There is no other interpreter, alive or deceased, who can unlock the true beauty and artistry of these melodies of Poulenc than Pierre Bernac whose formula was simplicity, humility and pure genius.
One of the interesting things he touches upon, is how to tell where it is necessary to make a "liason" between the consonant that ends one word and the vowel that begins the next word, where not to, where it is optional. Fascinating.
@pianomags de rien. I recommend checking the playlist I made for Bernac. A lot can be learned from his singing and Poulenc's pianism. The Bernac/Casadesus Dichterliebe is a classic.
@sophiemichaux I believe he ultimately feels the use of portamenti is a matter of personal taste and judgement. Bernac is such a gifted singer. I highly recommend looking at my playlist for Bernac and also the playlist for Charles Panzéra -- both may be found on my channel page. So much can be learned from these artists! You may also be interested in the very talented abritone Pierre Mollet who was a student of Panzéra. I have made a playlist of his art as well.
It may sound silly for me to say this...but in "Sanglots", the concluding song, the already potent mood of yearning and nostalgia inherent in Apollinaire's text and in Poulenc's setting is (at least for me) further heightened by the apparent frailty of Bernac's vocal resources (resources which he nonetheless exploits brilliantly), and even by the dated sound of the recording, which gives the sense of something far off and out of reach.
Such expertise comes only once in a generation, if at all. Here you have two performers in their prime who are offering you the definitive interpretations of these songs. Why search elsewhere or further? "Etre si pres de la verite, et ne pas la voir", as Magda Tagliaferro once said to me (at the dinner table in a villa on the Riviera).
With discernment: listen constantly to the effect. Don't use it too often. With taste: does it sound better to use upward or downward portamenti? In crescendo or diminuendo? Do we use it on consonants or vowels? It is an expressive device: know what you are expressing when using it!
Hello, Kadoguy. I enjoy so much this uploaded recording. I am doing a presentation about Poulenc's Banalites. I would be very thankful if you could tell me the source of this audio recording. Thank you very much. Anna
Here's the deal. If we listen with American ears, we can't hear the nuance, the inflection, the discernment, the meaning. This is French, and Bernac and Poulenc are expressing only as they can, and it won't sound the same as when Americans sing it. The songs not only express French style, but everything that was going on at the time the pieces were written, Poulenc's experiences professionally, personally, and socially. To say good pianist, man can't sing, is sad.
I beg to disagree. Singers need to put years into learning the very specific nuances of French diction. Someone with a good ear would be able to perform this to a level that is impossible to distinguish from a native speaker
@@sofiascattarreggia7007 As witness the English soprano Felicity Lott's excellent Poulenc song and opera recordings. Also, more recently the German baritone Holger Falk has done three superb all-Poulenc CDs: beautiful voice, wonderful feel for the language and style -- highly recommended! Nonetheless, it's always a treat to hear native speakers singing in their first language, and of course Bernac not only sang Poulenc's songs incomparably, but inspired nearly all of them. :-)
By this stage Bernac's voice was well beyond its best years. Excellent musicality and sensitive empathy to the textual and music itself cannot cover a tight voice that can no longer cover In the upper range. This is an amazing musical composition but Poulencs ideal playing is not matched by the frayed voice yearning for its better days. Souzay while succumbing to a similar vocal fate did record a far better recording of this cycle with Dalton Baldwin.
It is hard to think about Poulenc's melodies without Pierre Bernac. Bravo! Thank you for posting.
There is no other interpreter, alive or deceased, who can unlock the true beauty and artistry of these melodies of Poulenc than Pierre Bernac whose formula was simplicity,
humility and pure genius.
Thank you. Exquisite recording.
This is all-time FAVORITE song cycle... EVER!!! Thank you so much for posting this!!!!
Sehr glücklich zu zuhören, danke 3x
Bernac was the most marvelous interpreter of Poulenc....such style and clarity in his singing....c'est vraiment parfait...
If you are a singing student, or an afficionado of the French "melodie" (art song), Bernac's book The Interpretation of French Song is indispensable.
Absolutely love this book, helped me fall in love with Poulenc. Fantastic little thing.
