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107-626: For over eighty years, the Nederlands Kamerkoor (Netherlands Chamber Choir) has enjoyed a place at the top of the international choral world. Since the very beginning the choir has been known for being adventurous and innovative. It owes this reputation to commissions of works by both well-known composers and young talent, and a continuous search for new formats and exciting collaborations. Famous composers such as Francis Poulenc , Frank Martin , Rudolf Escher , Hendrik Andriessen , Mauricio Kagel , Sir John Tavener and Henk Badings composed for

214-400: A bourgeois amateur, he relented and admitted him to the circle of protégés, whom he called "Les Nouveaux Jeunes" . Poulenc described Satie's influence on him as "immediate and wide, on both the spiritual and musical planes". Pianist Alfred Cortot commented that Poulenc's Trois mouvements perpétuels were "reflections of the ironical outlook of Satie adapted to the sensitive standards of

321-651: A cantata for unaccompanied double choir intended for Belgium, Figure humaine , setting eight of Éluard's poems. 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, and it was not sung in Paris until 1947. The music critic of The Times later wrote that the work "is among

428-642: A Mediterranean lyrical art ... Collet's article made such a wide impression that the Groupe des Six had come into being. Cocteau, though similar in age to Les Six , was something of a father-figure to the group. His literary style, "paradoxical and lapidary" in Hell's phrase, was anti-romantic, concise and irreverent. It greatly appealed to Poulenc, who made his first setting of Cocteau's words in 1919 and his last in 1961. When members of Les Six collaborated with each other, they contributed their own individual sections to

535-450: A contract with a publisher, a kindness that Poulenc never forgot. In 1917 Poulenc got to know Ravel well enough to have serious discussions with him about music. He was dismayed by Ravel's judgments, which exalted composers whom Poulenc thought little of above those he greatly admired. He told Satie of this unhappy encounter; Satie replied with a dismissive epithet for Ravel who, he said, talked "a load of rubbish". For many years Poulenc

642-446: A deep public impression, but the song cycle made the composer's name known in France, and the Trois mouvements perpétuels rapidly became an international success. The exigencies of music-making in wartime taught Poulenc much about writing for whatever instruments were available; then, and later, some of his works were for unusual combinations of players. At this stage in his career Poulenc

749-433: A deep religious faith from his father's family and a worldly and artistic side from his mother's. The critic Claude Rostand later described Poulenc as "half monk and half naughty boy". Poulenc grew up in a musical household; his mother was a capable pianist, with a wide repertoire ranging from classical to less elevated works that gave him a lifelong taste for what he called "adorable bad music". He took piano lessons from

856-531: A deeply personal project with which he easily connected. Poulenc met Cocteau early in his career because of the latter's close relationship with Les Six , a group of six French composers of which Poulenc was a member. The two maintained a close friendship throughout their lives, but Poulenc did not set many of Cocteau's texts prior the composition of La voix humaine , about forty years after their first encounter. Poulenc himself explained that he waited so many years to set Cocteau's play because he felt that he needed

963-569: A fifth, much step-wise motion and motion by a third, and rhythm and accents designed to reflect actual speech patterns, especially "the pauses and hesitations of a phone conversation." Keith W. Daniel notes that out of the 780 measures of music in Poulenc's work, 186 are for solo voice without orchestral accompaniment, adding to the impression of a real telephone conversation. Many of the techniques described above are present in Example 1. Poulenc strays from

1070-518: A fourth. 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 . For most of the war, Poulenc was in Paris, giving recitals with Bernac, concentrating on French songs. Under Nazi rule he was in a vulnerable position, as a known homosexual (Destouches narrowly avoided arrest and deportation), but in his music he made many gestures of defiance of

1177-403: A friend of Laloy. As the decade progressed, Poulenc produced a range of compositions, from songs to chamber music and another ballet, Aubade . Hell suggests that Koechlin's influence occasionally inhibited Poulenc's natural simple style, and that Auric offered useful guidance to help him appear in his true colours. At a concert of music by the two friends in 1926, Poulenc's songs were sung for

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1284-597: A great deal of experience to perfectly construct such a work. In composing La voix humaine , Poulenc strove to maintain the emotional effectiveness of Cocteau's original drama. He very carefully adapted Cocteau's text, omitting only those passages that he believed would reduce the emotional tension of the opera. In his article on Poulenc and Cocteau, Denis Waleckx proposes that there are five types of "phases" in Cocteau's play. These phases deal with chronology, psychological evolution, social interaction, telephone problems, and

1391-407: A group of young composers known collectively as Les Six . In his early works Poulenc became known for his high spirits and irreverence. 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. In addition to his work as a composer, Poulenc was an accomplished pianist. He

