Francis Poulenc - Quatre motets pour le temps de Noël (audio + sheet music)

The Quatre Motets pour un temps de Noel (1952) are representative of the "pious" Poulenc -- the composer who left behind his wit, sarcasm and es Six-inspired aesthetic to give sincere voice to his own Catholic faith; they were also some of Poulenc's favorite choral pieces. Written as counterparts to the earlier Quatre Motets pour un temps de Penitence (1939), which were quite solemn in tone, the Christmas motets are of a gentler nature, both musically and thematically. They are light in texture and exude a sense of joyful serenity.

Poulenc began these short motets for four-part mixed chorus in November 1951, completing them the following May. Composition took place in Paris, at Provence, and at Poulenc's home, in Noizay. Poulenc was writing with a newfound confidence at the time: having felt himself to be in the creative doldrums, he had reawakened his senses with the 12-part Stabat Mater (also 1951), which he felt to be entirely satisfactory; the Christmas motets, while much smaller in scope and resources, exhibit the same sense of assurance. The Quatre Motets pour un temps de Noel also reflect Poulenc's love of religious paintings and architecture through subtle musical/visual imagery. The composer often studied religious art, and he kept a picture of a Romanesque cathedral bathed in sunlight on his mantelpiece.

The first motet, "O magnum mysterium" (O great mystery), announces the coming of the Baby Jesus, and praises the Virgin Mary; it superimposes a crystalline soprano melody over the hushed accompaniment of the lower three voices.

(03:39) "Quem vidistis pastores dicite" (Shepherds, tell whom you saw), the second motet, takes its text from the Christmas Matins service. As a "choros Angelorum" (chorus of angels), the soprano, alto, and tenor play off the bass voice extensively in this painstaking word-by-word setting. A fortissimo unison on the word "Dicite" (tell!) heightens the theatricality of the scene.

(05:50) "Videntes stellam" (Seeing a Star), the third motet, also makes extensive use of the upper three voices alone to create an airy, suitably celestial texture. The textual entrance of the Magi and their gifts of gold and myrrh ushers in a more complex chromatic texture.

(09:02) The final motet, "Hodie, Christus natus est" (Today, Christ is Born), is the most exuberant and florid; Poulenc's celebrated sense of humor is evident in the "kiss" given in the final chord.

(AllMusic)

Please take note that the audio AND the sheet music ARE NOT mine. Change the quality to a minimum of 480p if the video is blurry.

Original audio:    • Francis Poulenc, Quatre Motets pour le Tem...  
(Performance by: Nederlands Kamerkoor, directed by Eric Ericson)
Original sheet music: http://imslp.org/wiki/4_Motets_pour_l...)