Parental influences, it is undeniable that a gentle, devout Poulenc coexisted withĪ rakish bon vivant throughout his life, and these two opposing natures emerged rather unpredictably in his music. Claude Rostand pinpointed one such contradiction when he described Poulenc as “half monk, half guttersnipe.” Though these appellations are extreme, not only with regard to Poulenc, but particularly in referring to his His resultant breadth of knowledge and refinement impressed acquaintances and friends, such as Stéphane Audel, who in 1963 expressed an admiration for the extent of Poulenc’s “cultural competence.” A personality and aesthetic formed by two such contrasting influences as Poulenc’s mother and father might be expected to show contradictions, and indeed they did. He read extensively and was later to make a conscious effort to visit art galleries wherever he traveled. Poulenc was to develop anĪcute sensitivity to culttre, particularly to the poetry and painting of the From his mother the young Francis absorbed a love of poetry and painting, as well as of literature, drama, ballet, and cinema. Both his mother and Papoum entertained frequently at the Poulenc apartment on the Place des Saussaies, receiving aristocrats, singers, andĪctors with equal grace. Was a man-about-town, a raconteur who took young Poulenc to concerts, plays, and art galleries. Poulenc’s maternal uncle, Marcel Royer, known as Papoum, Her family had been settled in Paris for generations, and they had always enjoyed all the cultural benefits the capital city could offer. Poulenc’s mother, Jenny Royer, brought a contrasting influence to bear on the child-that of a cultured urban socialite. The gaiety and sensuality that pervade much of his religious music should not suggest that his belief was corrupt, weak, or even misdirected rather, these qualities express a realistic, humanistic interpretation of religious belief. Poulenc disliked proselytizing, breastbeating, and mental or spiritual self-criticism.
This conception, which was positive and happy, was based upon a profound deism, rather than upon organized religion. Thinker, and Poulenc’s personal conception of religion can be traced to him.
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Poulenc’s father was devout, but far from dogmatic indeed, he was a free My father, like all of his family, was profoundly, but liberally, religious, without the slightest trace of pettiness.’ He brought a provincial background to the Poulenc household: it must be remembered that my father came from the robust and mountainous Aveyron district, situated between Auvergne and the Mediterranean lowlands. The spiritual encouragement came primarily from his father, Emile, one of the managers of the Rhéne-Poulenc textile firm. In writing about his childhood, he was always quick to acknowledge the influence that both of his parents exerted on his spiritual, cultural, and musical development. biwsO eve Aaguec Hel boa Jongivd onan? send soįrancis Poulenc was born in the heart of Paris, near the Place de la Madeleine, | ght Joagen rtmasen sd) anid glo tied) 201 siqos saree oO} oes. Galeail biyvow | oistud 1a AVOYwaHtYo liesvialFalae aA 0 I would like also to thank the following people for their help during the research stage of this work: Mme Jean Séringe, Yves Gérard, Jean-Michel Nectoux, Georges Auric, Jacques Février, Pierre Bernac, Suzanne Peignot, and Henri Sauguet. I ge wi? Lieven Gotti: Inarmnaional es Ake Acti, Ren OWE 6 =Īcknowledgments I would like to express my deepest thanks to my advisers, Jeremy Noble and David Fuller, of the State University of New York at Buffalo. 52) “A revision of the author's thesis, State University of New York, Buffalo, 1980.” 1. Library of Congress Cataloging in Publication Data Daniel, Keith W. Daniel All rights reserved Produced and distributed by UMI Research Press an imprint of University Microfilms International Ann Arbor, Michigan 48106 Compositional Origins of Beethoven’s String Quartet in C Sharp Minor, Opus 131Ĭopyright © 1982, 1980 Keith W. French and Italian Influence on the Zarzuela: 1700-1770 51 The French Cantata: A Survey and Thematic Catalog 49 Schoenberg's Twelve-Tone Harmony: The Suite Op. 48 The Keyboard Concertos of Carl Philipp Emanuel Bach
46 The Spanish Baroque Guitar, with a Transcription of de Murcia’s Passacalles y obras
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52 George Buelow, Series Editor Professor of Musicology Indiana University C n e l u o P s i c n a r F _ Development His Artistic Sįrancis Poulenc His Artistic Development and Musical Style
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