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

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L’Écrevisse—Poulenc
Much like Durey, Poulenc emphasizes the elements of backwardness in his setting
of “L’Écrevisse.” The approach and overall sound, however, is quite different. Durey’s
“L’Écrevisse” does not crescendo at all—it only gets quieter as the piece continues—
Poulenc’s setting provides more dynamic contrast. Also, unlike Durey’s timide tempo
marking setting, Poulenc’s setting trots along at an assez vif (rather fast) tempo. This is
interesting, since crabs are not generally considered fast moving creatures.
As the motive is introduced immediately in the accompaniment, one pictures a
crab scurrying “to and fro.” The crab rushes forward and retreats backwards, rather
quickly, along with the tide. The piece slows slightly and settles into a tempo at the vocal
entrance at measure 3. The accompaniment in measures 3-8 mimics the vocal line, and
the motive is reintroduced, an octave lower and backwards in measure nine, when the
vocal line begins its slide backwards. The repetition, especially in measures 9-12,
emphasizes the poet’s hesitant tendency. As the piece continues, the range of the
accompaniment descends and both hands move into the bass clef at measure nine.
Fig. 11 “L’Écrevisse,” mm. 1-2
The tessitura of the vocal line lies around A-flat, as the piece is in A-flat minor.
The vocal line moves in seconds and thirds until à reculons in bar nine, when the voice
slides down a fifth, emphasizing backwardness. At measure six, Poulenc alters the time