I was deeply impressed by volume 2 of this series (see review),
and this third volume of songs on poems of various poets continues this
high quality. There are 40 songs in all which gives an average of 2
minutes per song, and this programme offers plenty of value.
The opening set Chansons gaillardes gives us the full range of Poulenc’s moods, from an unexpectedly grim Chanson à boire, the richly lyrical L’Offrande,
and plenty of highly atmospheric and boisterous contrasts. As ever, all
of the texts are given in the booklet in their original French and in
English translation. Many of the songs here are notable for the ancient
nature of their sources, from the 15th century works of Charles d’Orléans, Pierre Ronsard of the 16th and François de Malherbe from the 16th and early 17th
centuries. Poulenc makes no compromise in the individuality and
character of his harmonies and melodies, occasionally throwing in some
open fifths and giving a sense of timeless mystery, but more often
dropping these writers straight into the highly distinctive and
personal idiom we all know and love. Gorgeous songs such as Le Tombeau are right up with Poulenc’s best work, and you can sense his relish and joy of inspiration in setting these poems.
The second part of the programme brings us more up to date, with poets
such as Maurice Fombeure and Louis Aragon. Jean Cocteau occupies a
special place here, being one of Poulenc’s friends, a unique creative
voice and an influential figure amongst Les Six. Poulenc’s settings in Cocardes
remain approachable, but you can sense him raising his game in
responding to Cocteau’s sparing use of language - the silences in the
vocal part filled with musical imagery, sewing up with significant
notes the gaps normally filled by the imagination of the reader. The
substantial Toréador mixes a relaxed salon swagger with winks to Bizet’s Carmen,
creating a Spanish stereotype who spears his game with a baguette - or
at least that’s what the irony in the music seems to suggest.
Full of highlights, there are too many jewels here to pick out all of
the favourites. I enjoy the dark to light piano moods which go with
Robert Desnos’s Dernier poème, the sheer simplicity of something like L’Enfant muet from García Lorca, the energy of Colette’s Le portrait or the sheer brilliance in surprise which Poulenc infuses Raymond Radiguet’s Paul et Virginie. Laurence de Belié’s Nuage
is a perfect conclusion, but beware a mismatch in the track numbers on
the rear inlay which leads us to believe there are 41 rather than 40
songs. As ever, Holger Falk’s vocal interpretations are superbly
nuanced and avoid histrionic extremes, Alessandro Zuppardo’s
accompaniments the summit of refinement and a continuously colourful
equal partnership. MDG production and presentation are as good as
faultless.
Dominy Clements
