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

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Le Chèvre du Thibet—Poulenc
Poulenc also opted for a minor tonality in his setting of “Le Chèvre du Thibet.”
As the vocal line and accompaniment enter on the pick up note, the G minor tonality is
immediately established. The accompaniment, carrying mainly eighth-note values, is to
be played evenly, as is the vocal line. The bass line has a walking-bass sequence that
plods along in measures 2, 3, 6, and 7.
For the most part the vocal line oscillates between two notes. The largest interval
in “Le Chevre” is a major third. There are few dotted rhythms—predominantly, straight
rhythms are sung. The accompaniment is simple, yet effective: measures 2, 3, 6 and 7 and
identical, as are measures 4 and 5. The first two lines set up a comparison for the last two
lines: the golden coat of the goat that Jason pursued is nothing compared to the hair of the
poet’s lover.
Fig. 2 “Le Chèvre du Thibet,” mm. 4-5
The climatic part of this poem is introduced in the sforzando placed over the word
“Jason” in measure four. It is interesting that “Jason” is emphasized in this way. It is
puzzling to consider why Poulenc would make an allusion in the poem the loudest word
in the song. Durey chose to emphasize the last line—about the poet’s lover—instead. As