Aesthetics of neoclassicism and populism in chamber works for woodwinds by Charles Koechlin and Francis Poulenc, 1918-1939

McCallum, Sara Hailey

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https://hdl.handle.net/2142/99326 Copy

Description

Title

Aesthetics of neoclassicism and populism in chamber works for woodwinds by Charles Koechlin and Francis Poulenc, 1918-1939

Author(s)

McCallum, Sara Hailey

Issue Date

2017-12-06

Director of Research (if dissertation) or Advisor (if thesis)

Kinderman, William

Doctoral Committee Chair(s)

McGovern, Timothy

Committee Member(s)

• Harris, J. David
• Tipei, Sever

Department of Study

Music

Discipline

Music

Degree Granting Institution

University of Illinois at Urbana-Champaign

Degree Name

A.Mus.D.

Degree Level

Dissertation

Keyword(s)

• Charles Koechlin
• Francis Poulenc

Abstract

The interwar period in France was a time of turmoil and discovery. The end of World War I began a politicizing of the culture that extended to the farthest reaches of the arts. The question of what is authentically French became and all encompassing obsession for intellectuals as well as those whose aims were purely political. During this period, chamber music in France began to flourish. Charles Koechlin and Francis Poulenc are two examples of French composers whose music of the interwar years is in direct reply to the question of what is authentically French. Presented in this document are six pieces of chamber music for woodwinds written between 1918 and 1939 by Charles Koechlin and Francis Poulenc. Through analysis, discussion of the political climate and the influence of popular music, a clearer picture of what constitutes authentically French music is brought to light. The six works presented are Charles Koechlin’s Sonata for Bassoon and Piano, op. 71, Trio, op. 92 and Septuor d’Instruments à Vent, op. 165 and Francis Poulenc’s Sonata for Clarinet and Bassoon, op. 32, Trio for Oboe, Bassoon and Piano, op. 43 and Sextet for Piano, Flute, Oboe, Clarinet, Bassoon and Horn, op. 100. Charles Koechlin and Francis Poulenc at first seem to have very little in common but upon further investigation, a litany of commonalities appear. The relationship between Koechlin and Poulenc began as teacher-student but soon evolved into a friendship between artistic contemporaries. Within this document the role of culture and politics shapes the lives of Charles Koechlin and Francis Poulenc in very different ways but the goal of creating authentically French music is always at the forefront. It is the author’s hope that by viewing these works through the realm of the politically charged climate of the time, performers and those interested in these works will have a better understanding and respect of the pieces as well as these notable French composers.

Graduation Semester

2017-12

Type of Resource

text

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http://hdl.handle.net/2142/99326

Copyright and License Information

Copyright 2017 Sara McCallum

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