Contrapunctus

Francis Poulenc / V. The French Line

Tel jour telle nuit, FP 86

1936–⁠37 · Voice and piano

5 min

Recording

  1. VII–IX: Je n’ai envie que de t’aimer; Figure de force brûlante et farouche; Nous avons fait la nuitPierre Bernac, baritone; Francis Poulenc, piano
    4:46

    The last three songs of Poulenc’s nine-song Éluard cycle Tel jour telle nuit fill the third side of HMV DB 6383–⁠6384. Pierre Bernac sings and the composer plays; the set was listed for sale as an import by March 1948.

    Listening notes
    1. Songs 7–⁠9 of nine

      This side carries the last three of the nine songs. Poulenc composed the first and last songs of the cycle together, as a matching pair, in Lyon, after beginning the work at Noizay in December 1936.

    2. The dedicatees

      Poulenc dedicated the songs of the cycle to eight people, among them Picasso, Nusch Éluard, Valentine Hugo, the baritone Pierre Bernac and the choral conductor Yvonne Gouverné.

    3. Song 9, the last of the cycle

      The ninth song, “Nous avons fait la nuit”, closes the cycle. Graham Johnson calls the last song of the cycle a summing-up of what has gone before.

    4. “Je ris encore”

      John Check singles out the phrase “Je ris encore” in this song, where a bold ascending leap on the second word captures the exhilaration of the phrase.

    5. Éluard’s four titles

      In early January 1937, with the first performance a month away, Poulenc asked Éluard for a title. Éluard offered four; his own choice was Tout dire, and Poulenc took the second, Tel jour telle nuit.

    6. Piano postlude

      After the last words, “toujours nouveau”, the piano plays a postlude in a new tonality. Check finds it Schubert-like in its breadth and says it sums up the cycle as a whole.

    7. The record in March 1948

      The Gramophone Shop’s supplement for March 1948 listed this set, the cycle on three sides and Dans le jardin d’Anna on a fourth. It wrote that the performances “may be considered authentic, by virtue of the composer’s participation in the recording”.

    Open in the Concert Hall

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