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Relevant bibliographies by topics / Poulenc's settings of poetry

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Academic literature on the topic 'Poulenc's settings of poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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Journal articles on the topic "Poulenc's settings of poetry"

1

Basart, Ann P., and Michael Hovland. "Musical Settings of American Poetry: A Bibliography." Notes 43, no. 2 (December 1986): 312. http://dx.doi.org/10.2307/897388.

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Snarrenberg, Robert. "Brahms’s Non-Strophic Settings of Stanzaic Poetry." Music and Letters 98, no. 2 (May 1, 2017): 204–31. http://dx.doi.org/10.1093/ml/gcx051.

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Ravenscroft, Brenda. "Metamorphoses: Elliott Carter’s Musical Settings of Stevens’s Poetry." Wallace Stevens Journal 43, no. 2 (2019): 234–38. http://dx.doi.org/10.1353/wsj.2019.0024.

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Nixon, S. "The sources of musical settings of Thomas Carew's poetry." Review of English Studies 49, no. 196 (November 1, 1998): 424–60. http://dx.doi.org/10.1093/res/49.196.424.

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Palmer, Peter. "OTHMAR SCHOECK'S SETTINGS OF GOTTFRIED KELLER." Tempo 64, no. 251 (January 2010): 28–37. http://dx.doi.org/10.1017/s0040298210000045.

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The Swiss author Gottfried Keller was 27 when he published his first volume of poems in 1846. His early poetry was partly influenced by the German battle for liberalism and the experience of those émigrés who, like Wagner, found their way to Switzerland. The main literary impulses came from Goethe and the German Romantics, impulses finding expression in subjective, even mystical verses. At the same time Keller never lost touch with the here-and-now: a feature that would earn him the description of a poetic realist.

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Kaplan, Daniel B., and Gary Glazner. "POETRY INTERVENTION IMPACTS PERSPECTIVES ON DEMENTIA AND CAPABILITIES AMONG YOUNG VOLUNTEERS." Innovation in Aging 3, Supplement_1 (November 2019): S198—S199. http://dx.doi.org/10.1093/geroni/igz038.717.

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Abstract Poetry for Life (PFL), is a teaching and learning initiative that brings students together with older adults in meaningful community service workshops. PFL capitalizes on the skills and passions of young poets by offering opportunities to serve elders by leading poetry workshops at settings where older adults receive care. This study examines measurable impacts of training, exposure, and experience in poetry-based intergenerational workshops on students’ knowledge, attitudes, and values. Participating groups of students receive instruction in performing and creating poetry in group settings. They visit local elder care settings to facilitate PFL workshops and then write reflections on their experiences. Students agree to complete pre- and post-program surveys to document the impacts of PFL experiences on students' social/emotional health and on their knowledge, attitudes, and values related to older adults, dementia and dementia care, poetry and arts-based interventions, and careers in healthcare, aging fields, and the arts. To date, 33 young people from one middle school, one high school, and one graduate college program have volunteered to participate in the program and completed the study. Findings reveal significant impacts on students’ perceived capabilities working and communicating with people with dementia as well as leading poetry activities. Additionally, significant positive impacts were demonstrated on 12 of 20 items on the Dementia Attitudes Scale across participating students. The PFL experience did not, however, lead to significant impacts on student self-esteem or work interests. These findings suggest benefits and limitations of this service-learning experience. Implications for future programming will be discussed.

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Brown, A. Peter. "Musical Settings of Anne Hunter's Poetry: From National Song to Canzonetta." Journal of the American Musicological Society 47, no. 1 (April 1994): 39–89. http://dx.doi.org/10.1525/jams.1994.47.1.04x0083e.

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Schroeder, D. "Re-reading Poetry: Schubert's Multiple Settings of Goethe. By Sterling Lambert." Music and Letters 92, no. 3 (July 21, 2011): 488–89. http://dx.doi.org/10.1093/ml/gcr030.

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Brown, A. Peter. "Musical Settings of Anne Hunter's Poetry: From National Song to Canzonetta." Journal of the American Musicological Society 47, no. 1 (1994): 39–89. http://dx.doi.org/10.2307/3128836.

