Pulenk Francis. Francis Pulenk: Biography, Interesting Facts, Video, Creativity Polenk Francis - French Composer, Pianist

Francis Pulenk is a French composer and a pianist, one of the brightest representatives of the "six" group - is widely known in the musical world as the author of the opera "Human voice" and "Dialogues of Carmelite", Lani ballets and "Approximate animals" (on the bass of Lafontaine), Cantata "Lick Human" on the text of P. Eluar and Stabat Mater, a variety of writs for piano - from small plays to concerts with orchestra. And more - many romances on the verses of the city of Apolliner, M. Jacob, L. Aragon and Garcia Lorca, P. El ...

Francis Pulenk is a French composer and a pianist, one of the brightest representatives of the "six" group - is widely known in the musical world as the author of the opera "Human voice" and "Dialogues of Carmelite", Lani ballets and "Approximate animals" (on the bass of Lafontaine), Cantata "Lick Human" on the text of P. Eluar and Stabat Mater, a variety of writs for piano - from small plays to concerts with orchestra. And also - many romances on the verses of the city of Apolliner, M. Jacob, L. Aragon and Garcia Lorca, P. Eluara, Ronsar and R. Dosnosa - It is not by chance that the contemporaries of the composer told him "French Schubert".

Son of successful industrialist, F. Pulenk early discovered musical abilities. In the art of the game on the piano, he was cultivated at R. Vines. The lessons of the composition he was taught by S. Kequen - one of the patriarchs of French music, which was raised in the walls of the Paris Conservatory of many talented composers.

From youth, Pulenk was a regulance and great-wide salons, and noisy assemblies of artistic bohemia. He was in a sophisticated Society of the literary elite, whose evenings were held in the book shop on Square at the Odeon Theater. Among the close friends of Polenka - composers D. Miyo, J. Oric and E. Sati, poets of Apolliner and M. Jacob, P. Eloir, L. Aragon and R. Desna, singers D. Duval, J. Batori and P. Bernak, the famous Clavesicist V. Landovsk, a famous violinist E. Jourdan-Morants, music critic K. Rostan, writer and playwright P. Klodel. His creativity was awarded high praise M. Ravel and I. Stravinsky.

In his artistic preferences, Pulenk was absolutely free, he did not limit himself in any one style, and dismissed different directions enthusiastically. In his youth, was passionate about the eccentric, aesthetics of Music Hall, the ideas of urbanism. He was a man for the expression of A. Oneguger, "creating his own music." In his book "My Friends Musicians" E. Zhordan-Morange with his characteristic grace and poeticity devoted the following lines in the poetchiness: "Often, among the most stringent melodies, a playful song hears ... In his garden, Pulenk mixes seeds ... Rose, flourishing Near forget-me-not, it is no less beautiful. Everyone his time ... Pulenk, as well as Mozart in childhood, ready to ask: "Tell me, do you like me?" His music is a gift. There is no vulgarity in its ease. He creates as breathing. "

That's what contemporaries about Polenka said and wrote:

"How he is talented! If only he worked, "Maurice Ravel).

"Francis Pulenk is the music itself; I do not know another music that would act as directly, it would be just as pronounced and would achieve a goal with such an error in "(Darius Miyo).

"I did not know how to listen to myself, Francis - Thank you, Francis, from now on I hear my voice ..." (Paul Elolar).

"I admire the musician and a person who creates natural music that distinguishes you from others. In the whirlpool of fashionable systems, dogmas that try to impose the strengths of this world, you remain ourselves - rare courage, worthy of respect "(Arthur Ongger).

"Future generations will open Poolenka in his works as it was: in love with life, mocking, kind, gentle and bold, melancholic and sincere mystic, at the same time monk and a bad boy" (Stefan Odel).

Francis Pulenk (January 7, 1899 - January 30, 1963), French composer, pianist, critic.

Francis Pulenk is one of the most significant figures among the French Musicians of the last century. The composer lived and worked in a hard time.

Pulenk is a contemporary of both world wars. In the First World War, he participated in a soldier. He had to observe the second world of the resident of the occupied Paris, eyes of an eyewitness of Nazi atrocities. One of the favorite poets of the composer, his friend Max Jacob, on whose words Pulenk wrote over fifteen songs, died in a concentration camp. Many friends of Polenka and his co-authors stood on an uncompromising path of struggle. Already a month after Paris accepted a German surrender, the Cantata of Francis Poolenka "Lick Human", a solemn hymn, sounded on the radio, was a solemn hymn freedom, which composer secretly prepared for the Day of Liberation.

