendances critiques. L’intention délibérée de Poulenc Canadian University Music Society / Société de musique des universités d’adopter un caractère plus sérieux dans sa musique, caractère construit sur canadiennes une thématique religieuse, une homogénéité stylistique et sur les valeurs explicitement liées de sincérité et d’authenticité, est devenue la base d’un ISSN nouveau son et d’une nouvelle « persona » qui se sont développés après la guerre et ont marqué son oeuvre jusqu’à sa mort en 1963. Le désir de Poulenc 1911-0146 (imprimé) de se réinventer nous amène à réexaminer sa musique, ses écrits, certains 1918-512X (numérique) éléments de sa vie et comment ces aspects se sont construits, afin de mieux comprendre l’émergence discursive de sa nouvelle et plus sérieuse « persona ».
    [Show full text]