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

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37 this case, the singer’s realization that he will never own four dromedaries or travel all over the world, for that matter. This change reflects the change in the text. For the first three lines, the poet is telling about Don Pedro. In the last two lines, starting at measure 16, he is telling about himself and his desire to also explore the world. Fig. 4 “Le Dromadaire, “ mm. 13-15
38 Le Dromadaire--Poulenc Poulenc’s “Le Dromadaire” differs from the rest of his collection in that it is his only Bestiaire setting not in the 4/4 time signature; it is set in 2/4, as is Durey’s setting. It is also the longest of Poulenc’s Bestiaire settings—by thirty measures—perhaps to establish Don Pedro’s lengthy voyage and the dromedaries’ weighted stride. Also, “Le Dromadaire” is the only Poulenc Bestiary piece with a substantial interlude of seven measures. Throughout the majority of the piece, the left hand plays in 16th-note chromatics. The dromedary, trudging along, appears throughout the piece in what will be referred to as the “A” section: measures 1-14, 22-33, and 37-39. The “B”-like section appears at the mention of Don Pedro in measures 15-22 and the poet at measures 34-36. The vocal line also reflects the distinct sections in the piece. The melody is the same in measures 11-14 and 30-33. The melody of the “B” section is similar at both of its appearances in measures 15-22 and 34-37. The first three lines of poetry are separated from the last two by an interlude. Durey opted for this as well. The first three lines of poetry are declarative—facts about Don Pedro and his dromedaries. The last two lines express the poet’s admiration for Don Pedro’s sense of adventure. The ascending vocal line in measures 15-17 is accompanied by an ascending progression of chords—E major, F major, G major, A minor, B diminished and C major—before descending. The straight rhythms in the vocal line throughout the piece adds to what Wilfrid Mellers calls the “cumbersome lollop” of the
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 and 36: 30 called irresistibly for music, o
Page 37 and 38: 32 Le Chèvre du Thibet—Durey In
Page 39 and 40: 34 Le Chèvre du Thibet—Poulenc P
Page 41: 36 Le Dromadaire—Durey Durey’s
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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