The 1st Movements of Francis Poulenc’s Sonata for Flute and Piano

-Practice Based Research –

Prince Claus Conservatoire

Ráhel Anna Magdó
4th year BA, classical flute

Poulenc’s flute sonata is one of the most performed pieces of the flute repertoire. In the
present practice based research I will be looking at its first movement. I was given the task of
conducting such research on one of the pieces I am currently preparing for my bachelor’s
diploma concert. I have played Poulenc’s sonata before, however at first I didn’t want to include
it in theprogram of the diploma concert because of its atmosphere of doubt and obscurity. After
looking for repertoire and listening to flute pieces for endless hours I decided to give thisone
another chance and listened to it again. This time it spoke to me, in fact it moved me to tears; for
in it I heard my inner turbulence and confusion I went through during the months preceding this
moment. All thestruggles and unanswered questions wrapped in beautiful sound.I was sitting in
the library of the Prince Claus ConservatoiresoI didn’t want to give way to my tears, but there I
decided to include Poulenc’s piece in the program, and in my head I christened it“the sonata of
the broken hearted”. Not much later even more words of Jesus found their way to tie
themselves to it,Blessed are those who mourn, for they shall be comforted. After conducting this
small research I see the piece in a rather different light. However I find it remarkable, that
Poulenc’s music with it’s emotional complexity grabbed me at the time and I will look for what
can I preserve and bring to my performance from this experience.

Contextual introduction

The Sonata for Flute and piano is one of Poulnec’s latest works.Poulenc finished it at the
age of 62,6 years before his death. By this time he was a renowned composer and performer,
with a distinct and mature style, with a successful career as well as a trying personal life behind
his back. He lost his parents already in his late teens. During his lifetime Poulenc was battling
depression, in part because of the burden of his homosexuality. He was permanently scarred by
the death of Raymonde Linossier in 1930, the only woman he ever wanted to marry. His letters
testify to the complexity of his emotional life.

Francis Poulenc (1899-1963) was a French composer, pianist and member of the Groupe
de Six. During the first half of his career the simplicity and directness of his writing led many
critics away from thinking of him as a serious composer. Gradually, since World War II, it has
become clear that the absence from his music of linguistic complexity in no way argues a
corresponding absence of feeling or technique; and that while, in the field of French religious
music, he disputes supremacy with Messiaen, in that of the mélodie he is the most distinguished
composer since the death of Fauré (Gabriel Fauré, 1845-1924). During the 1950s he was a
dedicated composer: fiercely independent, deliberately distancing himself from the musical
mainstream of the time, while remaining attentive to what happened there.

Poulenc first mentioned that he was writing a flute sonata in a letter to his friend, the
baritone Pierre Bernac, dated 2 September 1952, in which he remarked: ‘Momentarily I have
abandoned the Sonata for Two Pianos for a Sonata for Flute which suddenly took shape in the
Austerlitz station last Thursday.’ Three letters from Poulenc to his publisher indicate that he
contemplated resuming the work over a period of years:‘I am just finishing my Sonata for Two
Pianos. God knows if I will ever take up the Flute Sonata again because I am going to write a
large opera for La Scala based on The Dialogues of the Carmelites.’- 1953. ‘After the summer I
hope to take up again my idea for a Sonata for Flute.’ –1955. ‘Perhaps this summer I will finish
the Sonata for FLute’ – early 1956. It is not known if this ‘early’ sonata is directly related to the
published sonata, but it is highly likely. In a letter dated 3 April 1965,Harold Spivacke, Chief of the
Music Division of the Library of Congress and spokesperson for the Coolidge Foundation at the
Library of Congress, wrote to Poulenc offering a commission for a piece of chamber music for a
festival to take place on 19-21 October 1956. Although Spivacke proposed a piece for two
pianos, he left Poulenc the option of a different sort of work providing it did not exceed six
instruments. Poulenc responded in a letter dated 13 April 1956 declining the commission on the
grounds that he was just finishing the orchestration of his opera and that the premiere in Milan
was too close. Undeterred Spivacke again offered the commission in a letter dated 9 May 1956.
Poulenc delayed his response until August at which point he noted that his opera was in order
and that he could now envision writing something. He suggested a Sonata for Flute and Piano,
dedicated to the memory of Elizabeth Sprague Coolidge, and agreed to Spivacke’s proposed
terms of $750 and the gift of the original manuscript to the Library of congress provided that he
could reserve the premiere for the Strasbourg Festival in June 1957. Poulenc wrote the work in
Cannes, France between December of 1956 and March of 1957. He and flute playerJean-Pierre
Rampalpresented the world premiere on 18 June 1957.
Structure/Overview