In the work of Poolenka, as in a drop of water, the events of the last half a century of French history reflected: it was put on him imprint and defeat defeats, and the joy of victories.

The creative heritage of the composer is largely inhomogeneous and contradictory. Chamber-vocal creativity gained the fame of the "French Schubert". A striking skill with which Pulenk with musical means is seeking the limit expressiveness of the text, the slightest nuances of human speech shall. The choice of libretto for large opera pieces of the Polenka at first glance seems paradoxical. He chooses so seemingly unacceptable for this purpose complex texts, that sometimes it seems incomprehensible, as they can be put on music at all. This also applies to the "carmelite dialogues", and to the "clusters of clouds", and to the "voice of human". In fact, it is in these operations that the composer's kind of pressure is clearly clear.

In the creative biography of Polenka, you can highlight a few different periods. In the twenties, during the existence of the "six" groups of young French musicians, which included Oneggger, Orik, Dryy, Miyo, Tyfer and Pulenk, "the composer gave tribute to fashionable post-war current trends. He was fond of the eccentric, aesthetics of the musical hall, the ideas of urbanism. A city dweller to the brain of bones, Pulenk and music draws its entirety from the life of the city: the works of early guns are rooted into the noisy rush of the streets and the serene silence of Paris's labyrinths.

In the thirties in the work of the Poilka, the pronounced fracture is planned. He appears a tendency to the vocal genre. The works of the composer are becoming much more serious and deep. In the second half of the thirties, Pulenk writes its first essays of a religious nature. In the years of occupation in his work, patriotic motives are pronounced. Finally, after World War II, Pulenk is a thoughtful serious master, with a wide range, capable of conveying deep human grief and enthusiastic love. Francis Pulenk purses his music through all the tests. Junior he absorbed the best traditions of French national music, a mature master - developed and enacted them.

"I admire the musician and a person who creates natural music that distinguishes you from others. In the whirlpool of fashionable systems, dogmas that are trying to impose the strengths of this world, you will remain a rare courage, worthy of respect, "these words Arthur Onnegera can serve as a key to understanding Francis Poolenka's creativity.

Francis Pulenk was born in Paris. The house of rich entrepreneurs of Polenkov stood in the city center on the Square of the Cossa, not far from the Champs Elysées.

Francis's mother - Zhenya Ruyer is an exterior Parisian, leads his pedigree from the family of skillful artisans: cabinetry, rowers, brockers. At the same time, there was an extensive circle of art in the mother's house. The interests of the Ruyers family touched theater, music, painting.

Emil Poulenka's family took mainly the observance of religious traditions, recognizing all serious music from all kinds of arts.

If the aesthetic and musical taste, Francis is obliged first of all the mother, what he writes in dedication to the opera "Dialogs of Carmelite", then the other side of his spiritual life is connected with the name of the Father. We are talking about the religious motives of the Creativity of Poilka, about sharp contrast, striking immediately after the first acquaintance with his works. "In this musician, a monk is combined with a dandy in love, a peasant with a kind and gentle chaloping," the French musicologist Claude Rostan comes rightly.

Music and theater enter the life of Francis early. From the stories of the mother, he recognizes the names of famous actors - Sarah Bernard, Gabriel Rezhan, Lucien Ghetry. Bright theatrical impressions, interesting guests, music - both in concerts and at home - all this largely formed the future composer.

In 1910, due to flooding in Paris, the family moved to Fontainebleau. There, Francis accidentally bought the "winter path" of Schubert - a work, on his confession, who played an important role in solving to become a musician.

One of the strongest impressions of childhood Pulenk considers the music of Stravinsky. At the eleven age age, Francis had a chance to hear individual numbers from "Fire-Birds", a little later "Parsley" and "Spring Spring". By the way, "Spring", according to the Pulenka itself, had a much smaller impact on his work, than many other writings of Stravinsky - "Pulchinell", "Kiss Fairy", "Maur", "Playing Maps". Stravinsky opened new horizons to Francis, and the young man has a new idol, "spiritual teacher." "I don't know, would become a composer if there was no Stravinsky," he recalled.

Musical sessions Polenka were not major in his formation. The composer's father could not accept the fact that the Son would not receive a bachelor's degree, and insisted on the admission of a boy in the Lyceum of Condorce. Francis did not show much interest in the lyceum classes, and hardly moved from class to class.

