Beyond the Human Voice: Francis Poulenc's Psychological Drama La Voix humaine (1958) Page: 23
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lie," she confesses, "I lie to you." The statement would be clear even without the indirect
object, but Poulenc's modification affects the musical rhythm. Consequently, the word
"mens" sounds on a strong beat following two and one-third beats of triplets (Example
1).
Example 1. 2 mm. before Rehearsal 55, Poulenc's modification of Cocteau's text
3" -- -r- - , 3 - - r, - 3 - 1
r3' r3
depuis un quart d'heur', je te mens.
A similar insertion appears two bars before Rehearsal 66. In this instance, the
modification does not affect the text setting, but the addition of the direct object "me" as
a contraction follows the same logic of Poulenc's earlier adjustment, as it clarifies the
object of a verb. Furthermore, adding the direct object allows for a more articulate vocal
line with a consonant sounding on each note of that measure, as the woman sings, "parce
que tu m'avais dit que tu t616phonerais." (Example 2) Cocteau includes the direct object
of"empache" ("etj'avais peur qu'on m'empeche de te parler.")
Example 2. 2 mm. before Rehearsal 66, Poulenc's modification of Cocteau's text
par-ce quetum'avais dit quetut616phonerais et j'avaispeur qu'on mnempt-che deteparler.23
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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/m1/29/?q=music: accessed July 17, 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; .