Beyond the Human Voice: Francis Poulenc's Psychological Drama La Voix humaine (1958) Page: 10
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Tailleferre. The initial association emulated the Russian Five, and the second of two
articles for Comwedia labeled the group as Les Six.24
The group enjoyed the publicity spawned by their association, mainly for concerts
featuring their compositions. The cooperative effort of the members of Les Six on Les
Marids de la tour Eiffel actually led to their disbanding later that year. By this time, the
group that had united in the spirit of a new aesthetic influenced by Satie and verbally
articulated by Cocteau, realized that their personal views were actually quite different.
The popular styles incorporated into the musical numbers of Auric, Milhaud, and Poulenc
reflect a common goal to promote caf6 and cabaret music.25 However, the other three
members of Les Six held more traditional views, as they embraced Satie's music while
refraining from speaking against Wagner and Debussy.26
Poulenc's work with Cocteau extends beyond Les Marids de la tour Eiffel. Even
before Les Six--with the exception of Durey--collaborated with Cocteau, Poulenc set
three of Cocteau's poems for a collection called Cocardes (1919). The songs reflect
Poulenc's fascination with popular music, including mimicry of a barrel-organ. His
original scoring for violin, cornet, trombone, bass drum, and triangle (revised in 1939)
lent itself to imitations of popular music-hall styles.27 Another Cocteau poem, Toreador,
24 Perloff, 5.
25 Ibid., 188.
26 Ibid., 6.
27 Hell, 11-12.10
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Beard, Cynthia C. Beyond the Human Voice: Francis Poulenc's Psychological Drama La Voix humaine (1958), thesis, May 2000; Denton, Texas. (https://digital.library.unt.edu/ark:/67531/metadc2543/m1/16/: accessed April 24, 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; .