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

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45 Le Dauphin—Poulenc In contrast to Durey’s whimsical setting, Poulenc’s “Le Dauphin” is portrayed as animated creature. Marked Animé, this piece emulates a lively creature of the seas, leaping in and out of the water. The introduction in the accompaniment progresses through a I, iii, IV, V chord progression in A major and at measure four plays what could be interpreted as the “bitterness” of the sea in seconds. It is in measure four, and again in measure 13, that the pedal is introduced. The other 11 bars of the piece, however, are clearly marked sans pédale. Throughout the mélodie, the left hand of the accompaniment plays the vocal line in the treble clef while the right hand plays chromatic minor thirds. The interval of fourths is predominant in the vocal line—in measures 5-6, 8, and 9-10. The jumping of fourths, in measures 5-6 and 9-10, further adds to the “liveliness” that the composer indicates. To that end, Pierre Bernac suggests that the singer should make contrasts according to the meaning of the text “lines one and three [measures 5-6 and 9-10] mf and rhythmic; lines two and four [measures 7-8 and 11-12] p and legato, with an expressive stress on the syllable ‘cruelle.’” 72 Fig. 9 “Le Dauphin,” mm. 5-6                                                          72 Bernac, Interpretation of French Song, 279.
46 “Le Dauphin” has a sing-song quality that convinces the listener that the creature is rather content, if not happy, playing in the waves. The only hint of dissonance or “bitterness” in the piece is conveyed in the major seconds played in measures 4 and 13. Other than that, the piece has an extremely joyful sound. Poulenc’s “Dauphin” seems to have managed looking past the “bitter waves” of the sea and enjoying its life.
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 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: 44 Le Dauphin—Durey The accompani
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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