In 1915, Francisa ripen the decision to specialize in the piano class. With Pulenkom agreed to engage in a wonderful pianist and teacher Ricardo Vinz. Executive skill, literary taste, first composer experiences, as well as familiarity with people like Eric Sati and George Oric, who later became the closest friends of Francis - all this is connected for a bulk with Ricardo Vintes.

Friendship Poilka with Oriki was destined to be preserved for a long time. For many years, Francis was consulted with him as a senior, with a teacher. Both of them, separating the tastes of each other, admired every friend's poetry; Even their works sounded nearby: Dyagilev put the ballet "Lani" (Pulenk) and "unsteady" (orke) one by one.

In 1917, Francis Poolenk attended two significant premieres: June 24, the Parisian public was first presented "Tyrisia" Guillaume of Apolliner, and on May 18, the "parade" was shown by Eric Sati, delivered by Dyagilev in collaboration with Jean Cocketon and Pablo Picasso. In almost thirty years, the Apolliner will be the libretto of his opera. Soon he managed to get acquainted with Eric Sati himself.

Familiarity with the best literary writings of contemporaries had great importance for Francis, it contributed to the manifestation in the future one of the most amazing features of his dating - a thin feeling of a melodic vocal line, which was already in such an early work, like "Bestiary, or Orphea Mession" on the poems of Hyoma Apolliner , written by him at the age of nineteen.

In French art, a trend towards an exotic topic has long been strong. In painting, this interest was embodied in the Tahitian canvases of Gauguen, the paintings by Picasso, inspired by the Negro sculpture. In music, Eastern motives sound, starting with the "Galant India" Ramo and ending with the exotic plays of Olivier Messiana and Andre Zoliviva.

The French composers immediately attracted the form of new exotic music - the Negro Jazz cultivated by Americans. Stravinsky, and after him, young French musicians who were passionate about the Rhythmic and Temmor New Jazz began to use new jazz receptions in their writings, trying to create the music of the modern city.

It is not surprising that Pulenk could not get away from the temptation to apply various kinds of musical and text "Varvarisms". He decided to use three stains from the poems of the pseudo-poem "Honolulu" for the central part of the Negro Rhapsodia.

"Negro Rhapsody" is written for Bariton accompanied by piano, flutes, clarinet and string quartet. For the first time, it was executed on December 11, 1917 at one of the evenings organized by the singer of Jeanne Batori in the theater "Old Pigeon", where the music of young composers often sounded. Rhapsody had noisy success. Fame came to Poilka immediately behind the premiere. They were interested.

The pre-war Paris, in which the nature of the future composer was evolving, was a noisy and unusually plenty of the city, the most striking population. It is in Paris - the city of art, the beginners of the poets, artists, musicians sought. Paris attracted such famous Russian writers as K. Balmont, A. Tolstoy, A. Akhmatova, I. Ehrenburg. Paris were obliged by their success Stravinsky and Picasso - the capital of France became the second homeland for them.

The theater life of the pre-war Paris proceeded pretty sluggish, the public was not injured in new productions. Since the "Pelleas and Melisanda" Debussy scene of the opera theaters almost did not know the prime minister. Special recovery made performances of groups of Russian artists organized by Sergey Dyagilev. With the beginning of war, concerts and performances began to be held much less frequently: many musicians, artists and artists were called up to the army.

Insecurity that covers a significant part of the older generation of the French creative intelligentsia also affects the sentiments of the younger generation. It no longer recognizes the authorities of the past, but does not see new ideals in the present. It is not surprising that skeptical moods, irritably, disbelief become characteristic of these years.

From July 1919, Francis Pulenk was in Paris, where he served until October 1921 in the Ministry of Aviation. Performing the post of secretary (he worked on a typewriter), most of his free time Francis gave his musical hobbies.

During these years, Pulenk is increasingly close with Cocketon, Sati, Miyo; Participates in the very first concerts and publications of the future "six." His piano play "Waltz" entered the Collection of Pieces "Album Six", released by the Paris Publishing House "Eschig" in 1919.

