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

More documents

Recommendations

Info

47 L’Écrevisse—Durey The Timide tempo marking aptly expresses the uncertainty and hesitant nature of the poet as evidenced in the text. The accompaniment prelude sets the precedence of a smooth, fluid line that is later emulated in the independent vocal line. The two-bar figure is interwoven throughout the piece; it is repeated in measures one and two and is repeated several times throughout the piece: down a seventh in measures 6 and 7, down a fourth in measures 13-14 and up a fifth in measures 15 and 16. Fig. 10 “L’Écrevisse,’ mm. 1-2 Several elements in Durey’s “L’Écrevisse” express the backward motion of both the crayfish and the poet. The triplet in the aforementioned repeated figure is always descending, indicating backwards motion. The triplet figure also gives a feeling of “give and take.” Similarly, the vocal line descends at its entrance to express retrogression. To further emphasize the repetitive backwardness the poet writes about, Durey sets the words à reculons on the same note, E, as the vocal dynamic continues its decrescendo to pp. This repetition of both the text and the same note, gives a feeling of stagnancy. Both the vocalist and the accompaniment must “back away” at the end of the piece, as the dynamic decreases to a hushed pp.
48 Durey emphasizes backwardness in “L’Écrevisse,” and in doing so, expresses movement. Durey sets the phrase nous nous en allons (you and I—we move) at measure 11 in a triplet, indicating movement. In the following measures, the listener discovers that the movement is not forward, but backward—like the crayfish. Durey’s admiration for Debussy is apparent in this piece. The ascending chords in measures 9-12 are especially reminiscent of Debussy’s ethereal La cathédrale engloute (The Sunken Cathedral). In measure 8, the ascending nine-note pattern is based on a fivenote, or pentatonic, scale—another element indicative of Debussy’s work.
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 and 50: 44 Le Dauphin—Durey The accompani
Page 51: 46 “Le Dauphin” has a sing-song
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

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

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?