Mélancolie FP 105
Francis Poulenc Lyrics


We have lyrics for these tracks by Francis Poulenc:


8 chansons polonaises: VII. La Vistule Płynie Wisła płynie Po polskiej krainie Po polskiej krainie …
Huit chansons polonaises FP 69: Jezioro Płynie Wisła płynie Po polskiej krainie Po polskiej krainie …
Huit chansons polonaises FP 69: Wianek Płynie Wisła płynie Po polskiej krainie Po polskiej krainie …
Huit chansons polonaises FP 69: Wisła Płynie Wisła płynie Po polskiej krainie Po polskiej krainie …
Les Chemins De I'amour Les chemins qui montent à la mer ont gardé de…
Les chemins de l'amour Les chemins qui montent à la mer ont gardé de…
Les chemins de l'amour FP 106 Les chemins qui montent à la mer ont gardé de…
Les Chemins De L'amour FP. 106 Les chemins qui montent à la mer ont gardé de…
Les Chemins De L`amour Les chemins qui montent à la mer ont gardé de…



Salve Regina Salve Regina, Mater misericordiae, Vita, dulcedo et spes nos…
Salve Regina FP110 Salve Regina, Mater misericordiae, Vita, dulcedo et spes nos…
Stabat Mater: II. Cujus Animam Gementem Cujus animam gementem Contristatam ac dolentem Pertransivit,…


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Comments from YouTube:

Baileyrob

Poulenc's music is a great example of how we'll never run out of new things to do with tonal music!

David Brant

Yet it sounds atonal

Baileyrob

@David Brant ... ...


...


What?

ETMusic2

@Baileyrob Personally, think that tonality and atonality exist on a spectrum rather than as two distinct ways of doing things. This I would consider to be maybe like 70% tonality and 30% atonality, in a similar place to the works of Debussy or Ravel. Clearly influenced by sounds that are "outside" of tonality (whole tone especially!), but firmly rooted in tonal harmony.

Baileyrob

@ETMusic2 I absolutely disagree. Chromaticism is not atonality. This work was not written in the spirit of atonality, it's fundamentally a tonal work. Arguably the only 'atonal' music is dodecaphony. To say 'this work has a bit of atonality in it' is to seriously misunderstand the harmonies used and the reason behind its creation. Atonality pertains to a very slim canon of works in my opinion. Ones which go out of their way to be completely and consistently out of key, but still limit themselves to the 12 chromatic tones. Even the Messiaen modes are built from little shards of tonal scales.

I.,.,..,-"':;:-,;;^_:;-:'_

@Baileyrob a lot of music from the 1910s on can be said to be "atonal", from expressionism to serialism and beyond. It came to be associated almost exclusively with the second Viennese school, but I think historically the term has been used more broadly and as a purely negative concept - it's really just that, music that negates the conventions of eigteenth and nineteenth century tonality. So it will typically feautre irregular frasing, less sequences and candential cliches, an instrumentation which goes against the ideals of homogeneity and balance which developed during the classical era and so on. Schoenberg didn't just change the chords, he basically understood what it means to make music without organizing musical events in hierarchical fashion around the tonic chord. In this stylistic sense one may argue that Debussy for instance is as "atonal" as Schoenberg, beacuse even if he uses tonal or modal sonorities he arranjes them according to a completely different conception of form. I mean, no one really writes sonatas anymore, and the sonata is the tonal form par excellence, it's based on the tension between harmonic regions, it needs to affirm the tonality, modulate and then come back etc. Everyone uses triads but no one writes tonal music. If one focuses on which notes and harmonies are used the discussion becomes quite abstract and in my opinion not very helpful. Steve Reich uses this group of notes and so does Beethoven, and so does Paul McCartney etc but it doesn't really say anything about the music. I personally think it's more useful to think historically, when I was in music school we would have some very long discussions about "is this tonal or is this not, it has triads but to many added notes" or "this music is unnatural because it uses a quartal chord and nature gave us tonality" and so on and in the end I don't think this leads anywhere.

26 More Replies...

Samuel Holt

That last cord is so profoundly brilliant! Kind of how life is - things don’t end exactly “right” or exactly the way we would’ve hoped!

richard blake

I am stunned by this piece. I feel like I am floating. Gorgeous chords and running like the wind or a stream. So well played. Thank you for posting this. I have a new piece to start a new journey. Praise!

Randy Reade

This is a wonderful performance! Rogé's tone is subtle, dark and lyrical. His tempo is spot on -- I've heard it played many times too fast. He also has clarity and articulation while still enveloping the tones in a wash of color. That balance is difficult to achieve.

Jim Griffin

To me, he is one of the top three Satie interpreters.

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