Aesthetics "Sixters" to some extent reflects the aesthetics of Manifesto Jean Cocteo "Rooster and Harlequin". Cocteo calls on to smash to break what the century ago seemed a century ago unshakable, - aesthetics, directed mainly against the Vagneryans and Debussyists. The author of Manifesta challenged the exorbitant long, boredom, vagueness and complexity of the letter, the nebula of impressionism. Interestingly, Pulenk, after many years, rejected the thought of Cocteo as the ideological inspiration "Sixters": "Jean Cocteau, who attracts everything new, was not our theoretical, as many believe, he was our friend and brilliant shore (...) and It is impossible to take his brief musical essay for the Manifesto "Six".

Music Paris accepted the "six" for a new-fashioned school, she did not make himself wait and soon made a series of concerts. The first of them was devoted to the works of composers "Sixters", the second - their foreign contemporaries. The writings of Alfredo Casella, Arnold Schönberg, Bella Barthoka. Such concerts were given not only in France, but also abroad. Sixer produces its newspaper, the first number of which is called "Le Coq" ("Rooster"), and the following - "Le Coq Parisien" ("Parisian Rooster").

This sheet in the form of a poster was quite a blow, although he did not associate itself with any program. Jean Coteto writes: "This newspaper in which six musicians of different views are expressed, combined only by friendly relations ... Writers and artists join the musicians. If one of us printed a phrase that the other does not approve, we know well that you will never start hostility because of this. "

It is curious that tired of new arts, read by the authors such as Shenberg, Bartok and Berg, the members of the Sixters see, except for Vagneering and Debussism, another danger - modernism. As a result, LE CoQ headed the foundation of the Antimoderist League.

By the mid-twenties, the formation of the creative personality of the composer ends. The turning point in the work of Pulenka was 1923, when he composed the first ballet "Lani", ordered by Dyagilev for the troupe "Russian ballets".

The interest and love of a young composer to vocal music was also affected in such a seemingly far from singing the area like ballet. Vocal-choral numbers - Dancing songs included in the lines. Vocal-choral music penetrates the choreographic art infrequently, and the merit of the bullet is that he managed to combine the song and dance, turning them into the form of a gaming dance song.

The twenties were for the bulk of the time of the final formation of its individual style. Among the many writings of these years, "Lans", "funny songs", "rural concert" and "Morning Serenade" were the most successful.

The "Rural Concert" Poilka is largely the national traditions of old masters and Scarlayti. Having experienced the influence of old clasies, Francis Pulenk, however, does not fall on the path of simple imitation to them. The "rural concert" is a continuation and development of this kind of music.

In 1929, Pulenk wrote another ballet - "Morning Serenad". The composer created a kind of ballet shape - choreographic concert for piano and eighteen tools. This is faithful, which is almost the first in the new genre of the piano concert ballet, Pulenk found as a synthesis of two genres - a single piano concert and a single-act ballet. The score of a concert, including brass, string and drums, but devoid of violins, represents a kind of double concert, in which the main roles equally are distributed between the two soloists - the piano and dancer.

Francis Poilanka's works of the second half of the 1930s disclose new, hidden before the sides of the composer talent. In these essays, we appear a thoughtful, serious master who created a number of large-scale works for several pre-war years.

By the end of the thirties, the threat of an inevitably impending war became more and more pronounced. Nazi Germany was preparing a victorious triumphal march to pass throughout Europe and put the onset of the world's lord of the Third Reich. France splits the ranks of their anti-fascist wrestlers. The wide circles of the French public, socialist, communist and other political parties organize a single folk front.

In 1932, the association of writers and artists was created, which entered the largest masters of France Romain Rollan, Jean Richard Block, Louis Aragon, Paul Elolar. Advanced representatives of the French artistic intelligentsia - composers, writers, poets, performers and teachers are united to the national musical federation.

Composers "Sixters" are involved in collective writings - such is music for performances. Francis Pulenk did not join the Communist Party, did not become an active member of the National Music Federation, but on his music, it is possible to judge the composer's uncompromising respect for the events of the second half of the 1930s.

At this time, the polyhedral of the composer is most pronounced. He composes the dramatic works of "drought" and a concert for the organ. In Paris, a wonderful lyrical Poilka vocal cycle is published on the words of eloara "and day, and night", French suite (according to Claud Zherezu). In addition to such purely secular works, Pulenk writes a number of writings of spiritual subjects: "Litania to the Black Rocamadurian Our Lady", Mass G-DUR, Mottes.

Kantata "Drought" (1937) for mixed chorus and orchestra is written on the words of Edward James. Four parts of Cantata - "Sarancha", "Abandoned Village", "deceptive future", "Skeleton of the Sea" - draw a natural disaster, comprehended people.

