Francis Poulenc - Mass in G Major [With score]
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- เผยแพร่เมื่อ 7 ส.ค. 2024
- Composer: Francis Jean Marcel Poulenc (7 January 1899 - 30 January 1963)
Choir: RIAS Kammerchor
Conductor: Marcus Creed
Mass in G Major [Messe en sol majeur], for mixed choir, written in 1937
00:00 - I. Kyrie
03:17 - II. Gloria
07:24 - III. Sanctus
09:58 - IV. Benedictus
13:37 - V. Agnus Dei
In 1936, attempting to overcome his reputation for musical flippancy, Poulenc began studying Monteverdi's motets with Nadia Boulanger. Around the same time, his close friend Pierre Octave Ferroud, a composer and critic, was killed in an auto accident. This triggered a personal crisis that led Poulenc back to the Catholicism of his youth. This confluence of spiritual and musical interests led directly to an a cappella mass for soprano solo and choir. The work, dedicated to Poulenc's father, is generally serene and confident and follows the usual sequence of Latin movements, although it omits the Credo. Poulenc's musical language here gives the impression of austerity, thanks to its firm, no-nonsense melodic writing, but the harmony is actually lush though occasionally mildly dissonant. The outer sections of the Kyrie are strongly rhythmic and affirmative, with a more meditative "Christe eleison" section at its center. The Gloria -- not to be confused with Poulenc's full-scale, jubilant late work of that name for chorus and orchestra -- changes melody, harmony, and inflection from phrase to phrase, with solo voices often emerging over a firm bass foundation. The brief Sanctus is light, loving, and cheerful, broadening out near the end for sonorous statements of "Osanna in excelsis." The Benedictus naturally emerges from those measured osannas; it is slow, patient, ethereal, and dominated by the highest voices. This time, the concluding homophonic "Osanna in excelsis" section resembles the stately, antiphonal brass chorales of the Italian Renaissance. The solo soprano introduces the concluding Agnus Dei. The chorus echoes the soloist's haunting melismas in unison octaves, breaking into harmony only upon the striking, hushed appearance of the words "Miserere nobis" ("have mercy on us"). The harmony now is Romantic, lush, and comforting, but soon the chorus is reduced to ethereal pedal tones as a cushion for the soprano's final, serene utterance of "Dona nobis pacem" ("give us peace").
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My intro music theory professor used to say "with good voice-leading, you can go anywhere". Poulenc really proves him right.
And the way he orchestrates the choir. Having the tenors repeat a baritone line to change the texture. Just astounding.
If you like this you should try Hindemiths Six Chansons. Same deal. Incredible sounds through pretty conservative looking voice leading.
P.s. sorry im 2 years late.
@@cobblestonegenerator I'm 3 years late, but thank you very much for this recommandation! It's beautiful
The men & boys' choir I sang in in Indianapolis sang this piece at Notre Dame, Paris. Some guy brought out a microphone on a stand for the boy singing the Agnus Dei intro. The kid was insulted, and belted out that solo so it fed back the sound system. The mike was removed, and he went on to utterly own the building.
Una tra le cose più belle che io abbia mai ascoltato in vita mia... Grazie Poulenc, grazie musicisti e compositori per quello che regalate all'umanità.
Certified banger. Difficult not to cry a bit when Sanctus plays ~~~~
So so glad to see this genius masterpiece has so many views 🥲 every single note here is perfection
One of the most wonderful masses I ever heard!!
Probably my favourite Mass ever, and one of my all-time favourite Poulenc works. It should definitely be more performed (if there are choirs up to the challenge...!)
Thank you for uploading this wonderful work!!! This mass is incredibly beautiful. I've never heard an Hosanna more beautiful, it is so glorious!!!
Voilà une chose merveilleuse !!!!
I love Poulenc and I love this work. I performed it in college and it was a bitch to sing, but hearing it here, I want to sing it again.
Lawrence Rush I have just heard this piece for the first time today. It is quite a contrast to Erik Satie's Mass For The Poor but moving nontheless.
My choir sang it as well. When I was in 7th grade we went to Italy and sang it at St. Peter's Basilica. The gelato was great! :)
@@maryjulia636 7th grade?!?!?! I find this music challenging for collegiate singers. That's more than impressive.
I sing in the "Coro Alberto Ginastera" (before called "Coro del Conservatorio de Música de Morón"), conducted by Roberto Saccente, from Buenos Aires (Argentina), and we recorded this "Mass in G major" in 1996, with other choral contemporary music, from different composers. It was the most difficult work in our choral history, but it is a very beatiful version. Search it and enjoy it!!!
@@sergiokovachevich6727 I will!
Amazing work ! Bravo conductor and choir !
Wonderfull piece!
Superbe !
Sublime
I adore this mass it’s my favourite. I adore the top soprano line, suits my voice nice and high.
Lucky you!
my heart at 8:59 :)))
Cole Fortier And my heart at 4:49 😂😍
^^
OMG, Poulenc
Je me demande comment ils font pour s'y retrouver avec tous ces changements de tonalité. Sacré Francis.
OUI C'EST TRES DIFFICILE IL FAUT DES HEURES DE REPETITIONS ET DU TRAVAIL
8:07, when the "sabaoth" hits you in the stomach!
2:48
Lindo
Very sensual and suggestive, ironically (or maybe not!)
It's Poulenc!!! ;)
Your comment is surely a bit of an overstatement. As Poulenc himself pointed out, there is considerable stylistic continuity between his sacred and secular choral works (he was referencing the choral sections of his comic opera LES MAMELLES DE TIRESIAS and his STABAT MATER). This interplay of the Here-and-Now and the Eternal flows both ways, and is an intrinsic part of his greatness as a composer.
Ughhhh♡♡♡
1:18 sounds like Ravel's _Trois beaux oiseaux du paradis_ .
Is the "filius patris" in the Gloria the same motif as what he wrote in the slower, later part of his Concerto for Organ, Strings, and Timpani??
That's what I was thinking too.
Yep, and the final section of the Agnus is re-used in the closing bars of Dialogues des Carmélites.
Does anyone here know about John Howard Griffin?? He wrote about this mass in one of his books and it’s lead me here :)
Not Mass in B Minor by Bach or Palestrina or Williams' Mass in G Minor. Still I'm always glad to hear TLM. Novus Ordo doesn't come close
s'il n'y avait pas un texte d'église qui me veuille et me donne le français, vous pouvez écouter!
"close friend" Sure, Jan
Ferroud was a fellow composer, and a talented one. At the time of his tragic death, was he also, or had he been in an intimate personal relationship with Poulenc? I've never read that anywhere, so I'm not sure where your comment comes from.
*****