SKU: HL.48187354
UPC: 888680845643. 0.13 inches.
Poulenc's song cycle, Chansons Gaillardes was composed in 1925-1926 during the post-war euphoria. The cycle is essential to aspiring, advanced baritones. Francis Poulenc (1899-1963) was a highly prolific composer, and remains popular to this day. Chansons Gaillardes was composed towards the beginning of the composer's career for Baritone Pierre Bernac. At the first performance, Poulenc himself played the piano and the song cycle was immediately a hit. Chansons Gaillardes is made up of eight songs which alternate between lively and slow tempos; 1) The Fickle Mistress, 2) Drinking Song, 3) Madrigal, 4) Summoning the Fates, 5) Bacchanalian Couplets, 6) The Offering, 7) The Beautiful Youth, and 8) Serenade. As a song cycle with much variation, it is an exciting addition to the baritone repertoire.
SKU: BT.SLB-00595900
INSSTR inches. French.
A previously unreleased piece by Francis Poulenc, published with permission from the Bibliothèque Historique de la Ville de Paris and Benoît Seringe, secretary of the Association des amis de Francis Poulenc [Association of the Friends ofFrancis Poulenc]. Le Voyageur sans bagage [The Traveller Without Luggage], which had been premiered in 1937 with music by Darius Milhaud, was reprised on 1 April 1944 at the Thé tre de la Michodière; Francis Poulenc was asked to compose new stage music. Theentire unpublished score lay undiscovered until Bérengère de l’Épine, a librarian at the Bibliothèque Historique de la Ville de Paris, announced the existence of a manuscript in the Association de la Régie Thé trale collection.Poulenc finalised the score between 19 and 21 March 1944. It contains nine songs, all written for a small instrumental ensemble including oboe, clarinet, cello and piano. However, at the end of the manuscript, the composer echoes the second song Lent [Slow] and creates another version for cello and piano; curiously, the original version of the song has not been erased in the manuscript. Poulenc seems to suggest that we consider the piece for cello and piano, that we have publishedhere, as a different piece of music. It was premiered on Wednesday 23 January 2013 by Marc Coppey, accompanied by Jean-François Heisser, in the organ auditorium of the Conservatoire National Supérieur de Musique et Danse de Paris (CNSMDP), during thesymposium for the fiftieth anniversary of Poulenc’s death.Given in a dramatic context, some elements allow us to get an idea of the character of the piece, which Benoît Seringe, Poulenc’s beneficiary, judiciously chose to name Souvenirs.The main character of Anouilh’s play, Gaston, is suffering from amnesia at the end of World War One. Several families try to claim him; they want him to be their missing relative. The Renaud family prove to be particularly stubborn, but Gaston doesnot recognize himself in the child and young man they depict: a ruthless and violent person. In Act 1 Scene 3, left alone for a moment, overwhelmed by the story of the “old Gaston†that is gradually coming to light, and outraged by the desire ofthose around him to appropriate him (to the detriment of the person he would like to be from now on), he whispers these words: “You all have proof, photographs that look like me, memories as clear as day… I’ve listened to you all and it’s slowlycausing a hybrid person to rise up in me; a person in which there is a piece of each of your sons and nothing of me.†Poulenc chose to place the second piece from his stage music score as these words are spoken.He borrowed part of the material, as he often did, from an earlier composition. In this particular case, the beginning is a recycled version of the “slow and melancholic†section from L’Histoire de Babar , composed between 1940 and 1945, andpremiered in 1946 (unless it is Babar that reuses the musical idea from Voyageur ).The eponymous elephant decides to leave in search of the great forest. He embraces the old lady, promises her he will return and reassures her that he will never forget her. Left alone, the old lady, feeling sad and pensive, wonders when she’ll seeher friend Babar again. The situation is similar to that in Voyageur sans bagage: solitude, sadness, a distressing and introspective time, fear of oblivion, the presence of memories…Pièce inédite de Francis Poulenc, publiée avec l’autorisation de la Bibliothèque historique de la ville de Paris et de Benoît Seringe, secrétaire de l’Association des Amis de Francis Poulenc.Le 1er avril 1944, Le Voyageur sans bagage d’Anouilh, qui avait été créé en 1937 avec de la musique de Darius Milhaud, est repris au Thé tre de la Michodière. Francis Poulenc a été sollicité afin d’écrire une nouvelle musique de scène. On ignoraittout de cette partition inédite, jusqu’au jour où Bérengère de l’Épine, conservateur