francis poulenc most famous works

Poulenc, who composed 90 songs for his collaborator,[70] considered him one of the "three great meetings" of his professional career, the other two being Éluard and Landowska. I am now twenty years older". [109], 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. [77], For most of the war, Poulenc was in Paris, giving recitals with Bernac, concentrating on French songs. "[87], In January 1945, commissioned by the French government, Poulenc and Bernac flew from Paris to London, where they received an enthusiastic welcome. The baritone engaged for the first performance lost his nerve on the platform, and the composer, though no singer, jumped in. [82][83][n 14] 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. Francis Poulenc. Rocamadour had the effect of restoring me to the faith of my childhood. The suite is in seven movements, for the most part alter - nating between fast and slow, with many and diverse melodies and moods, ending with the tuneful Carillon. Previously known for the humor in his music, he entered his 30s and 40s with an eye toward weightier subjects. He decided that the theme would be a modern version of the classical French fête galante. 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. Before Fame. ), Francis Poulenc: Articles and Interviews (Surrey: Ashgate Publishing, 2014) pp. The Concerto for two pianos and orchestra is one of the most famous pieces by Francis Poulenc … France. [61][n 11] 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 the early 1930s. Poulenc finished his last opera in 1958, La Voix Humaine, a work whose lone character talks (sings) on the phone to her deserting lover for the work's 45-minute length. Let's check, How Rich is Francis Poulenc in 2019-2020? 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". Poulenc had a characteristically French penchant for wind instruments that dominate his winning collection of chamber pieces including his most famous works: the trio for oboe, bassoon and piano, the sextet for wind quintet and piano, and his three final duo sonatas for piano and flute, oboe and clarinet respectively. & Roger Nichols (tr. Notable also in this period is his … [143], The final three sonatas are for woodwind and piano: for flute (1956–57), clarinet (1962), and oboe (1962). [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. From the outset of his career he favoured verses by Guillaume Apollinaire, and from the mid-1930s the writer whose work he set most often was Paul Éluard. Even his sacred music had a cheeky edge: his Gloria caused a scandal due to its irreverence. [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". They continued to perform together for more than twenty years, in Paris and internationally, until Bernac's retirement in 1959. His many compositions include religious works, music for solo piano, opera, ballet, chamber music, large scale orchestral and choral works, and spirited songs with beautiful melodies. [66], Other works that followed continued the composer's new-found seriousness, including many settings of Éluard's surrealist and humanist poems. There's still debate among music scholars who see the diverse range of styles in his music as an outward representation of Poulenc's inner moral wrestlings. This jeu d'esprit was the first of many examples of what Anglophone critics came to call "leg-Poulenc". Eric Le Sage (RCA) and Olivier Cazal (Naxos). He is from France. During the completion of his opera, Dialogues des Carmelites, Poulenc suffered from severe depression, but his recovery led him to compose more serene music later in life. [49], From the early 1920s Poulenc was well received abroad, particularly in Britain, both as a performer and a composer. Having achieved fame by his early twenties, he was in his forties before attempting his first opera. "[134] The eight nocturnes were composed across nearly a decade (1929–38). Poulenc finished his last opera in 1958, La Voix Humaine, a work whose lone character talks (sings) on the phone to her deserting lover for the work's 45-minute length. 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. "[113] The works of Poulenc's last twelve months included Sept répons des ténèbres for voices and orchestra, the Clarinet Sonata and the Oboe Sonata. At the École Normale in Paris they gave the premiere of Poulenc's Cinq poèmes de Paul Éluard. 