Live in Concert 12.02.14 - Poulenc, Ravel

[jayne lee wilson]

Personally, I don't hear Poulenc's Gloria as a mosaic or discontinuous in its effect. It does have a simple, very clear structure - an arch-form, with big dramatic outer movements (1 & 2, Gloria and Laudamus Te as an allegro with the Gratias as a contrasting lyrical subject; and 6, Qui Sedes, as finale - a thematic recap and synthesis, with repeated fanfares from the opening, and more than a hint of the Domine Deus in the soprano's contributions, and in the miserere and the altissimus); with a central lengthy slow movement (Domine Deus, 3/5) which encapsulates a brief scherzo (4, Domine fili).
Striking too is the greater emotional intensity, and the thematic variation of the original Domine Deus theme, in the second Domine Deus section (5) with the Agnus Dei and the Qui Tollis - which are the more agonising concepts after all.

Sometimes, anecdotal images of naughty gargoyles, football-playing monks, giggling in church can obscure the ear's apprehensions; and too close a focus on the very diverse source materials and Stravinskian influence can lead one to overlook the almost simplistic musical unity of the piece. But I do feel there is an emotional unity of vision as well, a passion-within-irreverence/irreverence-within-passion, a kitsch melodrama which is scarcely alien to the Catholic faith - think of the Black Madonna, or those lurid-lipped plaster statues of Christ or the Virgin Mary, their devotees queuing with proffered cups to catch real tears or a trickle of precious, sacred blood. Scenes both comedic and touching.

But then, I have a special affection for Poulenc, I find in him a kindred spirit of volatility and vivacity, and I love his feathery touch when alighting upon the profundity of last things...

[Sir Velo]

Hymnus Paradisi ...can claim to be the dog's bollocks

Is that a warmer commendation than being an undigested dog's dinner?

[Alison]

Is that a warmer commendation than being an undigested dog's dinner?

Both descriptions are pointing me to my Proms recording of said piece. Truth to tell I have never got to know it.

Today's the day.

[Petrushka]

Personally, I don't hear Poulenc's Gloria as a mosaic or discontinuous in its effect. It does have a simple, very clear structure - an arch-form, with big dramatic outer movements (1 & 2, Gloria and Laudamus Te as an allegro with the Gratias as a contrasting lyrical subject; and 6, Qui Sedes, as finale - a thematic recap and synthesis, with repeated fanfares from the opening, and more than a hint of the Domine Deus in the soprano's contributions, and in the miserere and the altissimus); with a central lengthy slow movement (Domine Deus, 3/5) which encapsulates a brief scherzo (4, Domine fili).
Striking too is the greater emotional intensity, and the thematic variation of the original Domine Deus theme, in the second Domine Deus section (5) with the Agnus Dei and the Qui Tollis - which are the more agonising concepts after all.

Sometimes, anecdotal images of naughty gargoyles, football-playing monks, giggling in church can obscure the ear's apprehensions; and too close a focus on the very diverse source materials and Stravinskian influence can lead one to overlook the almost simplistic musical unity of the piece. But I do feel there is an emotional unity of vision as well, a passion-within-irreverence/irreverence-within-passion, a kitsch melodrama which is scarcely alien to the Catholic faith - think of the Black Madonna, or those lurid-lipped plaster statues of Christ or the Virgin Mary, their devotees queuing with proffered cups to catch real tears or a trickle of precious, sacred blood. Scenes both comedic and touching.

But then, I have a special affection for Poulenc, I find in him a kindred spirit of volatility and vivacity, and I love his feathery touch when alighting upon the profundity of last things...

Jayne, this is wonderful writing . Thanks very much.

[edashtav]

Jayne, this is wonderful writing . Thanks very much.

I agree absolutely with Petrushka, Jayne.
I don't agree with your conclusions but I admire your arguments and the love and care you put into their expression.

[edashtav]

Personally, I don't hear Poulenc's Gloria as a mosaic or discontinuous in its effect.
[...]

I stick by my word “mosaic” to describe the construction of Poulenc’s Gloria, Jayne. However, I don’t feel that “mosaic” is necessarily perjorative – very many 20th century composers from Tippett to Messaien employed similar techniques. Francis Poulenc started life as a miniaturist and whilst he developed his own tools to enable some longer structures, those structures are not underpinned by the steel supports that one finds in Bach, Beethoven, Brahms or Bruckner. Rather he engages the listener through frequent shakes of his musical kaleidoscope. His short, charged particles are fundamentally tonal, but they brush dynamically against others from remote regions and that leads to an apparent harmonic piquancy. Boredom is avoided through subtle variation and expectation is confounded through volte-faces of pace, volume, key and character. The banal beds down with the sophisticated, the most cloying religiosity is cleansed by strident modernism, and the coarseness of the street intrudes on life’s sacred moments. It’s colourful, personal and not without value. Poulenc and his gargoyles are not players in the Premiership but they’re unlikely to get relegated from the Football League Championship. ... I love Poulenc, too, but that love fills me with guilt and when Poulenc's footballing clerics have finished playing with their footballs perhaps I should visit one in the Confessional.

[jayne lee wilson]

Well, Ed, I would recommend Don Camillo as a truly Poulencian confessor... and you will listen very closely to the cartoonish Crucificial advice won't you? As Christ smiles down upon the tweeting children. Unless you throw off the guilt, subscribe to Sky, watch the Premiership, don the animal skin and throw yourself into a Ravellian bacchanale. With incidental music by.... St.Francis of - Paris.

[edashtav]

Well, Ed, I would recommend Don Camillo as a truly Poulencian confessor... and you will listen very closely to the cartoonish Crucificial advice won't you? As Christ smiles down upon the tweeting children. Unless you throw off the guilt, subscribe to Sky, watch the Premiership, don the animal skin and throw yourself into a Ravellian bacchanale. With incidental music by.... St.Francis of - Paris.

Very wry, Jayne.
I've taken your advice and found Don Camillo in confessional mode:

“There is never any use in arguing with You!” Don Camillo had exclaimed. “You are always in the right. Your will be
done. We must forgive."