la Bibliothèque historique de la ville de Paris, nous signala l’existence d’un manuscrit dans le fonds de l’Association de la Régie thé trale.Poulenc mit au point sa partition entre le 19 et le 21 mars 1944. Elle comprend neuf numéros, tous écrits pour un petit effectif instrumental réunissant un hautbois, une clarinette, un violoncelle et un piano.Cependant, la fin de son manuscrit, le compositeur reprend le no 2 Lent et en donne une seconde version, pour violoncelle et piano. Curieusement, la version originale de ce numéro n’est pas biffée dans le manuscrit.Poulenc semble nous inviter considérer comme un morceau distinct cette pièce pour violoncelle et piano dont nous proposons ici l’édition. Elle a été créée par Marc Coppey, accompagné de Jean-François Heisser, lors du concert donné durant lecolloque organisé pour le cinquantenaire du décès de Poulenc, le mercredi 23 janvier 2013, salle d’orgue du Conservatoire National Supérieur de Musique et de Danse de Paris (CNSMDP).Quelques éléments sur le contexte dramatique permettront de se faire une idée du caractère du morceau, que Benoît Seringe, ayant droit Poulenc, a judicieusement choisi d’intituler Souvenirs.Le personnage principal de la pièce d’Anouilh, Gaston, a été retrouvé amnésique la fin de la Première Guerre Mondiale. Plusieurs familles le réclament. On veut voir en lui un parent disparu. Les Renaud se montrent particulièrement tenaces ; maisGaston ne parvient se reconnaître dans l’enfant et le jeune homme dont on lui trace le portrait : un être violent et sans scrupule. Au tableau 3 de l’acte I, resté seul un moment, écrasé par l’histoire de cet autre lui-même qu’il découvre peu peu, indigné par le désir des personnes qui l’entourent de le ramener elles au détriment de celui qu’il voudrait être désormais, il se murmure ces paroles : « Vous avez tous des preuves, des photographies ressemblantes, des souvenirs précis commedes crimes… je vous écoute tous et je sens surgir peu peu derrière moi un être hybride où il y a un peu de chacun de vos fils et rien de moi »…C’est sur ces mots que Poulenc a choisi de placer le no 2 de sa partition de musique de scène.Comme il le fait souvent, il emprunte une composition antérieure une part de son matériau. Dans ce cas précis, il réutilise pour le début du morceau la section « Lent et mélancolique » de l’Histoire de Babar, composée entre 1940 et 1945, créée en1946 ( moins que ce ne soit Babar qui réutilise l’idée musicale du Voyageur). Le héros-éléphant s’est décidé partir pour retrouver la grande forêt. Il a embrassé la vieille dame, lui a promis de revenir, l’a rassurée : jamais il ne l’oubliera.Restée seule, la vieille dame, triste et pensive, se demande quand elle reverra son ami Babar. La situation est similaire celle du Voyageur sans bagage : solitude, tristesse, instantde trouble et de retour sur soi, crainte de l’oubli, présence des souvenirs….
SKU: ST.C389
ISBN 9790570813896.
An Album of Twenty French Songs arranged for Bassoon and Piano by Martin GattFauréâ??s poignant love song Après un rêve exists in many different transcriptions for various instruments (the most famous version perhaps being the one for cello and piano that Pablo Casals made in 1910), and provides the initial inspiration for this album of French songs transcribed for bassoon and piano. The bassoon is capable of a broad range of timbres and expression, and it is the lyrical, vocal quality of the instrument that Martin Gatt has always been attracted to. In both his performance and teaching, his emphasis is on the importance of what he calls â??vocalisingâ?? through the bassoon, and for him, music for the voice â?? especially art songs of the 19th and 20th centuries â?? has been a rich source of material for exploring the expressive tonal colours of the bassoon.The treasure trove of French art song from composers ranging from Claude Arrieu to Louis Vierne, not to mention the greats like Berlioz or Debussy or Ravel, has made the task of choosing which songs to include in this album a difficult one. In the end, Martin has settled on eight composers who have produced some of the most appealing music in the genre â?? Camille Saint-Saëns (1835-1921), Georges Bizet (1838-1875), Emmanuel Chabrier (1841-1894), Jules Massenet (1842-1912), Gabriel Fauré (1845-1924), Henri Duparc (1848-1933), Cécile Chaminade (1857-1944), and Francis Poulenc (1899-1963). Rather than grouping by composer, the songs are set out in a way that contrasts different emotional worlds and sentiments, from the vibrant exuberance of Chabrierâ??s Lâ??île heureuse to the gentle melancholy of Poulencâ??s Mais mourir. These â??songs without wordsâ? for the bassoon, clearly demonstrate the instrumentâ??s cantabile qualities, varied nuances, and wide-ranging emotional possibilities.