The once fertile valley is emptied, she became the refuge and the kingdom of locust. The powerful hand of drought Starl traces of human housing, her spirit is worn over silent ground, drained as an empty shell.

Images of the poem are symbolic, they can not be understood straight. The image of all-living locust, the evil whirlwind of drought persistently echoes the dark forces of Hitlerism that came into motion.

At the beginning of the war, Francis Pulenk was called up by the army, in an anti-aircraft connection, and by the time of the truce - June 1940 - turned out to be in Bordeaux. Demobilized, he spent the summer from his cousin, after writing an essay. At that summer, sketches of cello sonats were made and decided to write ballet based on Basen Lafontaine. Work on the ballet lasted until 1942.

Paris's theater calendar was very poorly and limited during the occupation, and the composition of the audience was not at all the fact that the gray-green uniforms of the Hitler officers flashed, the heels of forged boots were embarrassed.

In full force, the protest voice of the musician rang in Cantate for a double mixed choir and Cappella "Lick Human" on the words of the eloar field. On the title page, the composer wrote the following lines: "I dedicate Pablo Picasso, the work and life of which I admire." This inscription symbolically personifies the Union of the three modern artists-humanists of France - the fields of Eloara, Francis Poulenka and Pablo Picasso.

Having become acquainted with the poetry of Eluara, Pulenk decided to turn to her twenty years later. He loved to repeat that for many years I was looking for the key to the poems of eloara, quite difficult for the inexperienced reader.

Cantata "Lick Human" tells about the heavy and difficult years of the fascist occupation, reflects the deep feelings and experiences of the French people. Eight parts of Canta reflect then the gentle appeal to the poet to their homeland, then contempt for enemy hordes. For the execution of Cantata requires a large double choir and Cappella. In a climax, the number of votes reaches sixteen at the expense of additional division of parties. The complexity of execution is also in the polyphonic saturation of the fabric, in the difficulties of the intonational harmonic language and singing equipment.

The war and poems of the Eloara field, which speaks of the suffering of the people of France, inspired the Poolenka to create one of the outstanding choral works of our time - Cantata "LIC Human".

Opera Buff "Breasts Tyrisia" in two acts with a prologue written on the "Surrealist Drama" Guillais of Apolliner in the interval between May and October 1944. Pulenk admitted that "Apolliner found a response to the eccentric side of my nature"; Indeed, the performance shown by Parisians in June 1947 was not just a comedy, but was a farce brought to Grotesque.

Few of the composers of the twentieth century had such a happy biography as Francis Pulenk. For some exceptions, every new product of the Polenka was successfully fulfilled, he did not have to be painful and publishers. Pulenk was truly the Balley of Fate, not knowing the sorrowful solarms of artists who are forced to indifferent to silent the thresholds of publishers and concert associations.

A few years after the successful premiere of "Tyrumes", Pulenk wrote a opera, which was a worthy crown and one of the best creations of the composer, his swan song. In recent years of life, the musician has not created anything that could be put next to the lyrical tragedy "Human's voice".

Pulenk again turned to the work of Jean Cocteau. Previously, other composers tried to write music to the Kokto's Cocketon Drama, but the film is the first, reached the scene.

The play is based on an eternal theme: grief and suffering abandoned woman. The play was captured by a long minute of her telephone conversation with the former lover, who should be married tomorrow on the other. The only thread connecting this woman with life is the phone. When she forces will force himself to stop the conversation, the phone becomes an unnecessary trinket; Nothing can prevent her from breaking with life.

The only performer of this work Pulenk represented Deniz Duval, the singer, who collaborated with the composer and in previous productions. "If I did not meet her, and if she had not entered my life, the" human voice "would never have been written." (F. Pulenk).

Pulenk called Opera lyrical tragedy. Add that this is a small tragedy of great human feelings.

Despite the seeming banality of the plot, the "human voice" is truly a modern and original essay with a vividly defined and convex character of his heroine.

Over the past four years of life, a few more works have been created for voice and choir. A large essay of 1959 was "Glori" for soprano solo, choir and orchestra.

In 1962, Pulenk wrote two works: one of them is a sonata for the oboe and piano, dedicated to the memory of Sergey Prokofiev, the second - Sonata for Clarinet and Piano - the memory of Arthur Onnegera. Pulenk conceived writing a new opera - to the plot of the "hellish car" of Cokto.

