[3], On 30 January 1963, at his flat opposite the Jardin du Luxembourg, Poulenc suffered a fatal heart attack. [n 28] In Johnson's view, most of the finest were written in the 1930s and 1940s. Destouches, who married in the 1950s, remained close to Poulenc until the end of the composer's life.[65]. [150] Poulenc's new-found religious theme continued with Quatre motets pour un temps de pénitence (1938–39), but among his most important choral works is the secular cantata Figure humaine (1943). I admired him madly, because, at this time, in 1914, he was the only virtuoso who played Debussy and Ravel. The commentators Marina and Victor Ledin describe the work as "the embodiment of the word 'charming'. Other composers whose works influenced his development were Schubert and Stravinsky: the former's Winterreise and the latter's The Rite of Spring made a deep impression on him. The Elégie for horn and piano (1957) was composed in memory of the horn player Dennis Brain. He was among the first composers to see the importance of the gramophone, and he recorded extensively from 1928 onwards. [56] He bought a large country house, Le Grand Coteau [fr], at Noizay, Indre-et-Loire, 140 miles (230 km) south-west of Paris, where he retreated to compose in peaceful surroundings. Despite their musical differences, Poulenc and Boulez maintained amicable personal relations: exchanges of friendly letters are recorded in Poulenc's published correspondence. [47][n 10] Poulenc worked with him intermittently from 1921 to 1925. "[123], The pianist Pascal Rogé commented in 1999 that both sides of Poulenc's musical nature were equally important: "You must accept him as a whole. [n 3] Through him Poulenc became friendly with two composers who helped shape his early development: Georges Auric and Erik Satie. [3], The chamber works of Poulenc's middle period were written in the 1930s and 1940s. "[87], In January 1945, commissioned by the French government, Poulenc and Bernac flew from Paris to London, where they received an enthusiastic welcome. With the Gloria and the Stabat Mater, I think I have three good religious works. [72], In the post-war period Poulenc crossed swords with composers of the younger generation who rejected Stravinsky's recent work and insisted that only the precepts of the Second Viennese School were valid. Larner, Gerald. [134], The pieces Poulenc found merely tolerable were all early works: Trois mouvements perpétuels dates from 1919, the Suite in C from 1920 and the Trois pièces from 1928. [3][130] The vast majority of the piano works are, in the view of the writer Keith W Daniel, "what might be called 'miniatures'". [21], Auric, who was the same age as Poulenc, was an early developer musically; by the time the two met, Auric's music had already been performed at important Parisian concert venues. [14] At his father's insistence, Poulenc followed a conventional school career, studying at the Lycée Condorcet in Paris rather than at a music conservatory.[15]. His funeral was at the nearby church of Saint-Sulpice. Ravel's modesty about his own music particularly appealed to Poulenc, who sought throughout his life to follow Ravel's example. The composer Ned Rorem observed, "He was deeply devout and uncontrollably sensual";[167] this still leads some critics to underrate his seriousness. Viñes became more than a teacher: he was, in the words of Myriam Chimènes in the Grove Dictionary of Music and Musicians, the young man's "spiritual mentor". [3] To the critic Ralph Thibodeau, the work may be considered as Poulenc's own requiem and is "the most avant-garde of his sacred compositions, the most emotionally demanding, and the most interesting musically, comparable only with his magnum opus sacrum, the opera, Dialogues des Carmélites. "[150] Among the lighter pieces, one of the composer's most popular songs is a setting of Les Chemins de l'amour for Jean Anouilh's 1940 play as a Parisian waltz;[151] by contrast his "monologue" "La Dame de Monte Carlo", (1961) a depiction of an elderly woman addicted to gambling, shows the composer's painful understanding of the horrors of depression. According to Milhaud: In completely arbitrary fashion Collet chose the names of six composers, Auric, Durey, Honegger, Poulenc, Tailleferre and myself, for no other reason than that we knew each other, that we were friends and were represented in the same programmes, but without the slightest concern for our different attitudes and our different natures. [136], In Grove, Nichols divides the chamber works into three clearly differentiated periods. Estimation du changement de règle (9000 hab) Estimation élaborée le 17 Janvier 2020, la règle a subi plusieurs modifications depuis mais donne idée de l'impact du changement En attendant les publications des données sur les élections municipales, je vous propose de découvrir l'impact du