1498-474: A grrrrreat musician, but all the same it has exasperated me to be, for so many people, simply an erotic petit maître . ... From the Stabat Mater to La Voix humaine I must say that it hasn't been all that amusing. Poulenc in a 1959 letter In 1958 Poulenc embarked on a collaboration with his old friend Cocteau, in an operatic version of the latter's 1930 monodrama La Voix humaine . The work

1605-487: 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. He began his first serious affair, with the painter Richard Chanlaire to whom he sent a copy of the Concert champêtre score inscribed: While this affair was in progress Poulenc proposed marriage to his friend Raymonde Linossier. As she

1712-446: A reputation, particularly in his native country, as a humorous, lightweight composer, and his religious music was often overlooked. In the 21st century, more attention has been given to his serious works, with many new productions of Dialogues des Carmélites and La voix humaine worldwide, and numerous live and recorded performances of his songs and choral music. Poulenc was born in the 8th arrondissement of Paris on 7 January 1899,

1819-399: A similar musical outlook and enthusiasms, and for the rest of Poulenc's life Auric was his most trusted friend and guide. Poulenc called him "my true brother in spirit". Satie, an eccentric figure, isolated from the mainstream French musical establishment, was a mentor to several rising young composers, including Auric, Louis Durey and Arthur Honegger . After initially dismissing Poulenc as

1926-561: A whole. Unlike his treatment of the soprano voice, Poulenc gives the orchestra many lyrical motifs , writing in the preface his score, "L'œuvre entière doit baigner dans la plus grande sensualité orchestrale" ("The entire work must bathe in the largest orchestral sensuality"). He unifies the opera through these motifs, of which Denis Waleckx identifies fourteen. These motifs relate to Elle's state of mind, such as those representing her "exasperated waiting", and to situations out of her control, such as her "happy memory". The first of these motifs

2033-453: A young man who has only just arrived at his twenties. He ought to develop into a farceur of the first order." Newman said that he had rarely heard anything so deliciously absurd as parts of Poulenc's song cycle Cocardes , with its accompaniment played by the unorthodox combination of cornet , trombone, violin and percussion. In 1922 Poulenc and Milhaud travelled to Vienna to meet Alban Berg , Anton Webern and Arnold Schoenberg . Neither of

2140-485: Is a forty-minute, one-act opera for soprano and orchestra composed by Francis Poulenc in 1958. The work is based on the play of the same name by Jean Cocteau , who, along with French soprano Denise Duval , worked closely with Poulenc in preparation for the opera's premiere. Poulenc's tragédie lyrique was first performed at the Théâtre National de l'Opéra-Comique in Paris on 6 February 1959, with Duval as

2247-521: Is a new version of Les biches but young girls [ biches ] that are forty-eight years old – that's horrible!" The Concerto for piano and orchestra (1949) initially caused some disappointment: many felt that it was not an advance on Poulenc's pre-war music, a view he came to share. The piece has been re-evaluated in more recent years, and in 1996 the writer Claire Delamarche rated it as the composer's finest concertante work. La voix humaine La voix humaine (English: The Human Voice )

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2354-705: Is a vital part of the choir's mission. The Netherlands has thousands of amateur choirs and numerous youth choirs. The Nederlands Kamerkoor provides coaching and workshops, and ‘adopts’ choirs as supporting act for their own concerts. Since September 2015 Peter Dijkstra has been chief-conductor of the Nederlands Kamerkoor. He is one of the most in demand choral conductors world-wide. Amongst his predecessors were such renowned conductors like Uwe Gronostay , Tõnu Kaljuste , Stephen Layton , Risto Joost and founder Felix de Nobel. Francis Poulenc Francis Jean Marcel Poulenc ( French: [fʁɑ̃sis ʒɑ̃ maʁsɛl pulɛ̃k] ; 7 January 1899 – 30 January 1963)

2461-433: Is as follows: Poulenc did not sanction public performances of the opera in the version with piano accompaniment during his lifetime. In the 2010s, Rosine Seringe, Poulenc's niece, gave dispensation to Felicity Lott and Graham Johnson to record a performance for DVD of the piano accompaniment version, which appeared in 2013 as the first commercial recording of this version. Subsequently, recordings and live performances of

2568-469: Is marked by a certain tonal ambiguity. Poulenc achieves this sensation through the avoidance of traditional harmonic functions and the preponderance of unresolved dissonances, diminished structures, and progressions of chromatically-related chords. Although some passages—most often those in which the voice becomes more lyrical—have a clear tonal center , the tonally ambiguous sections are much more frequent in Poulenc's score. Grover-Friedlander suggests that

2675-481: Is not there and assumes that he is at a restaurant. He calls her back, and Elle reveals that she has lied during their conversation; instead of going out with Marthe the previous night, she took twelve sleeping pills in an attempted suicide. She then called Marthe, who arrived with a doctor to save her. Elle suddenly hears music in the background, and grows suspicious that her lover is at the home of his new girlfriend. Elle expresses her suspicions to him several times until

