He was a Parisian by birth and death, and always preferred the city to the country. His mother, an amateur pianist, taught him to play, and music formed a part of family life.
Poulenc was a member of Les Six, a group of young French composers, Darius Milhaud, Georges Auric, Louis Durey, Arthur Honegger and Germaine Tailleferre, who also had links with Erik Satie and Jean Cocteau. He embraced the Dada movement's techniques, creating melodies that would have been appropriate for Parisian music halls. An outstanding pianist, Poulenc featured the keyboard in many of his early compositions. He also, throughout his career, borrowed from his own compositions as well as those of Mozart and Camille Saint-Saëns.
He composed music in all major genres, including art song, chamber music, oratorio, opera, ballet music and orchestral music. Among Poulenc's last series of major works is a series of works for Winds and Piano. He was particularly fond of the woodwind instruments, and planned a set of sonatas for all of them, yet only lived to complete four: the Flute Sonata (1956), and sonatas for oboe, clarinet and horn.
Poulenc's Rapsodie nègre (1917), written for baritone, piano, string quartet, flute, and clarinet, sets nonsense syllables purportedly by a black Liberian poet. The piece, dedicated to Erik Satie, kept him out of the Paris Conservatoire, composition teacher Paul Vidal saying, according to Poulenc, "Your work stinks, it's inept, infamous balls... Ah! I see you're a follower of the Igor Stravinsky and Erik Satie gang. Well, goodbye!" Stravinsky, hearing of this story, arranged to have the piece printed.
Later in his life, the loss of some close friends, coupled with a pilgrimage to the Black Madonna of Rocamadour, led him to rediscovery of his faith and resulted in compositions of a more sombre, austere tone. His opera, Les Dialogues des Carmelites was written at this time.
France
Salve Regina
Francis Poulenc Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Vita, dulcedo et spes nostra, salve,
cd te clamamus, exsules filii Evae,
cd te suspiramus, gementes et flentes
In hac lacrimarum valle.
Eia ergo, advocata nostra,
Illos tuos misericordes oculos ad nos converte.
Et Jesum, benedictum fructum ventris tui,
O clemens, O pia, O dulcis virgo Maria.
The lyrics of Francis Poulenc's "Salve Regina" serve as a prayer to the Virgin Mary, seeking her intercession and mercy. The song begins by addressing Mary as the "Salve Regina," which translates to "Hail, Queen." This title acknowledges her position as the queen in heaven and emphasizes her role as a mother full of mercy. She is seen as the source of life, sweetness, and hope to those who seek her help. The lyrics present a sense of longing and desperation as they cry out to Mary.
The next lines of the song depict humanity as exiles, described as "children of Eve," who are separated from their true home with God. This portrayal reflects the Christian belief in the fall of humanity and expulsion from the Garden of Eden due to the original sin committed by Adam and Eve. The lyrics express the despair and sorrow of the exiled children, who are longing for salvation and forgiveness.
The reference to "In hac lacrimarum valle," meaning "in this valley of tears," further emphasizes the human condition of suffering and sorrow in the world. It shows that the world is a place filled with tears and affliction, highlighting the need for divine compassion and intervention. This phrase also signifies the temporary nature of human existence, suggesting that the ultimate hope lies beyond the earthly realm.
Continuing the prayer, the lyrics implore Mary to turn her merciful eyes towards those who are uttering this prayer. She is referred to as the "advocata nostra," meaning "our advocate." This title portrays Mary as a powerful intercessor who can plead on behalf of humanity before God. The plea for her intervention is accompanied by a request to show the blessed fruit of her womb, Jesus, to those who are enduring exile and suffering. The closing words of the song, "O clemens, O pia, O dulcis Virgo Maria," speak to Mary's qualities of compassion, piety, and sweetness. These characteristics evoke a strong emotional connection to her and emphasize the reverence and devotion being expressed in the prayer.
Line by Line Meaning
Salve Regina, Mater misericordiae
Hail, Queen, Mother of mercy
Vita, dulcedo et spes nostra, salve
Life, sweetness, and our hope, hail
Ad te clamamus, exsules filii Evae
To you we cry, banished children of Eve
Ad te suspiramus, gementes et flentes
To you we sigh, mourning and weeping
In hac lacrimarum valle
In this valley of tears
Eia ergo, advocata nostra
Ah, therefore, our advocate
Illos tuos misericordes oculos ad nos converte
Turn those merciful eyes of yours upon us
Et Jesum, benedictum fructum ventris tui
And show us Jesus, the blessed fruit of your womb
Nobis post hoc exilium ostende
Show us, after this exile
O clemens, O pia, O dulcis virgo Maria
O merciful, O loving, O sweet Virgin Mary
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
Orbilius Magister
Poulenc per coro è un gran mistero: manda allegramente a quel paese ogni concessione alla concertazione delle voci infarcendo le parti di false relazioni, quinte e ottave parallele apparentemente a casaccio, note estreme dell'estensione in condizioni improbe, cluster lancinanti tra parti interne (che non di rado si incrociano così, per motivi puramente coloristici) alternati ad accordi amplissimi con settime o none non preparate al basso... e qui mi fermo.
Eppure tutta questa (apparentemente) eccessiva complicazione alla fin fine ti presenta delle melodie così vincenti al soprano, delle armonie così piene di sentimento, delle successioni così adatte ai testi che animano... che alla fine se ne esce frastornati a pensare che le composizioni sono stupende, che la fatica di metterle insieme è comunque ripagata e che anche solo l'ascolto arricchisce chi ne gode. Poulenc è un po' il Charles Peguy della musica corale.
françois-Gaël Darbon
anch'io ! admirable texte.
Guido Vernaglione
io ti amo, chiunque tu sia
ninjaassassin27
Last bar, tenors do a 100% genuine mezzo voce on the resolution! Such sublime and perfect technique is becoming increasingly rare. These people have been trained by the absolute best, and are carrying on incredibly important vocal traditions. Whoever/wherever these choristers are, they are doing the Lord's work, and it shows throughout this recording.
Luca
Poulenc is really brilliant. My choir sang "Les Tisserands" in quarantine style. Write this down in the research. You will love it for sure:
Corale Novarmonia - Les Tisserands (F. Poulenc)
Nooticus
Incredible composition, clearly inspired by Renaissance music!
Sabrina Dubois
Wonderful. Used to sing this. Thanks for posting!
Anonym Zelda
Wunderschöön!!!! 😢😍😘😪😭
knud balandis
had the pleasure of singing it twice as a tenor voice. a life changing experience. poulenc is the 20th century compoder for voice. it instantly puts images in your head. but boy is this stuff difficult to pull of. still, except for the level needed extremely well put for the singers to execute.
Joe Guardino
Wow! Like all Poulenc, lots of tough intervals to tune. Kudos to the choir, especially the Sopranos! Anyone here know the time Poulenc composed this? There are thematic elements very similar to the "Domine Deus Agnus Dei" in his Gloria.