changement des règles … Despite Poulenc's scorn for the work, Bush judges it ingenious and witty. [12][n 2] He took piano lessons from the age of five; when he was eight he first heard the music of Debussy and was fascinated by the originality of the sound. "[134] The eight nocturnes were composed across nearly a decade (1929–38). [96], Shortly after the war, Poulenc had a brief affair with a woman, Fréderique ("Freddy") Lebedeff, with whom he had a daughter, Marie-Ange, in 1946. [155] The critic Renaud Machart writes that Dialogues des Carmélites is, with Britten's Peter Grimes, one of the extremely rare operas written since the Second World War to appear on opera programmes all over the world. "[35] In Sams's view, all three of Poulenc's operas display a depth of feeling far distant from "the cynical stylist of the 1920s": Les Mamelles de Tirésias (1947), despite the riotous plot, is full of nostalgia and a sense of loss. [143], The final three sonatas are for woodwind and piano: for flute (1956–57), clarinet (1962), and oboe (1962). With Bernac and Duval he recorded many of his own songs, and those of other composers including Chabrier, Debussy, Gounod and Ravel. Auric and Poulenc followed the ideas of Cocteau, Honegger was a product of German Romanticism and my leanings were towards a Mediterranean lyrical art ... Collet's article made such a wide impression that the Groupe des Six had come into being. [31][n 6] He told Satie of this unhappy encounter; Satie replied with a dismissive epithet for Ravel who, he said, talked "a load of rubbish". The Concert champêtre for harpsichord and orchestra (1927–28), evokes the countryside seen from a Parisian point of view: Nichols comments that the fanfares in the last movement bring to mind the bugles in the barracks of Vincennes in the Paris suburbs. [141] The Aubade, "Concerto choréographique" for piano and 18 instruments (1930) achieves an almost orchestral effect, despite its modest number of players. In Les Animaux modèles, premiered at the Opéra in 1942, he included the tune, repeated several times, of the anti-German song "Vous n'aurez pas l'Alsace et la Lorraine". [40][n 9], Cocteau, though similar in age to Les Six, was something of a father-figure to the group. [58] His affair with Chanlaire petered out in 1931, though they remained lifelong friends. À tout moment, où que vous soyez, sur tous vos appareils. [111] In May Poulenc's 60th birthday was marked, a few months late, by his last concert with Bernac before the latter's retirement from public performance. [169], In his last years Poulenc observed, "if people are still interested in my music in 50 years' time it will be for my Stabat Mater rather than the Mouvements perpétuels." [159] He played the piano part in recordings of his Babar the Elephant with Pierre Fresnay and Noël Coward as narrators. "[91] After their fortnight's stay, the two returned home on the first boat-train to leave London for Paris since May 1940. Sams describes the opera as "high-spirited topsy-turveydom" concealing "a deeper and sadder theme â€“ the need to repopulate and rediscover a France ravaged by war". [52] Poulenc's new celebrity after the success of the ballet was the unexpected cause of his estrangement from Satie: among the new friends Poulenc made was Louis Laloy, a writer whom Satie regarded with implacable enmity. In the original, Poulenc's quotation of Satie's words is given as, "Ce c... de Ravel, c'est stupide tout ce qu'il dit!". I condemn Napoli and the Soirées de Nazelles without reprieve. Poulenc coming after Sacre [du Printemps]. The first of the ballets, Les biches, was first performed in 1924 and remains one of his best-known works. He ought to develop into a farceur of the first order." Among his works given during these trips were the American premiere of La Voix humaine at Carnegie Hall in New York, with Duval,[111] and the world premiere of his Gloria, a large-scale work for soprano, four-part mixed chorus and orchestra, conducted in Boston by Charles Munch. This work, Les biches, was an immediate success, first in Monte Carlo in January 1924 and then in Paris in May, under the direction of André Messager; it has remained one of Poulenc's best-known scores. 