2782-426: Is shown in Example 3. Daniel, however, suggests that only nine of Waleckx's examples are true motifs, while the remaining one- or two-bar phrases employ a cellular technique in which a short phrase is presented, then repeated once or twice. What Waleckx cites as the "Endurance" motif (see Example 4), Daniel uses to illustrate Poulenc's cellular technique. Despite their different interpretations, both authors agree that

2889-461: The Gloria (1959) for soprano , choir, and orchestra. As the only son of a prosperous manufacturer, Poulenc was expected to follow his father into the family firm, and he was not allowed to enrol at a music college. He studied with the pianist Ricardo Viñes , who became his mentor after the composer's parents died. Poulenc also made the acquaintance of Erik Satie , under whose tutelage he became one of

2996-527: The Boston Symphony Orchestra . Poulenc began the 1950s with a new partner in his private life, Lucien Roubert, a travelling salesman. Professionally Poulenc was productive, writing a seven-song cycle setting poems by Éluard, La Fraîcheur et le feu (1950), and the Stabat Mater , in memory of the painter Christian Bérard , composed in 1950 and premiered the following year. In 1953, Poulenc

3103-655: The Franco-German front , after which he was given a series of auxiliary posts, ending as a typist at the Ministry of Aviation . His duties allowed him time for composition; 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. The sonata did not create

3210-614: The Lycée Condorcet in Paris rather than at a music conservatory. In 1916 a childhood friend, Raymonde Linossier (1897–1930), introduced Poulenc to Adrienne Monnier 's bookshop, the Maison des Amis des Livres . There he met the avant-garde poets Guillaume Apollinaire , Max Jacob , Paul Éluard and Louis Aragon . He later set many of their poems to music. In the same year he became the pupil of pianist Ricardo Viñes . The biographer Henri Hell comments that Viñes's influence on his pupil

3317-647: The Martyrs of Compiègne , nuns guillotined during the French Revolution for their religious beliefs. Poulenc found it "such a moving and noble work", ideal for his libretto, and he began composition in August 1953. During the composition of the opera, Poulenc suffered two blows. He learned of a dispute between Bernanos's estate and the writer Emmet Lavery , who held the rights to theatrical adaptations of Le Fort's novel; this caused Poulenc to stop work on his opera. At about

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3424-523: The Strasbourg Music Festival . Three days later, on 21 June, came the Paris premiere of Dialogues des Carmélites at the Opéra. It was a tremendous success, to the composer's considerable relief. 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. It's not that I'm consumed by the idea of being

3531-403: The "remembrance of past happiness". Poulenc left the chronology, telephone problem, and past happiness phases mostly intact, but cut down on or entirely omitted many of the psychological or social phases. This resulted in a protagonist who was "quieter, more modest, less hysterical, less unbearable, and thereby probably more touching than Cocteau's." Poulenc thereby focused on the relationship of

3638-517: The "simplest of forms". Indeed, the one-act play involves a single character in a single room with a telephone. The character — an anonymous woman referred to only as "Elle" ("she" in French) — has been abandoned by her lover and reveals that she has attempted to commit suicide. The play consists of her last conversation with her lover. As a one-act play, the drama lacks the breaks that would traditionally determine its structure. Instead, Cocteau suggests that

3745-494: The 1920s he required the substantial income earned from his recitals. While working on the opera, Poulenc composed little else; exceptions were two mélodies , and a short orchestral movement, "Bucolique" in a collective work, Variations sur le nom de Marguerite Long (1954), to which his old friends from Les Six Auric and Milhaud also contributed. As Poulenc was writing the last pages of his opera in October 1955, Roubert died at

3852-475: The 1950s, remained close to Poulenc until the end of the composer's life. Two unrelated events in 1936 combined to inspire a reawakening of religious faith and a new depth of seriousness in Poulenc's music. His fellow composer Pierre-Octave Ferroud was killed in a car crash so violent that he was decapitated, and almost immediately afterwards, while on holiday, Poulenc visited the sanctuary of Rocamadour . He later explained: A few days earlier I'd just heard of

3959-580: The American premiere of La Voix humaine at Carnegie Hall in New York, with Duval, 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 . In 1961 Poulenc published a book about Chabrier, a 187-page study of which a reviewer wrote in the 1980s, "he writes with love and insight of a composer whose views he shared on matters like

4066-676: The French composers was influenced by their Austrian colleagues' revolutionary twelve-tone system, but they admired the three as its leading proponents. The following year Poulenc received a commission from Sergei Diaghilev for a full-length ballet score. He decided that the theme would be a modern version of the classical French fête galante . This work, Les biches , was an immediate success, first in Monte Carlo in January 1924 and then in Paris in May, under