On February 2, 1962, when the composer was in his apartment in Paris, a heart attack suddenly interrupted his life.

Creative activity of Francis Pulenka continued without a small half a century. The musical heritage of the composer during this period there are about a hundred fifty works: three operas, three ballet, cantata, vocal cycles, a large number of piano and chamber-vocal essays. Francis Pulenk has gained wide recognition of both homeland and abroad.

January 07, 1899 - January 30, 1963

french composer, pianist, critic, visible from the participants of the French six

Youth Poilka coincided over the years of the First World War. He was called up to the army, it prevented him from entering the conservatory. However, on the musical scene of Paris, Pulenk appeared early. In 1917, an eighteen-year-old composer made his debut at one of the concerts of new music Negro Rhapsody for Bariton and the instrumental ensemble. This work had such a deafening success that Pulenk immediately became a celebrity.

Inspired by success, Polenk Following the Negro Rhapsody, creates a vocal cycle of the Bestiary (on poems by Guillaner Apolliner), Cokardi (on the poems of Jean Cokto); Piano plays eternal movements, walks; Choreographic concert for piano with orchestra Morning Serenade; Ballet with the singing of Lani, delivered in 1924 in Anthrepuriz Sergei Dyagilev. Miyo responded to this formulation of an enthusiastic article:

That's what Pulenk himself spoke about this time a quarter of a century later:

Starting from 1933, a lot acted as an accompaniator with the singer Pierre Bernakov, the first performer of many vocal essays of Polenka. During the 2nd World War, he participated in the movement of resistance.

He was buried in the Cemetery of Per Lashez.

Music

The heritage of the composer is about 150 works. The greatest artistic value is his vocal music - operas, cantata, choral cycles, songs, the best of which are written on poems P. Eluara. It is in these genres that the generous gift of Poolenka - melody opened this. His melodies, like the Melodes of Mozart, Schubert, Chopin, combine disarming simplicity, subtlety and psychological depth, serve as an expression of the human soul. It was the melodic charm that provided a long and incomplete success of the music of a bullet in France and beyond.

Pulenk entered the history of music as a participant in the creative Commonwealth "Sixer". In the sixth - the youngest, barely overshadled threshold of twenties, - he immediately won the authority and universal love with his talent - distinctive, alive, direct, and purely human qualities - an immeasurable humor, kindness and frequency, and most importantly - the ability to give people with their extraordinary friendship .

The period when Francis Pulenk consisted of a group of "six" is the most bright in his life and work, at the same time laid the foundations of its popularity and professional career. That's what Pulenk himself spoke about this time a quarter of a century later:

Pulenk in Russia

Works

• Operas "Terezia Breast" (1947), "Dialogues of Carmelite" (1957), "Human Voice" (1959).
• Ballets "Lani" (Fr. Les Biches; 1924, it would be more precise to translate "goats" or "Cuties", because we are talking about frivolous girls), "exemplary beasts" (1942).
• Cantata "Stabat Mater" (1950), "Drought", "Lick of Man" (1943), "Masquerade Ball",
• Negro Rhapsody for Piano, Flute, Clarinet, String Quartet and Voice (1917).
• Two march and intermented for chamber orchestra (1938).
• Two Intermezzo for Piano (1934) No. 1 (C-DUR) No. 2 (DES-DUR)
• Concerts: "Morning Serenade", a concert ballet for piano and 18 tools (1929), a rural concert for Chamblock (Clavsity) and orchestra (1938), a concert for 2 piano with orchestra (1932), a concert for an organ, string orchestra and Litavr (1938).
• Boxy cycles "Bestiary" on the poems of Apolliner and "Cokardi" to the poems of Cokto (1919), five romances to the poems of Ronsar, mischievous songs, etc.
• Mass Gloria
• Ball Masquerade. Silent Cantata for Bariton and Chamber Orchestra
• Sonata for two clarinets (1918)
• Sonata for Clarinet and Fagota (1922)
• Sonata for horn, pipes and trombone (1922)

Pulenk Francis

(7 I 1899, Paris - 30 I 1963, Ibid)

My music is my portrait.

F. Pulenk

F. Pulenk is one of the most charming composers who gave the world France in the XX century. He entered the history of music as a participant in the creative Union "Six". In the "six" - the youngest, barely overshadled threshold of twenties, - he immediately won the authority and universal love with his talent - distinctive, alive, immediate, and purely human qualities - unchanged humor, kindness and frequency, and most importantly - the ability to give people Unusual friendship. "Francis Pulenk is the music itself," D. Miyo wrote about him, "I don't know another music that would act as directly, it would be as simply expressed and would achieve the goal with the same ignorance."