13 and 93; and Schmidt (2001), p. 451, Doctor, pp. He heard her as the soloist in Falla's El retablo de maese Pedro (1923), an early example of the use of a harpsichord in a modern work, and was immediately taken with the sound. [93] Between then and the French premiere Poulenc introduced one of his most popular late works, the Flute Sonata, which he and Jean-Pierre Rampal performed in June at the Strasbourg Music Festival. "[124] Poulenc recognised the dichotomy,[124] but in all his works he wanted music that was "healthy, clear and robust – music as frankly French as Stravinsky's is Slav". Having achieved fame by his early twenties, he was in his forties before attempting his first opera. [163][164] Integral sets of the chamber music have been recorded by the Nash Ensemble (Hyperion), Eric Le Sage and various French soloists (RCA) and a variety of young French musicians (Naxos). [3] Commentators including Hell, Schmidt and Poulenc himself have regarded it, and to some extent the cello sonata, as less effective than those for wind. [46], In the early 1920s Poulenc remained concerned at his lack of formal musical training. [79] In the early months of the war, he had composed little new music, instead re-orchestrating Les biches and reworking his 1932 Sextet for piano and winds. The same evening of this visit to Rocamadour, I began my Litanies à la Vierge noire for female voices and organ. [49], From the early 1920s Poulenc was well received abroad, particularly in Britain, both as a performer and a composer. Nichols comments in Grove that Les mamelles de Tirésias, deploys "lyrical solos, patter duets, chorales, falsetto lines for tenor and bass babies and ... succeeds in being both funny and beautiful". Profitez de millions d'applications Android récentes, de jeux, de titres musicaux, de films, de séries, de livres, de magazines, et plus encore. [86] The music critic of The Times later wrote that the work "is among the very finest choral works of our time and in itself removes Poulenc from the category of petit maître to which ignorance has generally been content to relegate him. Other poets whose works he frequently set included Jean Cocteau, Max Jacob, and Louise de Vilmorin. [161], A 1984 discography of Poulenc's music lists recordings by more than 1,300 conductors, soloists and ensembles, including the conductors Leonard Bernstein, Charles Dutoit, Milhaud, Charles Munch, Eugene Ormandy, Prêtre, André Previn and Leopold Stokowski. [71][n 12] In Johnson's words, "for twenty-five years Bernac was Poulenc's counsellor and conscience", and the composer relied on him for advice not only on song-writing, but on his operas and choral music. A pun on the English colloquial expression "leg-pulling" â€“ playful, humorous deception. [36] His duties allowed him time for composition;[3] the Trois mouvements perpétuels for piano and the Sonata for Piano Duet were written at the piano of the local elementary school at Saint-Martin-sur-le-Pré, and he completed his first song cycle, Le bestiaire, setting poems by Apollinaire. [156], Even when he wrote for a large orchestra, Poulenc used the full forces sparingly in his operas, often scoring for woodwinds or brass or strings alone. At this stage in his career Poulenc was conscious of his lack of academic musical training; the critic and biographer Jeremy Sams writes that it was the composer's good luck that the public mood was turning against late-romantic lushness in favour of the "freshness and insouciant charm" of his works, technically unsophisticated though they were. [n 15] The leading female role was taken by Denise Duval, who became the composer's favourite soprano, frequent recital partner and dedicatee of some of his music. [67] In the Gloria, Poulenc's faith expresses itself in an exuberant, joyful way, with intervals of prayerful calm and mystic feeling, and an ending of serene tranquillity. [27][n 5] Ravel was amused by the piece and commented on Poulenc's ability to invent his own folklore. Louise Henriette de Bourbon-Conti (1726–1759), Adelige Joseph Palamede de Forbin-Janson (1726–1809), General Claude Guillaume Lambert (1726–1794), Richter und Minister This is a list of works written by the French composer Francis Poulenc (1899–1963).. As a pianist, Poulenc composed many pieces for his own instrument in his piano music and chamber music.He wrote works for orchestra including several concertos, also three operas, two ballets, incidental music for plays and … The work, ending with "Liberté", could not be given in France while the Germans were in control; its first performance was broadcast from a BBC studio in London in March 1945,[85] and it was not sung in Paris until 1947. In Henri Hell's view, this is because the main feature of Poulenc's musical art is his melodic gift. During the 1930s a much more serious side to his nature emerged, particularly in the religious music he composed from 1936 onwards, which he alternated with his more light-hearted works. Although he was not much influenced by new developments in music, Poulenc was always keenly interested in the works of younger generations of composers. "[54] Another performer with whom the composer came to be closely associated was the harpsichordist Wanda Landowska. They have, according to Grove, become fixtures in their repertoires because of "their technical expertise and of their profound beauty". . [3], In terms of musical technique the operas show how far Poulenc had come from his naïve and insecure beginnings. The