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Anne Hunter (1742-1821) seems to have appeared suddenly on the London scene when she provided Joseph Haydn with texts for his English songs published under the fashionable title of canzonettas. Yet long before Haydn arrived in London, she had already established herself as a writer of lyrics for the Scottish national song movement and of the famed "Death Song" of a Cherokee Indian set to "an original Indian air." Some believe that her poems provided a model for Robert Burns. Her lyrics were also set by Johann Peter Salomon and requested by the propagator and publisher of national song in the British Isles, George Thomson.

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Davey, Laura. "Le due sorelle: Music and Poetry in Monteverdi's settings of Marino." Italianist 9, no. 1 (June 1989): 89–102. http://dx.doi.org/10.1179/ita.1989.9.1.89.

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Dissertations / Theses on the topic "Poulenc's settings of poetry"

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Cox, J. N. "Dadaist, Cubist and Surrealist influences in settings by Francis Poulenc of contemporary French poets." Thesis, University of Oxford, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.375864.

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Sullivan, M. Alayne. "Reading poetry in non-directive settings." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74572.

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This study investigates the reading processes used by nine sixteen-year-old, adolescent reluctant readers as they read and interpret poetry. The study also considers how these reading processes are affected by the students' participation in a one-month study of reading and independently discussing poetry in small groups. Each student's responding-aloud interpretation of poetry gathered before the study (pre-test protocol) is compared with his or her responding-aloud interpretation of poetry gathered after the study (post-test protocol). This is done by analyzing each protocol according to a reading scale which identifies five key-reading processes each of which is qualitatively differentiated across five categories. This reading scale, designed by the researcher, is based on the analysis of over one hundred and twenty responding-aloud protocols of adolescent reluctant readers.
Six of the nine readers refine the processes through which they read and interpret poetry. The most likely cause of this improvement is their having been involved in independent small-group discussion of poetry. The analysis of students' pre-test and post-test protocols reveal the (differing) extents to which each of them use the five key-reading processes.

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Cowell, Emma Mildred. "Dialogues with the Past: Musical Settings of John Donne's Poetry." Youngstown State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1339692006.

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Jones, W. Elliot. "Welcome Sweet and Sacred Feast: Choral Settings of Metaphysical Poetry by Gerald Finzi." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/193590.

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Gerald Finzi (1901-1956) amassed a library that numbered over three thousand volumes, mostly of poetry, by the time of his death and was extremely selective when choosing poems to set to music. Settings of Thomas Hardy form the bulk of his output for solo voice, but for his choral works he returned again and again to seventeenth -century metaphysical poets like George Herbert, Richard Crashaw, Henry Vaughan, Thomas Traherne and Edward Taylor. These poets relied more upon rational thought than on intuition or theology in their work, and even their religious passion was filtered through reason. The extent of their use of wit, paradox, puns and their unusual juxtaposition of images, such as Andrew Marvell's comparison of the soul to a drop of dew, had not been seen before in English sacred poetry. Finzi, an agnostic, was attracted to their questioning of traditional, accepted religious thinking, and he frequently quoted these poets in his letters. The loss of loved ones at an early age, his affinity for the pessimism of his poetic idol Thomas Hardy, his rejection of religious dogma, and his constant awareness of the frailty of human existence would all influence his choice of texts for vocal and choral works. When commissioned to write sacred choral works, Finzi turned to Richard Crashaw, Henry Vaughan and Edward Taylor for poetic, not dogmatic, religious poetry.Gerald Finzi's first five works for chorus were settings of the poetry of George Herbert, Henry Vaughan and Thomas Traherne, and he continued to set metaphysical poetry throughout his career. It would ultimately account for over twenty-five percent of his total output of music for chorus. Finzi consistently responded to the elaborate conceits and surprising juxtapositions that characterize metaphysical poetry with musical surprises using harmony, tonality, meter, rhythm, texture, voicing and melodic shape. Always allegiant to the principles and values of the pastoral composers who preceded him, Finzi created music that is characterized by an ever-present sense of elegiac melancholy often expressed in Romantic melodic gestures accompanied by consonant harmony. He earns this seeming indulgence, however, through frequent use of dissonance, usually placed in low sonorities, Bachian contrapuntal textures, and even modernist elements. In terms of scholarship and philosophy, Gerald Finzi and the metaphysical poets were kindred spirits. An exploration of this subject that details precisely how Finzi responded to these poems in his musical settings of them will lead conductors, musicians and listeners to a more thorough understanding of these pieces and the artist who created them.

