Two Examples of Neo-Classicism in France from the Early and Late Twentieth Century

This document is a compilation of two lecture recitals held on 5 December 2016 and 1 March 2017. The first recital was based on Francis Poulenc's Trio for Oboe, Bassoon, and Piano, completed in 1926 and the second was based on Jean Françaix's Trio for Oboe, Bassoon, and Piano written in 1994. In each lecture, compositional elements and influences were examined to highlight the impact of neo-classicism on the composer. The purpose of this research is to examine two French Trios in order to provide a musical perspective of neo-classicism during the early and late twentieth century. In studying both works it quickly becomes apparent that while Poulenc and Françaix used traditional formal models and tonalities for inspiration, they were still writing new music during the twentieth century. As a result, a multitude of twentieth century compositional devices such as planing, octatonicism, and chromaticism are used to embellish the neo-classical music of these composers. By exploring the compositional elements in each work, one can see a clear connection between Poulenc's Trio for Oboe, Bassoon, and Piano and Françaix's Trio for Oboe, Bassoon, and Piano. Each composer aspired to write music that was easily understood, while combining classical artistic values and twentieth century techniques to create truly ‘neo'-classical works. Due to their popularity and exposure, the Poulenc Trio and the Françaix Trio are now considered "standards" for this combination of instruments. By studying these trios, we are able to gain greater musical perspective, as we examine the influence of neo-classicism on these composers during the early and late twentieth century.