University of New Hampshire Chamber Singers Pourquoy Non? (2016) {unhcs0516}

Alfred Desenclos and Jean Langlais were both superlative composers of choral music, yet most of their works are performed far too infrequently. This album offers superb performances of some of the best choral works by these great French masters. Initially called the ‘Madrigal Singers,’ the USC Thornton Chamber Singers were first formed in 1939 under the direction of Max T. Krone — a professor of music education, composition and choral music, as well as the dean of USC’s former Institute of the Arts. In 1942, Krone brought Dr. Charles C. Hirt, then the director of the Glendale High School choirs and a USC alumnus, to the school as both a lecturer and as Director of the Chamber Singers. Hirt later established and became chair of the Choral and Sacred Music department. In 1956, the Chamber Singers adopted its current name in a move designed to better reflect the group’s repertoire.

A few of these small choral gems are well known to amateur choirs, and Poulenc's secular choral pieces are more often presented one at a time on choral albums than in the groupings in which they were originally included. Francis Poulenc: Secular Choral Music offers the composer's very first choral piece, the Chanson à boire for men's voices (1922), but most of the music here dates from either the late '30s (the Petites voix, for female or children's voices, and Sept chansons) or the World War II era (Un soir de neige), the folk-song settings entitled Chansons françaises, and the ambitious Figure humaine, whose final number, "Liberté," was dropped in sheet music form over French cities by Britain's Royal Air Force. Someone once described Poulenc as "part monk, part hooligan," and these a cappella choral works give evidence of both tendencies. The Chansons françaises are cheerful pieces with just a shade of extended harmony, almost French counterparts to Bartók's folk song settings, while the more serious pieces, such as "Un chien perdu" (A Lost Dog), from the Petites voix, have a mystical tinge that links them strongly with Poulenc's better-known sacred choral music.