The composition is called ‘sonata’. We are not to expect a classical rather a neo-classical sonata.
Sudden key changes are frequent, and thechromaticism serves color and variety rather than
musical complexity or structural development.

Right at the beginning the right hand of the piano is constantly fiddling around with chromatic
alterations, while the main melody in the flute is a descending chromatic line in itself.

Fig. 1. Constant chromatic changes (b. 1-3)

Or another example in b. 129-130, a typical Groupe de Six moment: the tonality is E minor but
the color and the scale of the key is fluctuating.

Fig. 2. Changing scales (b 129-130)

The 1st movement is called ‘Allegro melancolico’ and it can be divided in three big parts. The first
of which is a small ABA three-part section in itself– a usual 20th handling of the introduction - in E
minor modulating to A minor. The contrasting middle section of the movement brings a new
theme in a new time signature. It brings bright sweetness and warmth and feels peaceful and
strong compared to the melancholic outer parts. The recapitulation returns to the main theme
but not to the main key as would be the case for classical sonatas; instead it is presented in A
minor.The recapitulation is cut short after presenting the main theme only once and the
movement ends with a patchwork-like Coda, built by different juxtaposed fragments.

In fact, juxtaposition of fragments and frequent cutsare a defining principle in the whole of the
movement. Like walking through a forest, different elements and fragments ‘catch the eye’ as
the listener is passing by. The different fragments follow each other as a mosaic, sometimes with
no apparent development or connection between them. The cuts are present already in the
main theme; first of all in the middle, where the septuplets break the legato flow and at the
same time revive the descending melody. However, the fragmentation appears with the trills,
already in the first four bars of the theme. The trills, short rests and brisc upbeats are all means
to creating fragments, and the melancholic sweetness of the legato melody is constantly
disturbed. At the same time the brisk upbeats also bring liveliness even as they surprisingly
appear as almost distracting elements. The result is fluidly fluctuating mood and emotion
throughout the movement. This is supported by the fluctuating harmonic changes as well as the
continued variations in the melodic motives. In the A part of the introduction (b 1-33) for
instance, the theme is presented three times with three different endings. This constant play
with keys and harmonies, themes and motives is reminiscent of a kaleidoscope.

Besides the small scale fragmentation there are also bigger contrasting episodes. For instance in
comparing the main theme with figure 4 there is a stark contrast of legato – staccato, sustained
– biting (mordant), symmetric - asymmetric grouping of measures, stepwise melody – skips.

The contrast of the 3/4 middle section (figure 8 - A peine plus vite) following the introduction is
even bigger. This section is in forte for the most part and has a predominantly major color. The
texture in the piano – quarters and pedal pointacts as an anchor and gives the impression of
stability. However, in contrast with the introduction the phrases are irregularly constructed, the
musical material is in constant development, and the underlying syncopation in the piano acts as
a motor. Like a raging sea on a sunny day, glorious and restless. Yet, moments like b. 78-79 and
90 take us back temporarily to the fragmentation and mood of the introduction.The
recapitulation turns the joy back to melancholy, but the familiar theme and the symmetric 4+4
bar structurecomes like a relief and feels like home.

Regarding structure the middle section is the more unstable than the mostly symmetric phrases
of the outer parts, in their harmonic building however the outer parts are more unstable and
fluid than the middle section. Furthermore, the contrast is also visible in the upbeat approach –
present in the outer parts but not in the middle section.