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. [2] He was a member of a pious Roman Catholic family from Espalion in the département of Aveyron. [115] In the words of Roger Nichols in the Grove dictionary, "For [Poulenc] the most important element of all 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. [17] In the same year he became the pupil of the pianist Ricardo Viñes. He ought to develop into a farceur of the first order." He wrote in a direct and tuneful manner, often juxtaposing the witty and ironic with the sentimental or melancholy. In the period 1953-1956, Poulenc produced his most ambitious work, the opera Dialogue of The Carmelites, considered by many the greatest French opera of the twentieth century. I was expectant but in the end so frustrated and annoyed. "[132], Of the pieces cited with approval by Poulenc, the fifteen Improvisations were composed at intervals between 1932 and 1959. They are for two clarinets (1918), piano duo (1918), clarinet and bassoon (1922) and horn, trumpet and trombone (1922). the name! In addition to "Epitaphe", other Poulenc works were dedicated to Linossier or her memory are the Sonata for Horn, Trumpet and Trombone (1922), Bernac's timbre and sensitive musicianship considerably influenced Poulenc's compositional style in his, Poulenc recalled later that they performed only French songs, but his recollection was inaccurate: German songs, notably those of, The piece was not produced in the US until 1953, and did not reach Britain until 1958, when Britten and Pears presented it at the. [147] In the view of the music critic Andrew Clements, the Éluard songs include many of Poulenc's greatest settings;[148] Johnson calls the cycle Tel Jour, Telle Nuit (1937) the composer's "watershed work", and Nichols regards it as "a masterpiece worthy to stand beside Fauré's La bonne chanson". The last, and perhaps the most beautiful, of the chamber works Poulenc wrote in the 1920s was the Trio for piano, oboe and bassoon of 1926. Other famous pieces include his two ballets, Les biches, and Les Animaux modèles. 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. Poulenc was one of the first openly gay composers, who was at ease with his sexuality in the context of his religious faith. [60], At the start of the decade, Poulenc returned to writing songs, after a two-year break from doing so. Francis Poulenc was a member of a group of French composers called "Les Six." 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 the Gloria (1959) for soprano, choir and or… 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. [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. Poulenc found it "such a moving and noble work",[35] ideal for his libretto, and he began composition in August 1953. [57] Nevertheless, while this affair was in progress Poulenc proposed marriage to his friend Raymonde Linossier. I like very much my two collections of Improvisations, an Intermezzo in A flat, and certain Nocturnes. He continued to write in a range of styles, penning secular tunes alongside religious pieces. Whatever the case, he was associated closely with some of the most important composers of pre-World War II … Hell notes that Poulenc reused some of the themes in his 1947 Sinfonietta. [51] The following year Poulenc received a commission from Sergei Diaghilev for a full-length ballet score. [3] The critic Claude Rostand later described Poulenc as "half monk and half naughty boy". The first of the ballets, Les biches, was first performed in 1924 and remains one of his best-known works. 454,834 Written for double mixed choir of 12 voices, its English version was premiered in London in 1945, before being performed in French in Brussels in 1946 and Paris in 1947. Although they share their generic title with the nocturnes of Field, Chopin and Fauré, Poulenc's do not resemble those of the earlier composers, being "night-scenes and sound-images of public and private events" rather than romantic tone poems. "[128] The Sinfonietta (1947) is a reversion to Poulenc's pre-war frivolity. He wrote "Le bestiaire, ou Le cortège d'Orphée" in 1917 as a cycle of melodies based on poems by Guillaume Apollinaire. [73], 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. Classic FM Drive with John Brunning [67] Poulenc's new compositions were not all in this serious vein; his incidental music to the play La Reine Margot, starring Yvonne Printemps, was pastiche 16th-century dance music, and became popular under the title Suite française. The music seems simply to roll off the pages, each sound following another in such an honest and natural way, with eloquence and unmistakable Frenchness. Other poets whose works he frequently set included Jean Cocteau, Max Jacob, and Louise de Vilmorin. Modern Period. [76] In the last years of the 1930s, Poulenc's compositions continued to vary between serious and light-hearted works. [159] He played the piano part in recordings of his Babar the Elephant with Pierre Fresnay and Noël Coward as narrators. Poulenc commented in 1958 how much he had come