London Philharmonic Orchestra gave a reception in the composer's honour;[88] he and Benjamin Britten were the soloists in a performance of Poulenc's Double Piano Concerto at the Royal Albert Hall;[89] with Bernac he gave recitals of French mélodies and piano works at the Wigmore Hall and the National Gallery, and recorded for the BBC. Text by Louise Lévêque de Vilmorin Extract from collective work “Les Mouvements du cœur”, cycle de mélodies, écrites à la mémoire de Frédéric Chopin, pour le baryton Doda Conrad, par Poulenc, Milhaud, Sauguet, Auric, Françaix, Preger: 146 Concerto [en ut dièse mineur] pour piano et orchestre: … Like the Mass, it is unaccompanied, and to succeed in performance it requires singers of the highest quality. [50] In 1922 Poulenc and Milhaud travelled to Vienna to meet Alban Berg, Anton Webern and Arnold Schönberg. He attributed this to the need for maturity before tackling the subjects he chose to set. [60], At the start of the decade, Poulenc returned to writing songs, after a two-year break from doing so. These were L'Histoire de Babar, le petit éléphant for piano and narrator, the Cello Sonata, the ballet Les Animaux modèles and the song cycle Banalités. In compliance with his wishes, none of his music was performed; Marcel Dupré played works by Bach on the grand organ of the church. [69] His view that Berg had taken serialism as far as it could go and that Schoenberg's music was now "desert, stone soup, ersatz music, or poetic vitamins" earned him the enmity of composers such as Pierre Boulez. Notes to Hyperion CD CDH55386. The second ballet score, Les Animaux modèles (1941), has never equalled the popularity of Les biches, though both Auric and Honegger praised the composer's harmonic flair and resourceful orchestration. Derniers chiffres du Coronavirus issus du CSSE 24/02/2021 (mercredi 24 février 2021). [34][n 8], From January 1918 to January 1921 Poulenc was a conscript in the French army in the last months of the First World War and the immediate post-war period. "[117] Keck considers Poulenc's harmonic language "as beautiful, interesting and personal as his melodic writing ... clear, simple harmonies moving in obviously defined tonal areas with chromaticism that is rarely more than passing". [93] It was premiered in June 1947 at the Opéra-Comique, and was a critical success, but did not prove popular with the public. "[128] The Sinfonietta (1947) is a reversion to Poulenc's pre-war frivolity. He toured in Europe and America with both of them, and made a number of recordings as a pianist. The biographer Henri Hell comments that Viñes's influence on his pupil was profound, both as to pianistic technique and the style of Poulenc's keyboard works. In his early works Poulenc became known for his high spirits and irreverence. An early violin sonata was performed at a Huyghens concert in 1919 but it was unpublished and is now lost. Satie was suspicious of music colleges, but Ravel advised Poulenc to take composition lessons; Milhaud suggested the composer and teacher Charles Koechlin. [146] Though widely varied in character, the songs are dominated by Poulenc's preference for certain poets. [51] The following year Poulenc received a commission from Sergei Diaghilev for a full-length ballet score. [122] Poulenc was a painstaking craftsman, though a myth grew up â€“ "la légende de facilité" â€“ that his music came easily to him; he commented, "The myth is excusable, since I do everything to conceal my efforts. [153] The Mass in G major (1937) for unaccompanied choir is described by Gouverné as having something of a baroque style, with "vitality and joyful clamour on which his faith is writ large". [108][114], Poulenc's music is essentially diatonic. [108] At around this time Poulenc began his last romantic relationship, with Louis Gautier, a former soldier; they remained partners to the end of Poulenc's life. The composer wrote to a friend, "Lucien was delivered from his martyrdom ten days ago and the final copy of Les Carmélites was completed (take note) at the very moment my dear breathed his last. Poulenc was born in the 8th arrondissement of Paris, the younger child and only son of Émile Poulenc and his wife, Jenny, née Royer. In the printed score of Dialogues des Carmélites he acknowledged his debt to Mussorgsky, Monteverdi, Debussy and Verdi. [16] There he met the avant-garde poets Guillaume Apollinaire, Max Jacob, Paul Éluard and Louis Aragon. Étonnamment … [68] Music critics generally continued to define Poulenc by his light-hearted works, and it was not until the 1950s that his serious side was widely recognised. 69, 74, 78, 147, 226, 248, 343, 353–354, 370–371, 373, 380 and 382. [152], Apart from a single early work for unaccompanied choir ("Chanson à boire", 1922), Poulenc began writing choral music in 1936.
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