AboveI wrote about how the piece touched me as I heard deep struggles reflected in it. This
‘struggling’ isapparent in the coda, which brings the most disconnected fragmentation, sudden
dinamic changes (b. 128-129), unfinished phrases like b 132, or the phrase given over (perhaps
giving up?) to the piano in b 117. Bars 129-130,change of the scale -> doubts. Bar 133 major
color, steady rhythm ->a ray of hope, 134-136major-minor color, halting of movement ->
calming down, coming to stillness - but not to resolution, the sonata is not yet finished as further
two movements await

Researching recordings

In the following I will be investigating and comparing three recordings of the movement and see
what I can learn from them.

Carol Wincenc, Flute,

Andras Schiff, Piano
https://www.youtube.com/watch?v=xQPFl38xtKw

I know most Wincenc’s playing from her recording of the ‘Cantabile et Presto’ by George Enescu,
which I really like and listened a lot in my last year of high school, when I was playing the piece
myself. I was captivated most by the delicate way of handling sound and color, and the wide
range of dynamics. Wincenc’srecording of the Poulenc sonata with pianist András Schiff is part of
the same record.

The first thing I find remarkable in this recording is the handling of the main theme – its two
halves are played very different. The first 4 bars are dying away, dark, transparent sound, and
the second four are explosive, bright - even too bright for my taste- with a present and focused
sound and wide fast vibrato. This makes for interesting variety, but also hinders the forward
direction somewhat, and the presentation of the theme (three times) becomes more like
stomping in one place than a walk.

I can support this approachof the main theme in the introduction; in the recapitulation however,
I am choosing an emphases of direction and flowing melody oversurprise and contrast, in order
to reinforce a sense of arriving home. In addition to that the audience already has thiscontrast in
mind from the introduction, so the kaleidoscope lance isn’t lost, even if the changes are more
discrete.

I really like the small ritenuto before figure 4, it brings the movement forward by creating tension
and the contrasting B part (b 34 - 53)is distinguished. In general the timing is straight forward
and only a few spots are underlined with timing (ex.: b. 33, b 84). The same is true for the
vibrato. Although Wincenc plays with variety on a micro scale, she uses vibrato of similar
amplitude and speed throughout and distinguishes only a few moments with non-vibrato (b. 64,
b. long E both in b. 129 and 130). I like the resulting big contrast andintimacy of the non-vibrato.

She adds an extra (not written) dynamic change in b. 96, mimicking the previous phrase.

This recording makes me realize that the fragmentation of the coda is not as dramatic and heart
wrenching as I played until now; the piano stays in piano almost the whole time and even for the
flute there is only one forte moment (b. 126). If the movement is the afflictions of a soul then the
fragmented coda brings calm and tired resignation; except for figure 15, a final outburst before
the movement comes to a halt.

Jean Pierre Rampal, flute

Francis Poulenc, piano
https://www.youtube.com/watch?v=OaIeWmZBUL8

This recording is assumingly that of the premier of the sonata, presented on the 18 June 1957;a
rare treasure with Poulenc himself on piano.
The timing is even stricter and more straight-forward than Wincenc’s version. Up until the coda
there is hardly any change in tempo, other than the one written. However, this distinguishes the
coda very clearly from the rest of the movement, like after afterthoughts of a journey. The
phrases are long and continuous and the sound color and dynamic range is narrower than
Wincenc’s; although this could be in part because it is a live recording.

They take a high tempo, and thus the whole movement issomewhat uplifted and happy. A busy
marketplace rather than a forest, where b. 67-72 are a dark alley leading to a different part of a
city. Simultaneously the harmonically darker parts of movement become alarmed and afraid.

I really like the handling of the main theme. The first half doesn’t end when the second begins,
rather it is overtaken by the second half. In figure 6 this is most audible, as Poulenc plays an
unwritten crescendo and accelerando in bar 56.
An interesting detail is the ending figure of the flute. The registers of the 32nds and the last note
are swapped.
8va

8vb

Fig. 3. Alternative ending? (b 134-136)

Could this be an initial idea of Poulenc’s or perhaps a sudden impulse from Rampal? The first is
most likely, yet very unusual, as it doesn’t align with how the motive appears in the rest of the
movement. It is, however, resulting in ending the movement with a question mark.

