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Hyperion Records

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La Guitare by Marie Laurencin (1885-1956)
Aberdeen Art Gallery
Track(s) taken from CDH55366
Recording details: February 1984
St George the Martyr, Queen Square, London, United Kingdom
Produced by Martin Compton
Engineered by Antony Howell
Release date: January 1989
Total duration: 14 minutes 9 seconds

'Highly desirable' (BBC Record Review)

'This record will enchant you. Best of the Month' (Hi-Fi News)

Tel jour telle nuit, FP86
composer
December 1936 to January 1937; Neuf mélodies sur des poèmes de Paul Éluard
author of text

Other recordings available for download
Sarah Fox (soprano), Graham Johnson (piano)
Introduction  EnglishFrançais
This is by far the most famous of Poulenc’s song cycles—in the same way that Dichterliebe can be said to be the most famous of Schumann’s. Just as that composer’s musical relationship with the poet Heine is perfectly expressed within the sixteen songs of Dichterliebe, Poulenc’s affinity with Éluard is made crystal clear in the nine separate, but musically interconnected mélodies of Tel jour telle nuit, a cycle in the same way that Fauré’s La bonne chanson is a cycle, the last song a summing-up of what has gone before. The work was begun in December 1936 in Noizay and was completed by January 1937 with the first and last songs composed as a matching pair in Lyon. The distinction of the dedicatees show Poulenc’s confidence: Pablo Picasso, Freddy (Fréderique Lebedeff, later the mother of his daughter), Nush (sic) Éluard, Valentine Hugo, Marie-Blanche de Polignac (songs v and vi), Denise Bourdet, Pierre Bernac and Yvonne Gouverné (the choral conductor who introduced almost all of Poulenc’s choral music to the world). How it came to be that the mauvais garçon of French music, the spoiled son of a rich family who had been famous for his insouciance and his Leg Poulenc, found it within himself to voice the quiet radiance, the humility and grandeur, the rapture, the terror, the profound humanity and compassion of this great poet is one of the mysteries of French music. Like Die schöne Müllerin for Schubert, this was a watershed work. In early January 1937 with the first performance only a month away, Poulenc asked the poet for a title for the work (each of the songs had individual titles which the composer declined to use). Éluard supplied a choice of four epithets for the cycle as a whole; his preferred choice was Tout dire, but Poulenc selected his second suggestion, Tel jour telle nuit, which encompasses the contrast between the opening and closing songs.

from notes by Graham Johnson © 2013


Other albums featuring this work
'Poulenc: The Complete Songs' (CDA68021/4)
Poulenc: The Complete Songs
MP3 £23.99FLAC £23.99ALAC £23.99Buy by post £30.00 CDA68021/4  4CDs for the price of 3  

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