4173-709: The Germans. He set to music verses by poets prominent in the French Resistance , including Aragon and Éluard. 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". He was a founder-member of the Front National (pour musique) which the Nazi authorities viewed with suspicion for its association with banned musicians such as Milhaud and Paul Hindemith . In 1943 he wrote

4280-460: The actress's different poses represent different "phases" of the monologue. The structure of the play is further delineated by the phone cutting off frequently without warning. Upon the success of his second opera Dialogues des Carmélites in 1957, Poulenc was encouraged to compose more works in the genre. Hervé Dugardin, the Paris director of Ricordi Publishers , suggested that Poulenc set Cocteau's monodrama to music, with Maria Callas singing

4387-401: The age of five; when he was eight he first heard the music of Debussy and was fascinated by the originality of the sound. 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. At his father's insistence, Poulenc followed a conventional school career, studying at

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4494-621: The age of forty-seven. 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." The opera was first given in January 1957 at La Scala in Italian translation. 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

4601-556: The atmosphere of "peasant devotion" that had struck me so forcibly in that lofty chapel. Other works that followed continued the composer's new-found seriousness, including many settings of Éluard's surrealist and humanist poems. In 1937 he composed his first major liturgical work, the Mass in G major for soprano and mixed choir a cappella , which has become the most frequently performed of all his sacred works. Poulenc's new compositions were not all in this serious vein; his incidental music to

4708-494: The ballets, Les biches , was first performed in 1924 and remains one of his best-known works. Nichols writes in Grove that the clear and tuneful score has no deep, or even shallow, symbolism, a fact "accentuated by a tiny passage of mock- Wagnerian brass, complete with emotive minor 9ths ". The first two of the four concertos are in Poulenc's light-hearted vein. The Concert champêtre for harpsichord and orchestra (1927–28), evokes

4815-482: The cellist Félix Delgrange presented concerts of music by young composers. Among them were Auric, Durey, Honegger, Darius Milhaud and Germaine Tailleferre who, with Poulenc, became known collectively as " Les Six " . After one of their concerts, the critic Henri Collet published an article titled, "The Five Russians, the Six Frenchmen and Satie". According to Milhaud: In completely arbitrary fashion Collet chose

4922-591: The choir. More recently also Sir Harrison Birtwistle , Fred Momotenko and James MacMillan . In the past years, the choir performed newly composed works by a.o. Lera Auerbach , Michel van der Aa , Martin Smolka , Nico Muhly and Sir George Benjamin . The choir has been praised by critics in and outside the Netherlands: “treacherous harmonies”, according to The Times (London, 2017) and Volkskrant (Amsterdam, 2016): “a leading top ensemble.” Education and participation

5029-410: 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. The Concerto for two pianos and orchestra (1932) is similarly a work intended purely to entertain. It draws on a variety of stylistic sources: the first movement ends in a manner reminiscent of Balinese gamelan , and

5136-498: The current intellectual circles". Poulenc made his début as a composer in 1917 with his Rapsodie nègre , a ten-minute, five- movement piece for baritone and chamber group; it was dedicated to Satie and premiered at one of a series of concerts of new music run by the singer Jane Bathori . There was a fashion for African arts in Paris at the time, and Poulenc was delighted to run across some published verses purportedly Liberian, but full of Parisian boulevard slang. He used one of

5243-436: The direction of André Messager ; it has remained one of Poulenc's best-known scores. 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. Auric, who had just enjoyed a similar triumph with a Diaghilev ballet, Les Fâcheux , was also repudiated by Satie for becoming

5350-473: The early 1930s. In 1932 his music was among the first to be broadcast on television, in a transmission by the BBC in which Reginald Kell and Gilbert Vinter played his Sonata for clarinet and bassoon . At about this time Poulenc began a relationship with Raymond Destouches, a chauffeur; as with Chanlaire earlier, what began as a passionate affair changed into a deep and lasting friendship. Destouches, who married in

5457-433: The end of the opera, but he never admits to his true location. Elle also reveals her obsession with the telephone, explaining that she has slept with it in her bed for the past two nights. Their connection fails once again, and Elle panics. Her lover calls her back once more, and Elle informs him that she now has the telephone cord wrapped around her neck. Telling him she loves him over and over, she sinks into her bed and drops

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5564-464: The first time by the baritone Pierre Bernac , from whom, in Hell's phrase, "the name of Poulenc was soon to be inseparable." Another performer with whom the composer came to be closely associated was the harpsichordist Wanda Landowska . 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

5671-420: The joint work. Their 1920 piano suite L'Album des Six consists of six separate and unrelated pieces. Their 1921 ballet Les mariés de la tour Eiffel contains three sections by Milhaud, two apiece by Auric, Poulenc and Tailleferre, one by Honegger and none by Durey, who was already distancing himself from the group. In the early 1920s Poulenc remained concerned at his lack of formal musical training. Satie