The future composer was born in the family of a large industrialist. Mother - a wonderful musician - was the first teacher of Francis, she handed her son with his limitless love for music, worship before V. A. Mozart, R. Shuman, F. Schubert, F. Chopin. From 15 years, his musical education continued under the leadership of Pianist R. Vines and composer S. Köklen, who joined the young musician to modern art, to the creativity of K. Debussy, M. Ravel, as well as to new idols of young - I. Stravinsky and E. Sati. Youth Poilka coincided over the years of the First World War. He was called up to the army, it prevented him from entering the conservatory. However, on the musical arena of Paris, Pulenk appeared early. In 1917, an eighteen-year-old composer debuted at one of the concerts of the new music of Negritan Rhapsody for Bariton and the instrumental ensemble. This work had such a noisy success that Pulenk immediately became a celebrity. He was talking about him.

Inspired by success, Pulenk Following the Negro "Rhapsodia" creates the "Bestiary" vocal cycles (at Art. Apolliner), "Cokardi" (on Art. Zh. Kokto); Piano plays "Eternal movements, walks"; choreographic concert for piano with the Orchestra "Morning Serenade"; Ballet with singing "Lani", delivered in 1924 in Anthreprize S. Dyagilev. Miyo responded to this statement of an enthusiastic article: "Music" Lanie "is just like that and you can expect from its author ... This ballet is written in the form of dance suite ... with such wealth of shades, with such elegance, tenderness, charm, What kind of generous works are so generous and only the works of the Polenka ... The meaning of this music is incredible, the time will not touch it, and she will forever keep his youthful freshness and originality. "

In the early works of Polenka, the most essential sides of its temperament, taste, creative hand writing, a special purely Parisian color of his music, its inextricable connection with Paris Chanson. B. Asafiev, giving the characteristic of these works, noted "clarity ... and the liveliness of thinking, densit rhythm, acknowledged observation, purity of the pattern, compression - and concreteness of the presentation."

In the 30s. The lyrical talent of the composer blooms. He works with enthusiasm in vocal music genres: writes songs, cantata, choral cycles. In the face of Pierre Bernaka, the composer acquired a talented interpreter of his songs. With him as a pianist, he successfully toured over the cities of Europe and America for more than 20 years. Large artistic interest is the choral essays of Poilka on spiritual texts: Mass, "Litania to the Black Rocamadurian Our Lady", four motows for the time of repentance. Later - in the 50s. "Stabat Mater, Gloria", four christmas mottations will also be created. All writings are very diverse in style, they reflected the traditions of the choral music of France of various eras - from Gioma de Masho to Berlioz. The years of World War II Pulenk holds in deposited Paris and in his country mansion in NUAZ, sharing with his compatriots all the military life, deeply suffering for the fate of the homeland, their people, relatives and friends. The sorrowful thoughts and feelings of this time, but also faith in victory, reflected in the Cantata "LIC HUMAN" for the double choir A Cappella on P. Eluar verses. The poet of the French resistance Eloire created his poems in a deep underground, where the secret under the fictional name sent them to the bullet. The composer also kept the work on the Cantata and her edition. In the midst of war it was an act of big courage. It is not by chance that on the day of the liberation of Paris and his offend the score of the "Lick of Human" Pulenk proudly put in the window of his house next to the national flag.

An outstanding master of the playwright showed itself a composer in the opera genre. The first opera "Breast Terezia" (1944, on the text of the farce of Apolliner) - a fun, light and frivolous opera-buff - reflected the inclination of the Poilka to humor, joke, an eccentric. 2 Subsequent operas - in another genre. These are dramas with deep psychological development. "Carmelite dialogs" (Libr. J. Bernanosa, 1953) reveals the gloomy history of the death of the inhabitants of the Carmelitsky Monastery in the times of the Great French Revolution, their heroic sacrificial death in the name of faith. "Human voice" (in Drama J. Kokto, 1958) - a lyrical monodram, in which he sounds a living and stray human voice - the voice of longing and loneliness, the voice of an abandoned woman. Of all the works of Polenka, this opera brought him the greatest popularity in the world. It showed the brightest sides of the composer to give themselves. This is an inspirational essay, imbued with deep humanity, thin lyricism. All 3 operas were created on the wonderful talent of the French singer and actress D. Duval, which became the first performer in these operas.