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Kim, Kil Won. "A detailed study of Reynaldo Hahn's settings of the poetry of Paul Verlaine /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1996.

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Trowles, Tony Albert. "The musical ode in Britain, c.1670-1800." Thesis, University of Oxford, 1992. https://ora.ox.ac.uk/objects/uuid:2c30162d-7b1d-45ba-9e3c-301129ecb38c.

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The musical ode, which developed during the 1660s and 1670s as a means of celebrating occasions of particular significance (often by setting a specially written text), remained popular throughout the eighteenth century, and can be regarded as the earliest form of large-scale secular choral music to have developed in England. This dissertation discusses the nature of the genre (including its relationship with the poetical ode), and surveys the contexts in which odes were composed and performed. It is supplemented by a catalogue which lists some 270 examples of the genre. Among the earliest odes were those written for performance at the court in London. These have already been the subject of musicological study, but although they were the biggest stylistic influence on the other odes written during the late seventeenth and early eighteenth centuries, they were not quite the earliest examples of the species. At the University of Oxford, the practice of performing specially composed odes to enhance academic ceremonial dates from at least 1669, and the custom continued throughout the following century. The odes on St Cecilia's Day also originate in the late seventeenth century, but although the works performed in London between 1683 and 1701 have received some scholarly attention, odes on the same theme written later in the century, along with works performed at a number of provincial centres, have not hitherto been discussed in the context of the wider ode genre. Also neglected have been the birthday odes performed at the Vice-regal court in Dublin during the eighteenth century. These complement the London court odes, but have not previously been listed or discussed in detail. Other odes were written for charitable causes, and to commemorate a miscellaneous array of occasions, including military victories and the inauguration of new buildings. In addition, in the latter half of the eighteenth century, some composers responded to developments in the poetical ode by setting libretti which had no 'occasional' inspiration, but which were notable literary achievements in their own right.

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Bierschenk, Jerome Michael. "An Analysis of Selected Choral Works by Kirke Mechem: Music-Textual Relationships in Settings of Poetry of Sara Teasdale." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2003. http://www.library.unt.edu/theses/open/20032/bierschenk%5Fjerome/index.htm.

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Kenaston, Karen S. "An Approach to the Critical Evaluation of Settings of the Poetry of Walt Whitman: Lowell Liebermann's Symphony No. 2." Thesis, Online resource, 2003. http://www.library.unt.edu/theses/open/20031/kenaston%5Fkaren/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2003.
Original copy accompanied by 3 recitals, recorded Apr. 27, 2000, Nov. 28, 2000, and Oct. 31, 2001; videocassette not dated. Lacking in UMI copy. Includes bibliographical references (p. 141-149).

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Lewis, C. M. "Studies on Hebbel's poetry: with a collection of poems not in Werner's critical edition and a register of musical settings of Hebbel's poems." Thesis, Aberystwyth University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.565946.

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In a letter to Hebbel dated 29.12.1858 Fischer writes: "Ihre Poesien sind immer gleich Probleme [...] Sie nehmen und machen sich selbst die Poesie nicht leicht [...] und was Sie selbst schwer nehmen, wird und muss begreiflicherweise dem Leser noch schwieriger fallen." Criticism of Hebbel's poems has been largely negative. My intention is to adopt a critical approach which is not hampered by a rigid concept of what constitutes good poetry or other prejudices, and to open up new perspectives of Hebbel's poetry, by discussing different aspects of his verse. Standard criticisms of Hebbel's poetry are examined, and the reception of his poetry In the world of music, prior to the rediscovery of his works in general, is discussed. A register of the musical settings of Hebbel's verse documents the extent of his popularity as a poet amongst composers. Hebbel's aesthetics, which are inextricably linked with his perception of life, reveal his artistic aims and a personal vindication of his poetry. An analysis of Hebbel's poetic forms and strophic structures shows his indebtedness to tradition and his point of departure from it. Structural principles In Hebbel's poetry are examined. The arrangement of poems in pairs, an aspect which has not previously been examined, reveals how Hebbel overcomes the dissonance and dualism in the world within the poetic statement. The cyclical arrangement of poems often reflects Hebbel's attempt to perfect the poetic expression of fundamental, predominantly philosophical reflections. A collection of relatively unknown and inaccessible Hebbel poems is found in Appendix 1.