5778-414: The last years of the 1930s, Poulenc's compositions continued to vary between serious and light-hearted works. Quatre motets pour un temps de pénitence (Four Penitential Motets, 1938–39) and the song "Bleuet" (1939), an elegiac meditation on death, contrast with the song cycle Fiançailles pour rire (Light-Hearted Betrothal), which recaptures the spirit of Les biches , in the opinion of Hell. Poulenc

5885-445: The music is motivically, rather than tonally, driven. Yet in these motives, she identifies a number of tonal references, including "half steps or leading notes , sevenths , or appoggiaturas , which raise expectations for tonal functioning and tonal resolutions . Poulenc's motivic, cell -like aesthetics does not undermine a sense of totality, but treats it as constantly deferred, or in motion." Poulenc thereby uses tonal techniques in

5992-414: 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. Auric and Poulenc followed the ideas of Cocteau , Honegger was a product of German Romanticism and my leanings were towards

6099-409: The nightingale who made him cry ( "Mon rossignol à larmes" ). 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. The child was brought up without knowing who her father was (Poulenc was supposedly her "godfather") but he made generous provision for her, and she was the principal beneficiary of his will. In

6206-399: The non-serious, you destroy him. If one part is erased you get only a pale photocopy of what he really is." Poulenc recognised the dichotomy, but in all his works he wanted music that was "healthy, clear and robust – music as frankly French as Stravinsky's is Slav". Poulenc's principal works for large orchestra comprise two ballets, a Sinfonietta and four keyboard concertos. The first of

6313-511: The opera as "high-spirited topsy-turveydom" concealing "a deeper and sadder theme – the need to repopulate and rediscover a France ravaged by war". It was premiered in June 1947 at the Opéra-Comique , and was a critical success, but did not prove popular with the public. 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. He called her

6420-399: The orchestra resolves to C (major) in the following measure. Poulenc's vocal writing shows a strong dedication to maintaining the dramatic effect of Cocteau's text. The recitative-like passages clearly deliver the libretto, while the aria-like passages illustrate the soprano's passion and anguish. Poulenc uses the orchestra to connect the soprano's fragmented vocal lines, unifying the piece as

6527-412: The phone conversation. Musicologist and professor Michal Grover-Friedlander also suggests that the orchestral music can symbolize the lover's side of the phone conversation. Perhaps the most important orchestral function other than unifying the overall work is the portrayal of the telephone ringing through repeated sixteenth notes on the xylophone, shown in Example 5. Although the pitch and the duration of

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6634-509: The piano accompaniment version of the opera have increased in frequency. Poulenc's writing for the voice is recitative-like in style, representing the natural inflections of speech and, in the case of this particular drama, imitating a phone conversation through its frequent pauses and silences. Poulenc rejects his previous lyricism, opting for a fragmentary, declamatory approach to the voice. Common characteristics of Poulenc's vocal lines include multiple repeated notes, few intervals greater than

6741-413: The play La Reine Margot , starring Yvonne Printemps , was pastiche 16th-century dance music, and became popular under the title Suite française . 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. In 1936 Poulenc began giving frequent recitals with Bernac. At the École Normale in Paris they gave

6848-443: The poems in two sections of the rhapsody . The baritone engaged for the first performance lost his nerve on the platform, and the composer, though no singer, jumped in. This jeu d'esprit was the first of many examples of what Anglophone critics came to call "leg-Poulenc". Ravel was amused by the piece and commented on Poulenc's ability to invent his own folklore. Stravinsky was impressed enough to use his influence to secure Poulenc

6955-439: The popularity of Les biches , though both Auric and Honegger praised the composer's harmonic flair and resourceful orchestration. Honegger wrote, "The influences that have worked on him, Chabrier, Satie, Stravinsky, are now completely assimilated. Listening to his music you think – it's Poulenc." The Sinfonietta (1947) is a reversion to Poulenc's pre-war frivolity. He came to feel, "I dressed too young for my age ... [it]

7062-531: 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. Poulenc defended Stravinsky and expressed incredulity that "in 1945 we are speaking as if the aesthetic of twelve tones is the only possible salvation for contemporary music". His view that Berg had taken serialism as far as it could go and that Schoenberg's music

7169-415: The premiere of Poulenc's Cinq poèmes de Paul Éluard . They continued to perform together for more than twenty years, in Paris and internationally, until Bernac's retirement in 1959. Poulenc, who composed 90 songs for his collaborator, considered him one of the "three great meetings" of his professional career, the other two being Éluard and Landowska. In Johnson's words, "for twenty-five years Bernac

