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Francis Poulenc was one of a
somewhat notorious group of young French composers who became known as ‘Les
Six’, an epithet clearly derived from the earlier ‘Russian Five’. The aims of
the French group were to break away from the twin influences of Germanic
formality and French impressionism, and to employ a direct and simple style
in their own music. Of the six, Poulenc was
by far the most successful.
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Although Poulenc saw himself as
primarily a composer of religious music, it was not in fact until 1936,
following his return to Catholicism, that he produced his first sacred
work. A steady stream of religious pieces then flowed from his pen,
including a Mass and a series of motets. His first large-scale choral
work, the Stabat Mater, appeared in
1950, and the Gloria in 1959, only four years before his death. Both
employ the same forces - chorus, soprano solo and large orchestra - and
both enjoyed immediate acclaim. They have remained firm favourites
with performers and audiences ever since.
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Poulenc’s very
distinctive style relies principally on strong musical contrasts. The
harmony moves between Stravinskian dissonance and
lush, sensuous chord progressions; vigorous counterpoint in clipped,
angular phrases alternates with lyrical melodic writing; dynamics
frequently range from a hushed piano to an emphatic forte
within the space of a bar or two. Poulenc skilfully uses this colourful
musical palette to express a wide range of emotions, from lyrical serenity
to unashamed glee.
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The Gloria was commissioned by the Koussevitsky Foundation of America. The words from
the Mass are set to music of an unmistakable freshness and vivacity. Some critics
at the time suggested that it bordered on the sacrilegious; Poulenc replied, ‘While writing it I had in mind
those Crozzoli frescoes with angels sticking out
their tongues, and also some solemn-looking Benedictine monks that I saw
playing football one day.’
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The work is divided into six short movements. After a brief
introduction, the chorus enters with a prominent dotted figure to the word
‘Gloria’, which forms the basis of this movement. The animated second
movement, ‘Laudamus Te’, reveals Poulenc in playful mood, with the chorus for the most
part divided into pairs of voices - sopranos and tenors; altos and basses -
exchanging a series of short, pithy phrases. In the expressive third
section, ‘Domine Deus’, the soprano soloist is
heard for the first time with a typically yearning melody, whilst the
chorus is allocated a supporting role. We are then abruptly whisked back to
the playground for the brief and chirpy ‘Domine Fili Unigenite’. The soprano
soloist returns for the exquisite ‘Dominus Deus, Agnus Dei’, with soloist and chorus sometimes combining
and sometimes exchanging lyrical phrases. In the sixth movement a short,
majestic opening soon gives way to an animated section at the words ‘Qui sedes ad dexteram Patris’. Peace and serenity suffuses the radiant
closing pages of the work but, characteristically, Poulenc
cannot resist a last, loud interjection at the first ‘Amen’, where he
briefly recalls the dotted ‘Gloria’ figure of the very opening, before calm
is restored for the final ‘Amen’.
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Poulenc’s sense
of humour and love of life shine through all his
music, however solemn the text might be. One of his friends said of
him, ‘There is in him something of the monk and the street urchin.’
The Gloria brilliantly expresses these characteristics, with its
captivating mixture of solemnity and mischievous exuberance.
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John Bawden
Musical Director (1994 - 2006)
Fareham
Philharmonic Choir
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