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Schindler, Karl W. (Karl Wayne). "The War Poems: An Intermedia Composition for Chamber Orchestra and Chorus." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278847/.

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Expanding on the concept of Richard Wagner's Gesamptkunstwerk, The War Poems was written to combine various elements for an intermedia composition, including music, five slide projectors, lighting, and costume. Text used in the piece was taken from the writings of the English World War I poet Siegfried Sassoon.

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Books on the topic "Poulenc's settings of poetry"

1

Western settings: Poems. Reno, Nev: University of Nevada Press, 2000.

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Musical settings of American poetry: A bibliography. Westport, Conn: Greenwood Press, 1986.

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3

Re-reading poetry: Schubert's multiple settings of Goethe. Woodbridge: Boydell Press, 2009.

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Music lessons: Poetry and musical form. Tarset, Nothumberland: Bloodaxe Books, 2011.

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5

Museum für Literatur am Oberrhein, ed. Etwas Neues entsteht im Ineinander: Wolfgang Rihm als Liedkomponist : die Gedichtvertonungen. Freiburg im Breisgau, Germany: Rombach Verlag, 2012.

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Kim, Kil Won. A detailed study of Reynaldo Hahn's settings of the poetry of Paul Verlaine. Norman, Oklahoma: Kim, 1996.

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7

Rayapati, Sangeetha. Vocal settings of Rabindranath Tagore's Gitanjali (Song offerings): Fusing Western art song with Indian mystical poetry. Lewiston, N.Y: Edwin Mellen Press, 2010.

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1861-1941, Tagore Rabindranath, ed. Vocal settings of Rabindranath Tagore's Gitanjali (Song offerings): Fusing Western art song with Indian mystical poetry. Lewiston, N.Y: Edwin Mellen Press, 2010.

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Fitch, Donald. Blake set to music: A bibliography of musical settings of the poems and prose of William Blake. Berkeley: University of California Press, 1990.

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Fitch, Donald. Blake set to music: A bibliography of musical settings of the poems and prose of William Blake. Berkeley, CA: University of California Press, 1989.

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Book chapters on the topic "Poulenc's settings of poetry"

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"Settings as mirrors." In Teaching Poetry, 72–89. Routledge, 2012. http://dx.doi.org/10.4324/9780203139240-11.

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"Poetry in Healthcare settings." In Poetry, Therapy and Emotional Life, 107–20. CRC Press, 2017. http://dx.doi.org/10.1201/9780203743041-11.

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Heyman, Barbara B. "Song Cycles." In Samuel Barber, 358–83. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863739.003.0013.

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Back in America, Barber happily focused on composing songs. Drawn to Rainer Maria Rilke’s French poems, he created five songs, Mélodies passagères. When asked, he said that he composed in French because he had fallen in love with Paris. He sang excerpts of the cycle to his friend, composer Francis Poulenc, who confirmed the accuracy of the prosody and admired the songs so much he premiered them in Paris with Pierre Bernac in 1952, which Barber attended as he was there for a meeting of the International Music Council. In 1952, Barber received a commission from the Ballet Society to orchestrate some piano duets he had composed, inspired by his childhood trips to the Palm Court in New York’s Plaza Hotel. Completed in Ireland, the ballet, Souvenirs, included a waltz, schottische, tango, pas de deux, and two-step; it was choreographed and performed by Balanchine, who danced with Nora Kaye, Jerome Robbins, and Tanaquil LeClercq. His love affair with Irish poetry also blossomed during this time, inspiring his most famous song cycle, Hermit Songs, settings of ten poems by Irish monks inscribed on the corners of manuscripts. The cycle was premiered in the Coolidge Auditorium at the Library of Congress by Leontyne Price, with Barber at the piano. This chapter concludes with discussion of Barber’s one-movement orchestral work, Adventure, a television collaboration between CBS and the Museum of Natural History, which is scored for a mixture of recognizable Western instruments and non-Western instruments.