7276-590: The primacy of melody and the essential seriousness of humour." The works of Poulenc's last twelve months included Sept répons des ténèbres for voices and orchestra, the Clarinet Sonata and the Oboe Sonata . On 30 January 1963, at his flat opposite the Jardin du Luxembourg , Poulenc suffered a fatal heart attack. His funeral was at the nearby church of Saint-Sulpice . In compliance with his wishes, none of his music

7383-427: The primary function of the orchestra is to unify the opera into a cohesive work. As Daniel explains, "If La voix humaine succeeds as a drama, it is because of the vocal writing; but if it succeeds as a piece of music, as an opera, it is because of the orchestra." Other functions of the orchestra include the representation of Elle's agitation while trying to reach her lover and the jazz she hears on her lover's side of

7490-450: The receiver. La voix humaine is scored for full symphony orchestra with reduced dimensions, so that the sung text is easily understandable. The entire orchestra rarely plays at once; such moments occur only when the soprano does not sing, or when her voice lyrically rises above the orchestra. Poulenc writes coloristically, using different combinations of instruments to achieve certain effects. The instrumentation listed in Poulenc's score

7597-432: The recitative in highly dramatic passages, including when Elle sings of her suicide attempt of the previous night. This section is more lyrical and tonal, as can be seen in Example 2. Here, the vocal line more resembles an aria, especially as it builds toward its high point in the nine-eight measure, and the orchestra accompanies the voice in a waltz. The harmony, meanwhile, is a dominant prolongation in C (minor), and indeed,

7704-476: The ringing changes throughout the opera, the timbre of the xylophone is only ever used to represent the "voice" of the telephone, making it easily identifiable. The phone cutting off and re-ringing divides the opera into natural sections and creates a comprehensible structure through which the audience understands the drama. The orchestra is therefore essential to unifying and organizing the opera. La voix humaine stands out from Poulenc's previous works because it

7811-625: The role of Elle. Poulenc, however, wrote the opera specifically for Denise Duval, who had starred as Blanche de la Force in the Paris Opéra premiere of Dialogues . Poulenc's close work with Duval helped his compositional process because he "knew the details of the soprano's stormy love life, and this helped to cultivate a sense of specificity in the opera." Poulenc also identified with Elle's situation, which allowed him to "pour immense anguish into his opera… Like her he abused sleeping pills, tranquilizers and anti-depressants." He thus immersed himself in

7918-605: The room, the phone rings and Elle returns to answer it. Elle receives two wrong numbers before her ex-lover is able to get through to her. Elle lies to him, saying that she went out with her friend Marthe the previous night, and that she took one pill to help her fall asleep when she returned. The couple discusses their past relationship, and Elle blames herself for their problems, claiming, "Tout est ma faute." Throughout their conversation, they experience numerous telephone problems, and their connection finally cuts out completely. When Elle calls her lover's home phone, she discovers that he

8025-535: The same time Roubert became gravely ill. Intense worry pushed Poulenc into a nervous breakdown, and in November 1954 he was in a clinic at L'Haÿ-les-Roses , outside Paris, heavily sedated. When he recovered, and the literary rights and royalty payments disputes with Lavery were settled, he resumed work on Dialogues des Carmélites in between extensive touring with Bernac in England. As his personal wealth had declined since

8132-453: The slow movement begins in a Mozartian style, which Poulenc gradually fills out with his own characteristic personal touches. The Organ Concerto (1938) is in a much more serious vein. Poulenc said that it was "on the outskirts" of his religious music, and there are passages that draw on the church music of Bach , though there are also interludes in breezy popular style. The second ballet score, Les Animaux modèles (1941), has never equalled

8239-533: The solo singer and Georges Prêtre conducting; the scenery, costumes and direction were by Cocteau. The libretto consists of a woman's last phone conversation with her lover, who now loves someone else. During the call, the woman reveals that she has attempted suicide because her lover has abandoned her. Cocteau finished writing La voix humaine in 1928, and the monodrama was premiered two years later. Having been previously criticized for using mechanical effects in his plays, Cocteau sought to reduce his drama to

8346-747: The soloists in a performance of Poulenc's Double Piano Concerto at the Royal Albert Hall ; with Bernac he gave recitals of French mélodies and piano works at the Wigmore Hall and the National Gallery , and recorded for the BBC. Bernac was overwhelmed by the public's response; when he and Poulenc stepped out on the Wigmore Hall stage, "the audience rose and my emotion was such that instead of beginning to sing, I began to weep." After their fortnight's stay,

8453-544: The sound. At Landowska's request he wrote a concerto, the Concert champêtre , which she premiered in 1929 with the Orchestre Symphonique de Paris conducted by Pierre Monteux . The biographer Richard D. E. Burton comments that, in the late 1920s, Poulenc might have seemed to be in an enviable position: professionally successful and independently well-off, having inherited a substantial fortune from his father. He bought