SKU: HL.50565996
ISBN 9781705143407. UPC: 840126990225. 9.0x12.0x0.087 inches.
“For as long as there are poets there will be songs. If someone was to put on my tomb: 'Here lies Francis Poulenc, musician to Apollinaire and Éluard:' that really would be my finest claim to fame,†the composer declared in 1945. Right from boyhood his attraction to poetry was practically equal to his love of music. And in fact the young Poulenc took to song-writing quite naturally, starting in 1919. Poulenc compiled a catalogue of 150 songs, a body of works of consistently high quality, containing great diversity, that marks him out as the last major exponent in this genre. These editions belong to “Musique vocale française,†a series devoted to French vocal repertoire – both in original and transposed key – designed for students and teachers as well as professionals; they include original poems and English translations.
SKU: BT.ALHE29030
French.
Poulenc's five songs, Poems of Ronsard were composed in 1925 during the post-war euphoria. The cycle is essential to aspiring, advanced vocalists of the French art song. Francis Poulenc (1899-1963) was a highly prolific composer,and remains popular to this day. Poems of Ronsard was composed towards the beginning of the composer's career, based on poems by prolific French poet, Pierre de Ronsard. Poems of Ronsard is made up of five songs which alternatebetween lively and slow tempos - 1) Attributes, 2) The Tomb, 3) Ballet, 4) I only have the Bones, and 5) On his page. As a song cycle with much variation, Poulenc's Poems of Ronsard is an exciting addition to the Vocal repertoire.
SKU: HL.48187332
UPC: 888680848415. 9x12 inches.
“Poulenc's five songs, Poems of Ronsard were composed in 1925 during the post-war euphoria. The cycle is essential to aspiring, advanced vocalists of the French art song. Francis Poulenc (1899-1963) was a highly prolific composer, and remains popular to this day. Poems of Ronsard was composed towards the beginning of the composer's career, based on poems by prolific French poet, Pierre de Ronsard. Poems of Ronsard is made up of five songs which alternate between lively and slow tempos; 1) Attributes, 2) The Tomb, 3) Ballet, 4) I only have the Bones, and 5) On his page. As a song cycle with much variation, Poulenc's Poems of Ronsard is an exciting addition to the Vocal repertoire.&rdquo.
SKU: HL.50565995
ISBN 9781705143391. UPC: 196288018216. 9.0x12.0x0.094 inches.
“For as long as there are poets there will be songs. If someone was to put on my tomb: 'Here lies Francis Poulenc, musician to Apollinaire and Éluard:' that really would be my finest claim to fame,†the composer declared in 1945. Right from boyhood his attraction to poetry was practically equal to his love of music. And in fact the young Poulenc took to songwriting quite naturally, starting in 1919. Poulenc compiled a catalog of 150 songs, a body of works of consistently high quality, containing great diversity, that marks him out as the last major exponent in this genre. These editions belong to “Musique vocale française,†a series devoted to French vocal repertoire – both in original and transposed key – designed for students and teachers as well as professionals; they include original poems and English translations.
SKU: HL.48187593
UPC: 888680984359. 9.0x12.0x0.048 inches.
“Born in Paris in 1899, Francis Poulenc soon became a notable composer and pianist. His Serenade, originally composed in 1925-1926 for Voice and Piano, met much success as part of his Bawdy Songs. Therefore, it was well-received when Maurice Gendron transcribed it for Cello and Piano. Poulenc, as a member of Les Six, composed music in a style contrary to that of Richard Wagner and impressionists Claude Debussy and Maurice Ravel. Serenade reflects the composer's contrasting style, making use of a 6/8 time signature, double stops, variations in articulation and wide range on the Cello. Being an imaginative and evocative composition, Serenade, transcribed for Cello and Piano, is a pleasurable addition to the repertoire.â€.
SKU: HL.374945
ISBN 9781705150511. UPC: 196288017394. 9.0x12.0x0.048 inches.
Three previously unpublished songs, setting Guillaume Apollinaire's short poems from Le Bestiaire, not included in Poulenc's original set of six from 1918. Contents: Le Serpent, La Colombe, La Puce.