Thank you so much for sharing this gem.. Breathtaking
One of the interesting things he touches upon, is how to tell where it is necessary to make a "liason" between the consonant that ends one word and the vowel that begins the next word, where not to, where it is optional. Fascinating.
0:00 Chanson d‘Orkenise
1:22 Hotel
3:02 Fagnes de Vallonie
4:30 Voyage a Paris
5:25 Sanglots
Thanks so much for this upload. This is about as definitive a version of these songs as can be. Much is learned by hearing them.
Real artistry at its finest!
@pianomags de rien. I recommend checking the playlist I made for Bernac. A lot can be learned from his singing and Poulenc's pianism. The Bernac/Casadesus Dichterliebe is a classic.
@sophiemichaux I believe he ultimately feels the use of portamenti is a matter of personal taste and judgement. Bernac is such a gifted singer. I highly recommend looking at my playlist for Bernac and also the playlist for Charles Panzéra -- both may be found on my channel page. So much can be learned from these artists! You may also be interested in the very talented abritone Pierre Mollet who was a student of Panzéra. I have made a playlist of his art as well.
great upload, thanks!
It may sound silly for me to say this...but in "Sanglots", the concluding song, the already potent mood of yearning and nostalgia inherent in Apollinaire's text and in Poulenc's setting is (at least for me) further heightened by the apparent frailty of Bernac's vocal resources (resources which he nonetheless exploits brilliantly), and even by the dated sound of the recording, which gives the sense of something far off and out of reach.
Such expertise comes only once in a generation, if at all. Here you have two performers
in their prime who are offering you the definitive interpretations of these songs. Why
search elsewhere or further? "Etre si pres de la verite, et ne pas la voir", as Magda
Tagliaferro once said to me (at the dinner table in a villa on the Riviera).
thomas grubb I’m shocked to see your name here, Mr. Grubb! We’re studying your book for French diction these days!
Hotel, magnífico!!
Pure beauty
Complete score here : imslp.org/wiki/Banalit%C3%A9s,_FP_107_(Poulenc,_Francis)
With discernment: listen constantly to the effect. Don't use it too often.
With taste: does it sound better to use upward or downward portamenti? In crescendo or diminuendo? Do we use it on consonants or vowels?
It is an expressive device: know what you are expressing when using it!
Happy Pride, everyone 🏳️🌈
Me gustaría saber la fecha de la grabación. A Bernac se le oye mayor, con mucho vibrato ancho y justo en el fiato.
Hello, Kadoguy. I enjoy so much this uploaded recording. I am doing a presentation about Poulenc's Banalites. I would be very thankful if you could tell me the source of this audio recording. Thank you very much. Anna
美しい
Here's the deal. If we listen with American ears, we can't hear the nuance, the inflection, the discernment, the meaning. This is French, and Bernac and Poulenc are expressing only as they can, and it won't sound the same as when Americans sing it. The songs not only express French style, but everything that was going on at the time the pieces were written, Poulenc's experiences professionally, personally, and socially. To say good pianist, man can't sing, is sad.
I beg to disagree. Singers need to put years into learning the very specific nuances of French diction. Someone with a good ear would be able to perform this to a level that is impossible to distinguish from a native speaker
@@sofiascattarreggia7007 As witness the English soprano Felicity Lott's excellent Poulenc song and opera recordings. Also, more recently the German baritone Holger Falk has done three superb all-Poulenc CDs: beautiful voice, wonderful feel for the language and style -- highly recommended! Nonetheless, it's always a treat to hear native speakers singing in their first language, and of course Bernac not only sang Poulenc's songs incomparably, but inspired nearly all of them. :-)
By this stage Bernac's voice was well beyond its best years. Excellent musicality and sensitive empathy to the textual and music itself cannot cover a tight voice that can no longer cover In the upper range. This is an amazing musical composition but Poulencs ideal playing is not matched by the frayed voice yearning for its better days. Souzay while succumbing to a similar vocal fate did record a far better recording of this cycle with Dalton Baldwin.
Hm
i agree with the comments... but the voice sounds very old!though the diction is perfect
Bernac was 51 when this was recorded.
0:00 Chanson d‘Orkenise
1:22 Hotel
3:02 Fagnes de Vallonie
4:30 Voyage a Paris
5:25 Sanglots