Francis Poulenc - Aubade (1929) [2/2]

Francis Poulenc (1899-1963)
Aubade ('concerto choréographique'), for piano and 18 instruments (1929)

1. Toccata: Lento et pesante. Molto animato
2. Récitatif: Les Compagnes de Diane (Larghetto)
3. Rondeau: Diane et ses compagnes. Allegro. Entrée de Diane. Più mosso. Sortie de Diane.
4. Presto: Toilette de Diane
5. Récitatif: Introduction à la Variation de Diane (Larghetto)
6. Andante: Variation de Diane (Andante con moto) 0:00
7. Allegro féroce: Désespoir de Diane 3:06
8. Conclusion: Adieux et départ de Diane (Adagio) 03:45

Pascal Rogé, piano
Orchestre National de France/Charles Dutoit

Poulenc's Aubade is a curious if charming blend of piano concerto, ballet, and chamber salon piece. The work's unconventional makeup and manageable scale were in some part determined by its origins: It was commissioned by Poulenc's friends (and noted patrons and salon hosts) Marie-Laure and Charles de Noailles. A concert version was premiered December 1, 1929 in the couple's townhouse, followed by a full stage version on January 21, 1930.

Aubade is segmented into eight movements: Toccata, Récitatif, Rondeau, Presto, Récitatif, Andante, Allegro féroce, and Conclusion (Adagio). Given its hybrid structure, it is less a strict piano concerto than a modern cousin to Rameau's opéra-ballets in the galant style. That said, Poulenc fashioned his musical materials with great care and sophistication, blending themes which borrow from such sources as Stravinsky's Le Sacre du printemps and Petrushka, as well as Mozart's keyboard works. Poulenc also incorporates two melodies from earlier minor piano works—a Sérénade from Trois pièces (1928) and the Première nocturne (1929)—which serve to unify the various strands of Aubade. The music alternates between Stravinskian percussiveness and Mozartean lyricism, at the same time incorporating several brass fanfares, gracious eighteenth century rondos and moments of Lisztian grandiosity.

Poulenc described Aubade as "amphibious," implying that the role of protagonist is more or less shared between the onstage woman dancer and the pianist in the orchestra pit. The ballet is a series of tableaux said to be inspired by paintings from the École de Fontainebleau. At the work's center is Diana, the mythological huntress, who finds herself "burning with a love that consumes her purity." Awaking at dawn in the forest of Fontainebleau, she is dressed by her woman friends. Condemned to chastity and despondent over an impure love, she dances a variation, clasping to her breast a bow her friends had given her. Suddenly, she throws the bow away and darts into the woods.

The choreographer for the Paris production was George Balanchine, who ignored Poulenc's plot for the dance, introducing a handsome, muscular dancer to portray Actéon in a pas de deux with Diana. The composer complained that Aubade was to be exclusively "a woman's ballet," but Balanchine ultimately had his way. The ballet was designed by Jean-Michel Frank, who redid the interior of the Noailles' home with fanciful, stylized sets. ~ All Music Guide

Painting: "Diane" by Robert Burns

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[ybravura]

@benbisley That's very eloquent!

"Remorseless mystery."

I plan on stealing that phrase and using it !

[Mezzotenor]

I second all the other appreciative comments, especially for the fine commentary. It's fascinating how YouTube is becoming a hot spot for classical fans to share and try new things!

[benbisley]

Beautiful. I love the remorseless mystery of the end.

(Your choice of art is ideal, too.)

[MuseDuCafe]

Thank you so much. I have long loved this piece. I wish it were as much appreciated as the two piano concerto. An odd duck rarity of the piano with instruments literature, and about as successful as could be possible. The orchestration is amazing.

~ providing all that background for your listeners is to be well commended!

[KyrieEleison46]

This is lovely.