![]() For Debussy, poetry as poetry was the paramount determinant of the musical texture. Verlaine’s verse with its inherent musical qualities, provided Debussy with poetry for numerous works. He chose to set poetry of his contemporaries, notably Verlaine and Mallarmé. His literary taste was highly refined and he maintained a visible and active role in the literary and artistic circles of his time. Possibly no other French composer was as attuned to blending poetry and music. Auric set only the first three.Ĭlaude Debussy wrote expertly for the voice and was acutely responsive to transforming poetic nuance into musical expression. Ronsard’s original poem had twenty-three stanzas. Both composers used texts by Pierre de Ronsard, and the musical style of each is reminiscent of the Renaissance. Poulenc composed the Suite française and the song “A sa guitare” Auric’s contribution was “Printemps.” Yvonne Printemps sang both songs in the play. Auric and Francis Poulenc collaborated on the incidental music for this play Poulenc took the second act, Auric the first. The celebrated musical theatre actress-singer Yvonne Printemps created the role of Queen Margot of Navarre at Théâtre de la Michodière. Printemps (1935)Īuric composed this lilting waltz song for a play by Edouard Bourdet titled La Reine Margot (1935). For his three Vilmorin songs, Auric used the style of a chansonette, or more popular song. He also inserts several unexpected and amusing measures of a tango as the young man arches his back and leaves the sound of her sobbing. Auric provides a prelude and postlude for formal balance as the miserable young woman mourns her loss. She was one of Poulenc’s preferred poets he set her poetry when writing specifically for the female voice, such as in Fiançailles pour rire.Ī sort of veiled humor is at the heart of this text that describes a young hussy whose lover departs early with the dawn’s first light, leaving her weeping disconsolately. Vilmorin’s poetry reverberates with sensitivity to affairs of the heart. This mélodie is the second song in Auric’s cycle titled Trois poèmes de Louise de Vilmorin. Auric continued to write classical chamber music until his death. In 1962 he became the director of the Opéra National de Paris and later, chairman of SACEM, the French Performing Rights Society. Other popular film titles with scores by Auric include The Lavender Hill Mob, Roman Holiday, Beauty and the Beast, and Bonjour Tristesse. Among his most well-known scores is the music for the film Moulin Rouge. He forged a major career in the English movies of the 1940s and ’50s. He was also especially known for his film scores, which are consistently imaginative. Music criticism was an important part of Auric’s career his writing focused on promoting the ideals of Les Six and Cocteau. Auric and Francis Poulenc became fast friends and remained so for life. Around 1914, he widened his acquaintances to include members of Les Six, a group of composers informally associated with Erik Satie and Jean Cocteau, and became a part of their group. He composed a significant amount of avant-garde music during the years between 1910-20. Before he was twenty, Auric had orchestrated and written incidental music for several stage productions and ballets. He studied composition at the Paris Conservatoire with Georges Caussade, and later with Vincent d’Indy and Albert Roussel at the Schola Cantorum de Paris. The following year, the Société Nationale de Musique performed several songs he had composed. George Auric was something of a child prodigy, performing a piano recital at the Musicale Indépendante at the age of fourteen.
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