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Francis Poulenc

Biography

It was the French critic Claude Rostand who made the classic distinction between Poulenc the monk (‘le moine’) and Poulenc the bad boy (‘le voyou’). Had he been writing when the composer was in his early thirties rather than his ...

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Biography

It was the French critic Claude Rostand who made the classic distinction between Poulenc the monk (‘le moine’) and Poulenc the bad boy (‘le voyou’). Had he been writing when the composer was in his early thirties rather than his early fifties, Rostand would not have been able to make such a distinction: there was only the bad boy. What changed things – following the trauma of the death of a colleague in a particularly horrific road accident in 1936 – was a revelatory first visit to the chapel of the Black Virgin at Rocamadour. Immediately on leaving there Poulenc made a start on his Litanies à la Vierge noire, the first in a series of 12 religious choral works written over the remaining 27 years of his life.

During his childhood he had been influenced less by his God-fearing father – one of the founders of the chemical manufacturing company that became Rhône-Poulenc – than by his mother, who was not very religious but was very musical. He absorbed cabaret and dance music as thoroughly as classical music from Monteverdi to Stravinsky via Mozart. His refusal to discriminate between the two types is one of the most distinctive, most appealing and most durable features of his own compositions, many of which are all the better for their quota of ‘bad-boy’ music.

Not having had a conservatoire training, though he studied piano with Ricardo Viñes and harmony with Charles Koechlin, he needed a model. That is where Stravinsky came in. Stravinsky was the dominant influence on his music not only in the 1920s – when Poulenc found early notoriety as one of the so-called ‘Groupe des Six’ under the anti-Impressionist aesthetic leadership of Jean Cocteau – but through much of his career. In fact, it would take him as long to integrate the Stravinsky idiom into his own harmonic language as to reconcile the monk and the bad-boy elements in his make-up.

Poulenc was an entertaining and affectionate companion who loved music above everything else. Recent biographies have made much of his homosexuality but it was no more important to his development than any other composer’s sexuality to his or hers. Besides, apart from the fact that he was by no means exclusively homosexual, the two most fruitful relationships in his adult life were strictly platonic. But for his long-term recital partnership with the baritone Pierre Bernac he would not have provided a catalogue of songs as distinguished as any in the 20th century. And without his loving admiration for the soprano Denise Duval, for whom he conceived the roles of Blanche in Dialogues des Carmélites and the solitary protagonist in La voix humaine, his last two operas might not have been written at all.

Profile © Gerald Larner



Tracks (44)

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3 Mouvements perpetuels for piano
Novelette no. 3 in E minor (sur un theme de M de Falla) for piano
Novelette no. 3 in E minor (sur un theme de M de Falla) for piano
Performer
Last played on
Novelette no. 2 in B flat minor for piano
Novelette no. 2 in B flat minor for piano
Performer
Last played on
Novelette no. 1 in C major for piano
Novelette no. 1 in C major for piano
Performer
Last played on
Les Soirees de Nazelles - suite for piano, no.2; Le Comble de la distinction
Les Soirees de Nazelles - suite for piano, no.2; Le Comble de la distinction
Performer
Last played on
Dialogue de Carmélites
Dialogue de Carmélites
Performer
Orchestre de l’Opéra de Lyon, Choeurs de l’Opéra de Lyon, London Chorus, Catherine Dubosc (soprano), Brigitte Fournier (soprano)
Kent Nagano (conductor)
Suite francaise [after Gervaise] vers. for cello and piano, [complete]
Suite francaise [after Gervaise] vers. for cello and piano, [complete]
Performer
Sonata for clarinet and piano
Sonata for clarinet and piano
Performer
Michael Collins
Michael McHale
Concert Champêtre for harpsichord and orchestra: 1st movement
Concert Champêtre for harpsichord and orchestra: 1st movement
Performer
Elisabeth Chojancka
Orchestra
Orchestre National de Lille-Region Nord/Pas-de Calais
Parisiana - 2 songs for voice and piano
Parisiana - 2 songs for voice and piano
Performer
Roderick Williams
Michael Cleaver
Last played on
Concert champetre for harpsichord (or piano) and orchestra: 3rd mvt; Finale
Concert champetre for harpsichord (or piano) and orchestra: 3rd mvt; Finale
Performer
Last played on
15 Improvisations - no.15 in C minor: Hommage a Edith Piaf
15 Improvisations - no.15 in C minor: Hommage a Edith Piaf
Un Soir de neige - Bois meutri
Un Soir de neige - Bois meutri
Conductor
James Wood
Last played on
Improvisation 15 - Hommage à Edith Piaf
Improvisation 15 - Hommage à Edith Piaf
Last played on
Trio for oboe, bassoon and piano
Trio for oboe, bassoon and piano
Performer
Daniel Bates
Noam Greenberg
Rie Koyama
Sextet for winds and piano
Sextet for winds and piano
Performer
Daniel Bates
Alec Frank-Gemmill
Chen Halevi
Noam Greenberg
Ariel Zuckermann
Rie Koyama
Litanies à la Vierge Noire version for women's voices and organ (1936)
Litanies à la Vierge Noire version for women's voices and organ (1936)
Performer
Peter Thomas
Ensemble
La Gioia
Singer
Lieve Mertens
Kristien Vercammen
Diane Verdoodt
Els Van Attenhoven
Ilse Schelfhout
Bernadette De Wilde
Sonata for cello and piano
Sonata for cello and piano
Performer
Ariana Kashefi
Gamal Khamis
Last played on
Sonata for violin and piano; [1. Allegro con fuoco]
Sonata for violin and piano; [1. Allegro con fuoco]
Performer
Fanny Clamagirand
Nicolas Bringuer
O Magnum Mysterium 
O Magnum Mysterium 
Performer
Northern Spirit Singers
Four Motets for Christmas
Four Motets for Christmas
Choir
BBC Singers
Conductor
David Hill
Soir de Neige
Soir de Neige
Choir
BBC Singers
Conductor
David Hill
Gloria in G major for soprano, chorus and orchestra
Gloria in G major for soprano, chorus and orchestra
Last played on
Sonata arr. Berkeley for flute and orchestra (orig. for flute and piano)
Sonata arr. Berkeley for flute and orchestra (orig. for flute and piano)
Orchestrator
Berkeley, Lennox
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