8560-481: The start of the decade, Poulenc returned to writing songs, after a two-year break from doing so. His "Epitaphe", to a poem by Malherbe , was written in memory of Linossier, and is described by the pianist Graham Johnson as "a profound song in every sense". The following year Poulenc wrote three sets of songs, to words by Apollinaire and Max Jacob, some of which were serious in tone, and others reminiscent of his earlier light-hearted style, as were others of his works of

8667-516: The tragic death of my colleague ... As I meditated on the fragility of our human frame, I was drawn once more to the life of the spirit. Rocamadour had the effect of restoring me to the faith of my childhood. This sanctuary, undoubtedly the oldest in France ;... had everything to captivate me ... The same evening of this visit to Rocamadour, I began my Litanies à la Vierge noire for female voices and organ. In that work I tried to get across

8774-399: The two returned home on the first boat-train to leave London for Paris since May 1940. In Paris, Poulenc completed his scores for L'Histoire de Babar, le petit éléphant and his first opera, Les mamelles de Tirésias (The Breasts of Tiresias ), a short opéra bouffe of about an hour's duration. The work is a setting of Apollinaire's play of the same name, staged in 1917. Sams describes

8881-481: 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." In January 1945, commissioned by the French government, Poulenc and Bernac flew from Paris to London, where they received an enthusiastic welcome. The London Philharmonic Orchestra gave a reception in the composer's honour; he and Benjamin Britten were

8988-429: The woman and her lover, while still retaining the key points and overall character of Cocteau's play. Poulenc viewed the soprano singing the role of Elle as "a co-composer" of the part. Because Poulenc wrote the role specifically for Duval, the French soprano was his original "co-composer". Duval also helped Poulenc with his adaptation of Cocteau's text. Upon the opera's completion, Poulenc and Duval visited Cocteau, who

9095-476: The young man's "spiritual mentor". He encouraged his pupil to compose, and he later gave the premieres of three early Poulenc works. Through him Poulenc became friendly with two composers who helped shape his early development: Georges Auric and Erik Satie . 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. The two young composers shared

9202-454: The younger child and only son of Émile Poulenc and his wife, Jenny, née Royer. Émile Poulenc was a joint owner of Poulenc Frères , a successful manufacturer of pharmaceuticals (later Rhône-Poulenc ). He was a member of a pious Roman Catholic family from Espalion in the département of Aveyron . Jenny Poulenc was from a Parisian family with wide artistic interests. In Poulenc's view, the two sides of his nature grew out of this background:

9309-541: 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. Throughout the decade, Poulenc was popular with British audiences; he established a fruitful relationship with the BBC in London, which broadcast many of his works. With Bernac, he made his first tour of Britain in 1938. His music was also popular in America, seen by many as "the quintessence of French wit, elegance and high spirits". In

9416-480: Was a French composer and pianist. His compositions include songs , solo piano works, chamber music, choral pieces, operas, ballets, and orchestral concert music. Among the best-known are the piano suite Trois mouvements perpétuels (1919), the ballet Les biches (1923), the Concert champêtre (1928) for harpsichord and orchestra, the Organ Concerto (1938), the opera Dialogues des Carmélites (1957), and

9523-403: Was a painstaking craftsman, though a myth grew up – "la légende de facilité"  – that his music came easily to him; he commented, "The myth is excusable, since I do everything to conceal my efforts." 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. If you take away either part, the serious or

9630-716: Was briefly a soldier again during the Second World War ; he was called up on 2 June 1940 and served in an anti-aircraft unit at Bordeaux . After France surrendered to Germany , Poulenc was demobilised from the army on 18 July 1940. He spent the summer of that year with family and friends at Brive-la-Gaillarde in south-central France. 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. At Brive-la-Gaillarde he began three new works, and once back at his home in Noizay in October he started on

9737-551: 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. Four of Poulenc's early works were premiered at the Salle Huyghens in the Montparnasse area, where between 1917 and 1920

9844-548: 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." 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". Poulenc had no time for musical theories; in one of his many radio interviews he called for "a truce to composing by theory, doctrine, rule!" He

9951-403: Was dismissive of what he saw as the dogmatism of latter-day adherents to dodecaphony , led by René Leibowitz , and greatly regretted that the adoption of a theoretical approach had affected the music of Olivier Messiaen , of whom he had earlier had high hopes. To Hell, almost all Poulenc's music is "directly or indirectly inspired by the purely melodic associations of the human voice". Poulenc

10058-461: Was equivocal about Ravel's music, though always respecting him as a man. Ravel's modesty about his own music particularly appealed to Poulenc, who sought throughout his life to follow Ravel's example. 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. Between July and October 1918 he served at