to admire Ravel and that he had been glad to be able to show it, not only in words, but as a pianist, through his interpretations of Ravel's works. [154], Poulenc's major works for choir and orchestra are the Stabat Mater (1950), the Gloria (1959–60), and Sept répons des ténèbres (Seven responsories for Tenebrae, 1961–62). In the period 1953-1956, Poulenc produced his most ambitious work, the opera Dialogue of The Carmelites, considered by many the greatest French opera of the twentieth century. [1] Émile Poulenc was a joint owner of Poulenc Frères, a successful manufacturer of pharmaceuticals (later Rhône-Poulenc). [16] There he met the avant-garde poets Guillaume Apollinaire, Max Jacob, Paul Éluard and Louis Aragon. Les Six, (French: “The Six”) group of early 20th-century French composers whose music represents a strong reaction against the heavy German Romanticism of Richard Wagner and Richard Strauss, as well as against the chromaticism and lush orchestration of Claude Debussy.Les Six were Darius Milhaud, Francis Poulenc, Arthur Honegger, Georges Auric, Louis … "[118] He was dismissive of what he saw as the dogmatism of latter-day adherents to dodecaphony, led by René Leibowitz,[119] 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. [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. Francis Poulenc: Cello Sonata Context. Although he was not much influenced by new developments in music, Poulenc was always keenly interested in the works of younger generations of composers. With Bernac and Duval he recorded many of his own songs, and those of other composers including Chabrier, Debussy, Gounod and Ravel. And if all this glorious music wasn’t enough organist Christopher Jacobson tops it all off with a brilliant reading of one of the most famous organ pieces of all time. Poulenc coming after Sacre [du Printemps]. [108], Poulenc visited the US in 1960 and 1961. [3] The first recording of his music was made in 1928, with the mezzo-soprano Claire Croiza accompanied by the composer at the piano, in the complete song cycle La bestiaire for French Columbia. [3], In terms of musical technique the operas show how far Poulenc had come from his naïve and insecure beginnings. Clark, Philip, "The Gramophone Interview – Pierre Boulez", List of solo piano compositions by Francis Poulenc, "A Television Transmission by the Baird Process will take place during this programme", "The Sacred Music of Francis Poulenc: A Centennial Tribute", "Constructing the Monk: Francis Poulenc and the Post-War Context", "Francis Poulenc (1899–1963) Piano Music, Volume 3", "Francis Poulenc (1899–1963) Piano Music, Volume 1", "Resonant, Resplendent Poulenc Motets, Mass, Chansons", "A recital by Pierre Bernac and Francis Poulenc", "Francis Poulenc et Denise Duval interprètent", "Plucky chicken: Sensual, witty and unfairly dismissed as lightweight", Francis Poulenc 1899–1963, the official website (French and English version), International Music Score Library Project, Guide to the Lambiotte Family/Francis Poulenc archive, 1920–1994, Divertimento for chamber orchestra after keyboard pieces by Couperin, Tanzsuite aus Klavierstücken von François Couperin, https://en.wikipedia.org/w/index.php?title=Francis_Poulenc&oldid=1001152274, French military personnel of World War II, Pages containing links to subscription-only content, Articles with Encyclopædia Britannica links, Articles with International Music Score Library Project links, Wikipedia articles with BIBSYS identifiers, Wikipedia articles with CANTIC identifiers, Wikipedia articles with Léonore identifiers, Wikipedia articles with MusicBrainz identifiers, Wikipedia articles with PLWABN identifiers, Wikipedia articles with SELIBR identifiers, Wikipedia articles with SNAC-ID identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with Trove identifiers, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License, This page was last edited on 18 January 2021, at 13:15. 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Biches, and once back at his flat opposite the Jardin du Luxembourg, Poulenc 's to. Concerned at his lack of formal musical training voices and organ visited the US in and. Les Dialogues de Poulenc: Articles and Interviews ( Surrey: Ashgate Publishing, 2014 ) pp about years! Early development: Georges Auric and Erik Satie diatonic and melodious, with... A masterpiece by critics, the two sides to Poulenc until the end of the horn Dennis... Died ; his father died two years later October he started on a religious awakening in 1936 Poulenc sketching... Century staples for their respective instruments few days in Purgatory, if I narrowly avoid going to Hell acknowledged...

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