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Thym, Jürgen. "Reading Poetry Through Music." In The Songs of Fanny Hensel, 195–216. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190919566.003.0011.

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In an extension of Stephen Rodgers’s efforts to turn “an analytical lens” on Fanny Hensel, this chapter focuses on selected Hensel settings whose texts have also inspired other composers: “Verlust” after Heine (“Und wüssten’s die Blumen”), also set by Robert Schumann and Robert Franz; “Frühling” (Eichendorff) with Schumann’s and Curschmann’s “Frühlingsnacht” as companions; and “Du bist die Ruh” (Rückert), also set by Schubert (and many others). In order to avoid comparing stylistically incompatible settings, the selection has been limited to Lieder between ca. 1825 and ca. 1850. Taking stock of Hensel’s interpretations and comparing them with those of other composers will allow musicologists and music theorists to assess her place in the history of the Lied in the first half of the nineteenth century.

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Simms, Bryan R. "Settings of the Poetry of Stefan George: Opp. 10, 14, and 15." In The Atonal Music of Arnold Schoenberg 1908–1923, 29–58. Oxford University Press, 2000. http://dx.doi.org/10.1093/acprof:oso/9780195128260.003.0003.

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Allen, Nicholas. "Eiléan Ní Chuilleanáin, Poetry and Water." In Ireland, Literature, and the Coast, 190–219. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198857877.003.0010.

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If the coast and sea are to be more than settings for the play of literature, and if in doing so become the fabric of an aesthetic whose origins are in the interplay between water and land, then something more is to be read into art than a juxtaposition between fluidity and form. Liquidity is a condition of continual engagement, surface and depth, volume and elevation, are the dimensions of a literature that can hold a multiple consciousness in mind, the art work an astrolabe, not a map, its contours marked by soundings, its horizons by visions. This chapter reads the poetry of Eiléan Ní Chuilleanáin in these contexts, following words and images from Acts and Monuments to the present. Ní Chuilleanáin is a central figure in contemporary Irish literature; associative and versatile, her work seeps around any reading of narrative enclosure.

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Gaudern, Mia. "W. H. Auden’s Paysages Etymologisés." In The Etymological Poetry of W. H. Auden, J. H. Prynne, and Paul Muldoon, 100–125. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198850458.003.0005.

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Adapting contemporary psychological, sociological, and religious theories of human consciousness, Auden repeatedly tells the story of how the invention of language radically altered our relationships with the natural world. These contexts are used to examine the role of etymology—and specifically the concrete etymologies of abstract words—in Auden’s moralised landscapes, which are the settings for his stories about the origin of language. Etymological analyses identify dialogues between past and present meanings—for example, of the words ‘rival’ and ‘savage’—that illuminate Auden’s concern with ‘the relation of man as a history-making person to nature’.

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Burnham, Scott. "Waldszenen and Abendbilder." In The Songs of Fanny Hensel, 35–54. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190919566.003.0003.

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Nikolaus Lenau (1802–1850) is often described as Germany’s greatest poet of Weltschmerz. In his poetry, Lenau steadily invoked Nature and, in particular, the figure of the forest (der Wald), as both a reflection and amplification of his prevailing poetic mood. Fanny Hensel found inspiration in Lenau’s poetry toward the end of her life, setting seven of his poems in the 1840s. This chapter offers close readings of six of those settings, grouped into those that deploy forest imagery in varying degrees (“Vorwurf,” “Kommen und Scheiden,” and “Traurige Wege”) and those that describe or address the evening (“Bitte” and “Abendbild”). Throughout, the emphasis will be on Hensel’s harmonic, melodic, rhythmic, and textural strategies for capturing and coloring Lenau’s merger of nature and melancholy.

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Hadjimichael, Theodora A. "The Canonical Nine on the Comic Stage." In The Emergence of the Lyric Canon, 59–94. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198810865.003.0003.