10165-455: Was frequently performed, but performances in France were much rarer, so that the public and the critics were often unaware of his serious compositions. In 1948 Poulenc made his first visit to the US, in a two-month concert tour with Bernac. He returned there frequently until 1961, giving recitals with Bernac or Duval and as soloist in the world premiere of his Piano Concerto (1949), commissioned by

10272-453: Was melody and he found his way to a vast treasury of undiscovered tunes within an area that had, according to the most up-to-date musical maps, been surveyed, worked and exhausted." The commentator George Keck writes, "His melodies are simple, pleasing, easily remembered, and most often emotionally expressive." Poulenc said that he was not inventive in his harmonic language. The composer Lennox Berkeley wrote of him, "All through his life, he

10379-571: Was not only well aware of his homosexuality but was also romantically attached elsewhere, she refused him, and their relationship became strained. He suffered the first of many periods of depression, which affected his ability to compose, and he was devastated in January 1930 when Linossier died suddenly at the age of 32. On her death he wrote, "All my youth departs with her, all that part of my life that belonged only to her. I sob ... I am now twenty years older". His affair with Chanlaire petered out in 1931, though they remained lifelong friends. At

10486-426: Was now "desert, stone soup, ersatz music, or poetic vitamins" earned him the enmity of composers such as Pierre Boulez . Those disagreeing with Poulenc attempted to paint him as a relic of the pre-war era, frivolous and unprogressive. This led him to focus on his more serious works, and to try to persuade the French public to listen to them. In the US and Britain, with their strong choral traditions, his religious music

10593-463: Was offered a commission by La Scala and the Milanese publisher Casa Ricordi for a ballet. He considered the story of St Margaret of Cortona but found a dance version of her life impracticable. He preferred to write an opera on a religious theme; Ricordi suggested Dialogues des Carmélites , an unfilmed screenplay by Georges Bernanos . The text, based on a short story by Gertrud von Le Fort , depicts

10700-504: Was particularly celebrated for his performing partnerships with the baritone Pierre Bernac (who also advised him in vocal writing) and the soprano Denise Duval . He toured in Europe and America with both of them, and made a number of recordings as a pianist. He was among the first composers to see the importance of the gramophone , and he recorded extensively from 1928 onwards. In his later years, and for decades after his death, Poulenc had

10807-416: Was performed; Marcel Dupré played works by Bach on the grand organ of the church. Poulenc was buried at Père Lachaise Cemetery , alongside his family. Poulenc's music is essentially diatonic . In Henri Hell 's view, this is because the main feature of Poulenc's musical art is his melodic gift. In the words of Roger Nichols in the Grove dictionary, "For [Poulenc] the most important element of all

10914-653: Was premiered on 6 February 1959 at the Opéra-Comique, Paris, with Georges Prêtre conducting and Duval performing the role of Elle. The opera met immediate success and went on to be performed at La Scala in Milan, as well as in Portugal, Britain, and the United States. The curtain opens to reveal a bedroom where a woman (Elle) lies unmoving on the ground. Elle changes position once before finally rising. Although Elle makes to leave

11021-453: Was produced in February 1959 at the Opéra-Comique, under Cocteau's direction, with Duval as the tragic deserted woman speaking to her former lover by telephone. 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. Poulenc visited the US in 1960 and 1961. Among his works given during these trips were

11128-402: Was profound, both as to pianistic technique and the style of Poulenc's keyboard works. Poulenc later said of Viñes: He was a most delightful man, a bizarre hidalgo with enormous moustachios, a flat-brimmed sombrero in the purest Spanish style, and button boots which he used to rap my shins when I didn't change the pedalling enough.  ... I admired him madly, because, at this time, in 1914, he

11235-416: Was responsible for directing and designing costumes and stage décor for the premiere. Cocteau worked closely with Duval and adapted his directions for lighting and costuming to complement her physical attributes. Poulenc finished his score for voice and piano on 2 June 1958 and spent the next two months orchestrating the work, completing the version for full orchestra on 7 August 1958. The tragédie-lyrique

11342-541: Was suspicious of music colleges, but Ravel advised Poulenc to take composition lessons; Milhaud suggested the composer and teacher Charles Koechlin . Poulenc worked with him intermittently from 1921 to 1925. From the early 1920s Poulenc was well received abroad, particularly in Britain, both as a performer and a composer. In 1921 Ernest Newman wrote in The Manchester Guardian , "I keep my eye on Francis Poulenc,

11449-499: Was the only virtuoso who played Debussy and Ravel . That meeting with Viñes was paramount in my life: I owe him everything ... In reality it is to Viñes that I owe my fledgling efforts in music and everything I know about the piano. When Poulenc was sixteen his mother died; his father died two years later. Viñes became more than a teacher: he was, in the words of Myriam Chimènes in the Grove Dictionary of Music and Musicians ,

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