Sept répons des ténèbres

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Sept répons des ténèbres
Sacred music by
Responsories
LanguageLatin
Composed1961 (1961)-62
PerformedApril 11, 1963 (1963-04-11): New York City
Scoring
  • soprano
  • mixed choir
  • orchestra

Sept répons des ténèbres (Seven responsories for

Responsories for the Holy Week and scored it for soprano, choir, and orchestra. Written on a commission from the New York Philharmonic, it was first performed in New York's Lincoln Center
in April 1963 after the composer's death.

History

Poulenc returned to sacred music first in 1936 when he composed his

Mass in G), and several other religious works. His 1956 opera Dialogues of the Carmelites deals with the fate of nuns in the French Revolution. [1]

Sept répons des ténèbres was written in 1961 on a commission by

Poulenc composed first a version for voices and piano in 1961 and orchestrated the work in 1962. The first performance was on 11 April 1963, after the composer's death, by choir and orchestra of the New York Philharmonic, conducted by Thomas Schippers.[3]

The first performance in France was at the Théâtre des Champs-Élysées in Paris on 10 December 1963, with the Orchestre National de France, Les Petits chanteurs de la Sainte-Croix and the choirs of RTF, conducted by Georges Prêtre.[4]

Text, structure and scoring

The work is based on

Responsories for the Holy Week.[5]
The seven movements of Sept répons des ténèbres are:[5]

  1. Una hora non potuistis vigilare mecum
  2. Judas, mercator pessimus
  3. Jesum tradidit
  4. Caligaverunt oculi mei
  5. Tenebrae factae sunt
  6. Sepulto Domino
  7. Ecce quomodo moritur justus

The first movement reflects Jesus in

Una hora
non potuistis vigilare mecum" (What, could you not watch one hour with me).

The second movement is focused on

responsory for the second nocturn of Maundy Thursday
, "Judas, mercator pessimus" (Judas, the vile merchant).

The third and fourth movement are taken from the

responsories for the third nocturn of Good Friday
, "Jesum tradidit impius" (The wicked man betrayed Jesus) and "Caligaverunt oculi mei" (My eyes are darkened).

The fifth movement is

for the second nocturn of Good Friday
, "Tenebrae factae sunt" (Darkness fell);

The sixth is

for the third nocturn of Holy Saturday
, "Sepulto Domino" (The Lord being buried);

and the final movement is

Ecce quomodo moritur justus" (Behold how the righteous man dies).[5]

Poulenc scored the music for boys' choir with a treble soloist and symphony orchestra. Later performances added female singers for the solo part and in the choir.[2]

Recording

For a long time, the recording by Prêtre was the only one,[2] until the work was recorded again in 2012[1] by Carolyn Sampson, the Cappella Amsterdam and the Estonian Philharmonic Chamber Choir and the Estonian National Symphony Orchestra, conducted by Daniel Reuss.[2] A reviewer notes the music's "dark and extremely sombre character",[1] expressing a wide range of emotions, facing the crucifixion in sorrow and distress.[1]

References

Bibliography

  • Bossert, Dorothea (25 March 2014). "Bestechende Präzision und Klangkultur" (PDF) (in German). SWR. Archived from the original (PDF) on 25 March 2014. Retrieved 30 January 2017.
  • Cookson, Michael (2014). "Francis Poulenc (1899–1963) / Stabat Mater (1950) / Sept Répons des Ténèbres (1961/62)". musicweb-international.com. Retrieved 30 January 2017.
  • Schmidt, Carl B. (1995). The Music of Francis Poulenc (1899–1963): A Catalogue. Oxford: Clarendon Press. .
  • Sept répons des ténèbres . FP 181 / liturgie (in French). BNF. 2017. Retrieved 30 January 2017.
  • "Sept Répons des ténèbres de Francis Poulenc" (in French). gloriamusica.fr. 2017. Archived from the original on 2 February 2017. Retrieved 30 January 2017.

Further reading

External links