William Bennett, flute

Clifford Benson, piano
https://www.youtube.com/watch?v=wC3J66nq_pw

In the third recording I studied we can hearWilliam Bennett on flute. Though a well known flute
player, I almost never listened to his recordings. I chose their recording with Clifford Benson for
variety, as they are from a British tradition.

Compared to the other recordings in this interpretation the display of a full resonant sound and
overarching romantic phrasing are priorities oversudden clear cut fragmentation and contrasts -
ex.: sustenuto long notes in figure 4 makes the section less mordant, frequentagogic phrasing,
fast upbeats are played like a melody.I like in Bennett’s and Benson’s performance the variety of
tone color and use of wide dynamic range but with the phrasing and timing I cannot agree. The
whole movement is played as one narrative rather than a collection of episodes or perspective
shifts of a wondering mind. This way the music becomes dramatic and heavy. It is often tempting
to phrase everything romantically. I think this music asks for a different kind of storytelling, one
that unfolds from episodes of shifting moods and changing colors.
Let’s now look at one specific moment, comparing the above performances: b 96-101, the
transition between the middle section and the recapitulation.

Vid 1. Wincenc version 2:53-3:03

Vid. 2. Rampal version 2:48-2:56

Vid 3. Bennett version 2:56-3:08

The first noticeable difference is the use of time. The Rampal version is the shortest appr. 8
seconds, then Winsenc, appr. 10 seconds, finally Bennett appr. 12 seconds. This is merely the
result of different tempi, but of different approaches. Bennett marks and develops vibrato on
each individual note and his ‘a tempo’ has a gradual warm-up time. Also the ‘céder’ of bar 98 is
anticipated and slowing down starts already in b 96. These choicesmake the music heavy and
mournful. In contrastWincenc’s‘céder’ comes no earlier than written; this is also beautifully
reflected in the trill. The evenfast trills and narrow vibrato give a crystal-like color and an
altogether delicate and graceful sound. Her recapitulation starts in an actual ‘a tempo’.
TheRampal version is even less sentimental than the Wincenc one. The ‘cedér’ is very small. The
vibrato is even, and used as a uniform color. The changing harmonic colors together with the
unaltered forward movement of the melodic line gives a whimsical character to this
performance, as if the melody couldn’t be bothered by what colors the harmony brings along.

Performance choices and principles

The main focus point to achieve the above describes aspects of the movement is contrast
between the fragments, surgical precision at the small segmentation points and holding together
of the individual fragments with continual tension, overarching phrasing, continuity of breath
and vibrato. This is technically a challenge for me.

To bring out both the fragmentation and the flowing melody my playing approach is long legato
phrases also carrying through the rests, and crystal clear small notes (trills, upbeats). I achieve
the latter by precise finger movement and also clear attack of the note.

Further thoughts and principles of performing when it comes to:

Vibrato

Generous use of vibrato is the norm in 20th century French music, often even as a tone color.
This perfectly suits the kaleidoscope-like movement; the tone itself is shivering, fluctuating. In
addition I will play with varied speed and amplitude to enhance the phrasing and musical
intensity:

Ex.: The lyrical b 1-4 with smaller amplitude than the exhilarated b 5. And the exited forward
motion of the dotted notes in the middle section is achieved by faster vibrato, than the gradual
calmness in b 97-98.

I will use vibrato as a means to keep alive short notes, and especially short ending note, ex.: in
fig. 4.

And finally non-vibrato for a peaceful or gloomy expression, ex.: Fig. 7

Dynamics

There are many written dynamic markings. It is important to time them precisely in order to
highlight the contrasts, and switch suddenly atfragmentation points, without anticipation or
blending. Ex.: Not the slightest crescendo leading to the brisk upbeats of b 5, b13, etc.

At other places however - mainly at big points of segmentation – gradually changing dynamics
together with play with the timing will prepare introduce the next episode, but again there is a
dynamic contrast rather than blend-in.Ex.: b 98 – I play diminuendo on the fermata, so the mf of
the recapitulation’s upbeat is in contrast with the dynamics before.