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Chapter 2 looks at the comic genre as a source of information about the Athenian audience’s knowledge and recognition of the lyric poets and their compositions. Comedy makes use of biographical and anecdotal features of several lyric poets who are parodied on stage, and demonstrates a profound awareness of generic features and also of cultic and performative characteristics of various lyric song-types. Lyric poets are contextualized in several comic symposia that are depicted as settings of lyric reception and as possible contexts of the survival of lyric poetry in Athens. In several cases one observes how comedy reflects the evolutionary process of canonization and the emerging distinction between the old and the popular new in lyric poetry, a distinction that eventually led to the formation of the Lyric Canon. The evidence suggests that canonizing process of lyric is obvious already in the fifth-century Athenian literary background.

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Crookshank, Esther R. "“We’re Marching to Zion” Isaac Watts in America." In Rethinking American Music, 103–37. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042324.003.0006.

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In 1872 Henry Ward Beecher, the most prominent American preacher of the time, claimed that hymns, particularly those of Isaac Watts, shaped Americans’ theology in a uniquely powerful way. Hymns even apart from music—read aloud, memorized, and contemplated—found a special place in the inner lives of nineteenth-century Americans closely akin to that of Scripture itself. The roots of “religious emotions” in hymnody—especially for those generations of Americans who had learned hymns from childhood—were linked to a range of theological concepts. Crookshank examines how the poetry and music associated with the towering figure of Isaac Watts has been invoked and supported in a variety of religious settings for more than two hundred years.

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Reports on the topic "Poulenc's settings of poetry"

1

Cox, Jeremy. The unheard voice and the unseen shadow. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.621671.

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The French composer Francis Poulenc had a profound admiration and empathy for the writings of the Spanish poet Federico García Lorca. That empathy was rooted in shared aspects of the artistic temperament of the two figures but was also undoubtedly reinforced by Poulenc’s fellow-feeling on a human level. As someone who wrestled with his own homosexuality and who kept his orientation and his relationships apart from his public persona, Poulenc would have felt an instinctive affinity for a figure who endured similar internal conflicts but who, especially in his later life and poetry, was more open about his sexuality. Lorca paid a heavy price for this refusal to dissimulate; his arrest in August 1936 and his assassination the following day, probably by Nationalist militia, was accompanied by taunts from his killers about his sexuality. Everything about the Spanish poet’s life, his artistic affinities, his personal predilections and even the relationship between these and his death made him someone to whom Poulenc would be naturally drawn and whose untimely demise he would feel keenly and might wish to commemorate musically. Starting with the death of both his parents while he was still in his teens, reinforced by the sudden loss in 1930 of an especially close friend, confidante and kindred spirit, and continuing throughout the remainder of his life with the periodic loss of close friends, companions and fellow-artists, Poulenc’s life was marked by a succession of bereavements. Significantly, many of the dedications that head up his compositions are ‘to the memory of’ the individual named. As Poulenc grew older, and the list of those whom he had outlived lengthened inexorably, his natural tendency towards the nostalgic and the elegiac fused with a growing sense of what might be termed a ‘survivor’s anguish’, part of which he sublimated into his musical works. It should therefore come as no surprise that, during the 1940s, and in fulfilment of a desire that he had felt since the poet’s death, he should turn to Lorca for inspiration and, in the process, attempt his own act of homage in two separate works: the Violin Sonata and the ‘Trois Chansons de Federico García Lorca’. This exposition attempts to unfold aspects of the two men’s aesthetic pre-occupations and to show how the parallels uncovered cast reciprocal light upon their respective approaches to the creative process. It also examines the network of enfolded associations, musical and autobiographical, which link Poulenc’s two compositions commemorating Lorca, not only to one another but also to a wider circle of the composer’s works, especially his cycle setting poems of Guillaume Apollinaire: ‘Calligrammes’. Composed a year after the ‘Trois Chansons de Federico García Lorca’, this intricately wrought collection of seven mélodies, which Poulenc saw as the culmination of an intensive phase in his activity in this genre, revisits some of ‘unheard voices’ and ‘unseen shadows’ enfolded in its predecessor. It may be viewed, in part, as an attempt to bring to fuller resolution the veiled but keenly-felt anguish invoked by these paradoxical properties.

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