Francis Poulenc - Gloria, FP 177

Francis Poulenc (1899 - 1963) - Gloria, FP 177 (1959 - 1960)

I. Gloria [0:00]
II. Laudamus te [2:39]
III. Domine Deus [5:38]
IV. Domine Fili unigenite [11:13]
V. Domine Deus, Agnus Dei [12:38]
VI. Qui sedes ad dexteram Patris [20:02]

Barbara Hendricks, soprano
Chœur de Radio France
Orchestre National de France, Georges Prêtre (1988)

Francis Poulenc's Gloria is a work for soprano, chorus, and orchestra, and it is a setting of the Gloria text from the mass ordinary. The work is one of Poulenc's most celebrated compositions. It is cast in six movements and typically lasts around 25 minutes.

"Composed in 1959, the work is one of three sacred pieces from Poulenc's 'mature' years (the others being the Stabat Mater from 1950 and Sept répons des ténèbres from 1962). It was commissioned by the Koussevitzky Foundation after one of Poulenc's trips to America, receiving its premiere in Boston in 1961.

In composing his Gloria, Poulenc divided the text into six sections. The first movement, marked maestoso, begins with three iterations of the heraldic theme -- a stately, dotted fanfare concluding with a triplet flourish -- in different orchestrational settings and with slightly different harmonic conclusions. The chorus enters above a bubbling orchestral texture, singing the text in lively declamatory syncopation. The second movement begins with a short, playful instrumental introduction, the chorus enters with the famous 'Laudamus Te.' The tune itself, marked Très vite et joyeux, isn't all that irreverent; its playfulness stems largely from the orchestration, which puts high and low registers alike on the offbeats. This gives the piece a delightfully awkward momentum -- likely similar to that of a monk in full Benedictine garb footing the ball toward the goal.

The third movement contrasts with the previous two in its tranquillity and restraint. Marked Très lente et calme, it begins with a plaintive woodwind interlude. The soprano soloist then enters on a melody characterized by initial notes in the upper register that plunge dramatically into the lower range. The harmonies in the orchestra and chorus are striking, sometimes approaching a Debussyian wash of impressionistic color.

For the fourth movement, Poulenc once again returns to the Très vite et joyeux mood of the second movement, while the instrumental interludes vaguely resemble the opening brass fanfare. The fifth returns to more staid feel, with a slow tempo and dark orchestrational introduction that precedes a haunting soprano solo. Emerging from the upper atmosphere, the soloist counters the descending lines of the third movement with an angular melody that reaches impossibly upwards. The rising line resonates vividly with the corresponding portion of the text, which constitutes a humble and penitent prayer for mercy. The final movement begins with a bold a capella exclamation, followed by a return of the brass fanfare. The soloist returns for a rhapsodic solo underscored by impressionist harmonies, with special attention given to the lush major seventh chord. This harmony accommodates a final return of the brass fanfare, before the soloist brings the work to a serene conclusion."

(source: AllMusic)

The text, with translations:
Gloria in excelsis Deo, [Glory to God in the highest,]
et in terra pax hominibus bonae voluntatis. [and on earth peace to people of good will.]
Laudamus te, benedicimus te, [We praise You, we bless You,]
adoramus te, glorificamos te, [we adore You, we glorify You,]
gratias agimus tibi propter magnam gloriam tuam. [we give You thanks for Your great glory.]
Domine Deus, Rex caelestis, [Lord God, heavenly King,]
Deus Pater omnipotens. [O God Almighty Father.]
Domine fili unigenite, Jesu Christe. [Lord Jesus Christ, Only-Begotten Son,]
Domine Deus, Agnus Dei, Filius patris, [Lord God, Lamb of God, Son of the Father,]
Qui tollis peccata mundi, miserere nobis. [You take away the sins of the world, have mercy on us.]
Qui tollis peccata mundi, suscipe deprecationem nostram. [You take away the sins of the world, hear our prayer.]
Qui sedes ad dexteram Patris, miserere nobis. [You are seated at the right hand of the Father, have mercy on us.]
Quoniam Tu solus sanctus, [For You alone are the Holy One,]
Tu solus Dominus, [you alone the Lord,]
Tu solus Altissimus, Jesu Christe, [you alone the Most High, Jesus Christ,]
cum Sancto Spiritu in gloria Dei Patris. Amen. [with the Holy Spirit in the glory of God the Father. Amen.]

[mikeklimczak]

Such a gorgeous work. The final movement always brings me to tears.

[neildavidsouter]

Thoroughly enjoyed following this with the score!

[Sop-isqn]

For those who need to practice Soprano
Gloria;
0:40 3
0:59 5
1:07
1:30
2:05 10

Laudamus te;
2:45
3:02
3:10 15
3:20 17
3:30
4:44

[video]

*Merry Christmas to whoever’s reading this comment!*

[ruslan.denshaev]

Stravinsky’s Serenade en La at the beginning :)

[Mezzotenor]

I think you've misidentified the recording. Georges Pretre conducted, and you've got the right choir and orchestra, but the soloist is Barbara Hendricks. Miss Carteri sang on the 1961 recording, but this digitally recorded one is from the 1980s.

[Luca-gjxn]

Poulenc is really brilliant! My choir sang "Les Tisserands" in quarantine style. Write this in the search: you will surely like it.
Corale Novarmonia - Les Tisserands (F. Poulenc)

[olivertill]

Where is this score from? Is it a new engraving? Useful to see notes corrected in the 1st movement!

[mpearce]

The constant commercial interruptions destroy the beautiful music. Please say no to them.

[epwmolter]

Where all my TMEA All-State folks at for this year?!?!?!?!?