The creative path of Poilka 2 Sonata - Sonata for Oboy and Piano, dedicated to S. Prokofiev, and Sonata for Clarinet and Piano, dedicated to A. Oneguer. A sudden death broke out the life of the composer during a period of great creative lifting, in the height of concert tour.

The heritage of the composer is about 150 works. His vocal music - operas, cantata, choral cycles, songs, the best of which are written on poems P. Eluara has the greatest artistic value. It was in these genres that the generous gift of a melodist Poolenka was truly opened. His melodies, like Motodes of Mozart, Schubert, Chopin, combine disarming simplicity, subtlety and psychological depths, serve as an expression of human soul. It was the melodic charm that provided a long and incomplete success of the music of a bullet in France and beyond.

Creative portraits of composers. - M.: Music. 1990 .

Watch what is "Polenk Francis" in other dictionaries:

Pulanc (Poulenc) (1899 1963), French composer, pianist. He entered the "six". Buffon Opera "Breast Tyrvicia", tragedy "Carmelite dialogues", Liriko psychological mono-source (for one artist) "Human voice" (1958), ... ... encyclopedic Dictionary

Francis Pulenk Francis Poulenc Photo by Roge ... Wikipedia

Francis Pulenk. Photo by Roger Viollet (1949) Francis Jean Marseille Pulenk (Fr. Francis Jean Marcel Poulenc; January 7, 1899, Paris January 30, 1963, Ibid) French composer, pianist, critic. Biography comes from rich and famous (by ... ... Wikipedia

Poolenc (more correctly Pulanc) (Poulenc) Francis (7.1.1899, Paris, 30.1. 1963, Ibid), French composer. Student R. Vines (Piano) and S. Köklen (composition). He entered the "six" (from 1920). Brought up on the samples of classic and ... ... Great Soviet Encyclopedia

Pulenk, Francis - Poolenc (Poulenc) Francis (1899 1963), French composer. Member "Six". Composer Lirik, Pulenk paid special attention to the melodies (the bullet was called "French Schubert"). Higher achievements are associated with the opera: Buffon "Breasts of Treezia" ... ... Illustrated Encyclopedic Dictionary

- (Poulenc, Francis) (1899 1963), French composer and pianist. Born on January 7, 1899 in Paris. Pulenk was mainly self-taught, although in student years, instead of performing strict prescriptions of parents in relation to his education, ... ... Encyclopedia Color

Pulenk was mostly self-taught, although in student years, instead of fulfilling the strict prescriptions of parents in relation to his education, successfully used free time for piano and composition.

Pulenk, Francis (Poulenc, Francis) (1899-1963), French composer and pianist. Born on January 7, 1899 in Paris. Pulenk was mostly self-taught, although in student years, instead of fulfilling the strict prescriptions of parents in relation to his education, successfully used free time for piano and composition. The configured quite antiromantically, fell under the influence of E. Sathi and in the 1920s was a member of the famous French "six". Subsequently, Pulenk retained the faithfulness of the aesthetic program of this group and continued to compose good music, which rejecting the excesses of the Wagner-Straussian era, cultivated simplicity, undisclosure, used Musichel's motives and often hid a feeling under the mask of irony. Pulenk wrote a lot on the texts of the modern poets (Cokto, Elur, Aragon, Apolliner and Anui), and equally and on the texts of the poet 16 century. Ronsar. Ronsar verses vocal cycles (Pomes de Ronsard, 1924-1925) and gallant festivities (Ftes Galantes, 1943) - among the most frequently executed products of the composer. Pulenk was a first-class accompaniment in the performance of his own vocal essays. The brilliant possession of the piano was reflected in a number of Pouchka's plays for this tool, such as perpetual movements (Mouvements Perptuels, 1918) and in the evening in Novalla (Soires de Nazelles, 1936). But Pulenk was not only a miniatureist. In his heritage, there are essays of a large form - for example, Mass (1937), a witty concert for two pianos with orchestra (1932), a concert for an organ with the orchestra (1938) and other successful choral and instrumental cycles. Pulenk also wrote music for theater, cinema, ballet; Two Operas of Tyrisias (Les Mamelles de Tirsias, 1944) composed (Les Dialogues des Carmlites, 1957), as well as a monoofer, 1959), and Diix Humaineer, 1959). Polenk died in Paris on January 30, 1963.