Lloyd
I often find that Poulenc hid at least one "gem" in each cycle. I love "Nous avons fait la nuit", as much for the poem itself as Poulenc's very intimate setting of it. I find the same with Banalités, and the sudden change of mood going from "Voyage a Paris" into "Sanglots", which I would say competes with "Nous avons fait la nuit" for Poulenc's finest.
I often feel with Poulenc that his very lightness of touch in many of his settings provides the contrast for his deeper work, so that when he turns to a poem such as Sanglots, then the effect is so much more profound due to this contrast. When composers are all angst with no relief, then the angst can sometimes become mundane. Are there any other composers that listers feel have this ability to switch from light to darkness (as it were) to really jolt the listener into a new space?
Colin Reed, tenor Newark, UK ----- Original Message ----- From: "Lloyd W. Hanson" <lloyd.hanson@n...> To: <vocalist-temporary@yahoogroups.com> Sent: 25 January 2003 21:20 Subject: Re: [vocalist] Tel jour telle nuit
> Colin: > > I have a translation, from where I do not remember, that I used in a > program when I sang this cycle in recital. Give me a bit of time and > I will look it up and send it to you. As I remember it was a good > translation. > > Good to hear you are considering this work for performance (I > assume). It is of the best of Poulenc. In fact, I think the final > song in the cycle, "Nous avon fait la nuit" is Poulenc's finest. > > > -- > Lloyd W. Hanson > > > > > > >
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