a comparative analysis of louis durey and francis poulenc's settings ...

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31 My Songs that it is a shame his settings “are so often heard with piano that the original has been forgotten.” 67 In considering the six poems included in this study, there are some notable differences between the settings. First of all, Poulenc’s set does not follow the same order as Durey’s (or Apollinaire’s, for that matter). He begins with “Le Dromadaire” instead of “ Le Chèvre du Thibet” and then continues the set in the correct order. There are also notable differences in tempo indications, which, in turn affect the characterization of the animal. Durey’s “Le Dauphin” is traquille (tranquil) while Poulenc’s is anime (animated). Graham Johnson, in his notes, remarks “the friendly grace of [Durey’s] dolphin is perhaps better caught than in Poulenc’s jollier setting.” 68 Also, Durey’s “L’Excrevisse” is timide (timid), while Poulenc’s is assez vif (rather fast). These differences affect how the text is portrayed through song. The character of both the animal and the poet is sometimes interpreted differently by each of the composers. Another distinction is that Durey’s “Le Dromadaire” is light, while Poulenc’s seems to tread slowly along, with slow movement associated with camels. The following analyses will further examine the intricacies of each setting as well as the similarities and differences between the two composers’ settings.                                                                67 Poulenc, “Diary of my songs,” 21.  68 Johnson, Songs by Louis Durey, 31.
32 Le Chèvre du Thibet—Durey In this tender setting of Apollinaire’s love poem, Durey places both hands in the treble clef, for the most part, except for in measures 11 and 12. The treble sound aptly expresses the tenderness of the text and the poet’s sincere admiration for his lover and her locks of hair. At first glance, it is difficult to determine the key of this piece. Upon closer examination, however, the piece seems to be grounded in C minor—the C minor chord is repeated throughout. The motif introduced in the first four measures appears in several places throughout “Le Chèvre du Thibet.” It is repeated an octave lower in measures 5-8, a fifth lower at measure 11, and an octave lower in measure 15. The final bars of the piece, akin to the first several bars, ascend until the motif is played an octave higher than the original appearance. Starting in measure 17, the time signature shifts between 3/4 and 2/4, eventually settling into 3/4 for the last two measures. . Fig. 1 “Le Chèvre du Thibet,” mm. 1-4 The dynamic indications for both the vocalist and the accompanist are very subdued in “Le Chèvre du Thibet.” The piece begins at pianissimo and ends at pianissimo possible (ppp). The dynamic increases gradually as the vocal line enters and decreases when the voice exits at measure 17. Beginning at measure 12, the voice crescendos,
Page 1 and 2: A COMPARATIVE ANALYSIS OF LOUIS DUR
Page 3 and 4: Special Thanks To Dr. Thomas Millig
Page 5 and 6: v List of Figures Fig. 1 “Le chè
Page 7 and 8: 2 other composing to the same poem
Page 9 and 10: 4 on the artistic level, Durey and
Page 11 and 12: 6 lyricism. 15 Auric and Poulenc st
Page 13 and 14: 8 III. Biographical Background a. G
Page 15 and 16: 10 b. Louis Durey (1888-1979) Louis
Page 17 and 18: 12 c. Francis Poulenc (1899-1963) F
Page 19 and 20: 14 d. Raoul Dufy (1877-1953) Raoul
Page 21 and 22: 16 IV. Le Bestiaire—The Union of
Page 23 and 24: 18 a. Le chèvre du Thibet For all
Page 25 and 26: 20 b. Le dromadaire With his four d
Page 27 and 28: 22 c. La sauterelle See the fine gr
Page 29 and 30: 24 d. Le dauphin Dolphins, you play
Page 31 and 32: 26 e. L'écrevisse Uncertainty, O m
Page 33 and 34: 28 f. La carpe Carp, how long you l
Page 35: 30 called irresistibly for music, o
Page 39 and 40: 34 Le Chèvre du Thibet—Poulenc P
Page 41 and 42: 36 Le Dromadaire—Durey Durey’s
Page 43 and 44: 38 Le Dromadaire--Poulenc Poulenc
Page 45 and 46: 40 La Sauterelle—Durey The tempo
Page 47 and 48: 42 La Sauterelle--Poulenc The short
Page 49 and 50: 44 Le Dauphin—Durey The accompani
Page 51 and 52: 46 “Le Dauphin” has a sing-song
Page 53 and 54: 48 Durey emphasizes backwardness in
Page 55 and 56: 50 signature to 2/4, for only a mea
Page 57 and 58: 52 with A-flat major, in measure 11
Page 59 and 60: 54 The piece is grounded in the qui
Page 61 and 62: 56 even if he had just composed “
Page 63 and 64: 58 Bibliography Apollinaire, Guilla

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