The same way,creating contrast is the key for sudden mood changes, ex.: the excited b 86-89 vs
peaceful b 90, or the triumphant b 76-77 vs sad b 78-79. In case of the dynamic change is not
written, but to highlight the change of mood which is clear in the harmonic color change, I play
sub p in b 78.

Articulation

To enhance different moods I am attacking the upbeats with slightly different consonants. For
instance I start the dreamy beginning with ‘P’, which allows for a delicate and small start of the
sound. For the most part I useclear attacks to enhance the changes. This can be anything from a
soft ‘D’ to a strong ‘T’, as long as the note has a clear start. ‘P’ would also be sufficiently clear,
however starting the note this way takes more time, which would often work against the
phrasing.

Tone color

The kaleidoscope-like play can also be strengthened with tone color. In general I play the
movement with a great variety and of colors (focused-hollow spectrum), one flowing from the
other.. I also play with different colors to enhance contrast, ex. recapitulation (generally
speaking) more hollow than then middle section, or different moods, ex. b 76-77 more focused,
b 78-79 hollower. When it comes to flute technique, I can move on the hollow-focused spectrum
by playing with space in the mouth (dependent on the openness of the jaw and the throat) and
the size and shape of the opening of the lips.

Challenging points

One technical challenge is the fast staccato in b 45-49 moves through two registers of the flute.
For this the embouchure needs to stay flexible, otherwise moving to the middle register
becomes awkward. Simultaneously continual airflow and short attack is needed. The melody is
descending, thus the danger is to lean my upper body forward, which kills the breath support.
The character is biting, which again poses the danger of stopping the airflow.

Other dangers are sitting on every (quarter) note to develop the sound and the vibrato as well as
the anticipation of the 1st beats by taking extra time at the upbeats. These both kill the phrasing.
Clear points of direction and unapologetic forward movement are the cure.

Final words

Conducting this small research taught me a lot about reading scores, listening to music, musical
possibilities and musical tools. I was genuinely impressed byPoulenc’s is ability to set to music
complex emotions, first by the fluid fluctuation and second, with overlaying contrasting elements
– unstable harmony over stable rhythm, stable harmony over unstable phrase structure, etc.

‘Every good thing … is from above, coming down from the Father of lights, with whom there is
no variation or shifting shadows.’ – writes Apostle James, one of the authors of the New
Testament in his letter. Another translation renders is this way ‘no variableness, neither shadow
of turning’. I had to think of this piece of Scripture, for while with God there is no turning of
shadow, the ‘Allegro malincolico’ is all about changes, shifts and turns, shadows, movement,
light and color. It is very agile, but instability isn’t the only feeling the fluctuating character
conveys but lightness and playfulness as well. In fact I think of the movement as being a lot
lighter than how I initially perceived and played it. Nevertheless it remains dreamy and elusive.
The moment we think it melancholic, it turns sweet, when we are about to delight in its
sweetness it turns bitter again.

Next steps in working out the performance of this movement can be looking at how it fits
together with the whole of the sonata as well as making further choices about the details.
Bibliography and references

Poulenc, Francic, Schmidt, Carl B. and Harper, Patricia. Francis Poulenc Sonata for Flute and
Piano (Chester Music, 1994)

Chimènes, Myriam and Nichols, Roger. Poulenc, Francis (Grove Music Online 2001)

Webster, James. Sonata Form (Grove Music Online, 2001)

Recordings:
Francis Poulenc - Sonata for Flute and Piano, FP 164. Carol Wincenc, flute. Andtas Schiff, piano.
The Walter W. Naumberg Foundation Presents The Solo Recording Debut Of Carol Wincenc.
(Musical Heritage Society – MHS 4180, 1980, US)

Francis Poulenc - Sonata for Flute and Piano, FP 164. Jean-Pierre Rampal, flute. Francis Poulenc,
piano (Live Recording,18 June 1957, Strasbourg, France)

Francis Poulenc -Sonata for Flute and Piano, FP 164 William Bennett, flute. Clifford Benson,
piano. Poulenc: Flute Sonata (Camerata Tokyo Inc., 1995, Japan)

Acknowledgements
I would like to express my gratitude to Wiebe Buis for his great help and insights as well as kind
and genuine encouragement during the coaching process of this research paper.