Francis Jean Marcel Poulenc (January 7, 1899 - January 30, 1963) was a Fren… Read Full Bio ↴Francis Jean Marcel Poulenc (January 7, 1899 - January 30, 1963) was a French composer and a member of the French Group Les Six.
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
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
Stabat Mater dolorosa
Francis Poulenc Lyrics
We have lyrics for 'Stabat Mater dolorosa' by these artists:
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Epica Stabat mater dolorosa juxta Crucem lacrimosa, dum pendebat…
Giovanni Battista Pergolesi Stabat mater dolorosa Juxta Crucem lacrimosa, Dum pendebat F…
Karol Szymanowski Stała Matka Boleściwa Obok krzyża ledwo żywa Gdy na krzyżu w…
Ricercar Consort Philippe Pierlot Nuria Rial and Carlos Mena Stabat Mater dolorosa juxta crucem lacrimosa dum pendebat fi…
Saurom Pienso y no, no encuentro algъn motivo Mнrame, no te vayas…
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: 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,…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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@betschdorf67760
71st Anniversary of the world premiere of Francis Poulenc's Stabat Mater
Concert-anniversary and musicological conference-presentation given on the occasion of the 71st anniversary of the world premiere of Francis Poulenc's Stabat Mater by the Choir of Saint-Guillaume under the direction of Fritz Münch in 1951.
The Saint-Guillaume Choir is an emblematic group from Strasbourg with a prestigious history, created in 1885 by Ernest Münch and having counted among its members and supporters Albert Schweitzer, Arthur Honegger and Francis Poulenc. The Choir is a leading player in the musical heritage of Alsace and cultivates the interpretation of the great vocal symphonic works, in particular those of J.S. Bach. It is made up of amateur volunteers of a high musical level and is organized as a non-profit association, open to all.
On June 13, 1951, the ensemble premiered Francis Poulenc's Stabat Mater with the Strasbourg Municipal Orchestra, which later became the Strasbourg Philharmonic Orchestra, under the direction of Fritz Münch, brother of Charles Münch and son of the founder of the Saint-Guillaume Choir, Ernest Münch.
This group will perform the work again on June 5 in Strasbourg and on June 11 at the invitation of the Dominicans of Guebwiller for the 71st anniversary of its world premiere.
Project details: The Saint-Guillaume Choir, prepared by its musical director Béatrice Dunoyer, is organizing an event-concert around the Stabat Mater as part of an innovative transversal collaboration, initiated with Vincent Dubois, Director of the Conservatory and the Higher Academy of Music of Strasbourg-Haute école des arts du Rhin, between amateurs and musicians in training of excellence prepared by Jean-Philippe Billmann, all animated by the same artistic requirement under the direction of Claude Schnitzler, conductor from Strasbourg with an international career.
The Stabat Mater, whose soloist will be Maria Giuliana Seguino, will be preceded by works by W.A Mozart, M. Duruflé, Du Jonchay and Poulenc.
A lecture-presentation "fil-rouge" given under the aegis of the musicologist Mathieu Schneider of the University of Strasbourg will precede the Stabat Mater and will bring a scholarly light to the musicological dimension of the work in order to trace its genesis and creation in its historical, musical and artistic context.
This event, whose impact has been echoed as far away as the United States, since an article was written for the occasion by musicologist Sylvia Kahan of New York University, will be performed for the first time on Sunday, June 5, 2022, at 5:00 p.m. in the Palais des Fêtes in Strasbourg, the original venue for the work's creation, and then a second time on Saturday, June 11, at 7:00 p.m. at the invitation of the Dominicans of Haute-Alsace in Guebwiller.
This project will bring together more than one hundred and sixty musicians around the same passion for music and the remarkable pages of its history written within the musical world of Strasbourg.
This event will also be the occasion of an official presentation with the deposit of original autograph letters from Francis Poulenc, property of the Saint-Guillaume Choir, addressed to Fritz Münch, notably from New York where he received the Critics' Circle Prize for the best choral work of the year.
With this project, the Saint-Guillaume Choir initiates the celebration of a major page in the history of music written in Strasbourg by associating in the same impetus its demanding and passionate amateur choristers with young musicians in training of excellence, by paying tribute under the direction of conductor Claude Schnitzler, to a prestigious, fervent and authentic lineage in the service of music.
@mimi-ql7tm
j´ai eu le bonheur de jouer cette oeuvre, très émouvante
@leonardoiglesias2394
Emouvante las pelotas. Es una cagada esta obra. De comienzo a fin.
@PoetsPissPizza
This is probably my favorite example of how gloriously wonderful the music of Francis poulenc is
@christine-wolff
Oh, I remember (as solo soprano) this wonderful concert ;-) But it was a pity that my recording microphone was failed. So my voice is too quiet - compared to choir and orchestra. Still, I love the recording, and the piece. Poulenc is blessed by heaven.
@anneperraud8087
Je rentre progressivement dans le monde musical complexe de Poulenc. Cette oeuvre se laisse aprovoiser petit à petit.
Et cette "version "est juste parfaite !
@Esteban-ud3ml
n'est ce pas :)
@sonicsnap1173
How moving is this work! And this performance is a beautiful homage to Francis Poulenc.
@christopherrobinson3502
sonicsnap117 *
@notaire2
Klare und durchsichtige live Aufführung dieses harmonisch anspruchsvollen Meisterwerks mit perfekter Synchronisierung aller Stimmen und Instrumente. Der geniale Dirigent leitet den ganzen Chor und das ganzen Orchester sehr künstlerisch im angemessenen Tempo und ohne überflüssige Agogik. Einfach Klasse!
@sergeysimkin3263
Замечательная музыка ! Замечательное исполнение ! Спасибо за публикацию !