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

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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