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Journal of Humanities, Arts and Social Science, 2023, 7(12), 2428-2430

https://www.hillpublisher.com/journals/jhass/

ISSN Online: 2576-0548

ISSN Print: 2576-0556

# Les Chemins de L'Amour: The Hidden Homosexual Expression

Jing Jiang

School of Music, Yibin University, Yibin, Sichuan, China.

**How to cite this paper:** Jing Jiang. (2023)

*Les Chemins de L'Amour: The Hidden Homosexual Expression. Journal of Humanities, Arts and Social Science, 7(12), 2428-2430.*

DOI: 10.26855/jhass.2023.12.006

Received: October 30, 2023

Accepted: November 29, 2023

Published: December 31, 2023

*Corresponding author: Jing Jiang, School of Music, Yibin University, Yibin, Sichuan, China.

## Abstract

This paper delves into the multifaceted layers of *Les Chemins de L'Amour*, a renowned composition by Francis Poulenc, examining its ties to concealed homosexual love. The analysis begins by exploring Poulenc's collaboration with Jean Anouilh's play *Léocadia* amidst the backdrop of World War II, shedding light on the composer's personal relationships and the societal context marked by intolerance towards homosexuality. Pierre Bernac's discreteness in discussing Poulenc's darker aspects, in conjunction with his guidance on the song's interpretation, offers glimpses into the complexity of Poulenc's emotions. Moreover, the paper investigates the deliberate use of a female singer for the performance of *Les Chemins de L'Amour*, suggesting a veiled expression of Poulenc's suppressed feelings for his male lover. The piece's "nonchalant" and "pseudo" characteristics are interpreted as an emotional facade concealing Poulenc's genuine sentiments.

## Keywords

Homosexuality, Societal intolerance, Concealed sentiments, World War II

## 1. Introduction

My first encounter with *Les Chemins de L'Amour* was during a faculty concert in the Vocal Department at the Sichuan Conservatory of Music while pursuing my bachelor's degree. My voice teacher, a mezzo-soprano who had studied extensively in France, performed this piece during the concert. From that moment, I was captivated by it. I obtained a copy of my teacher's score. I included this piece in numerous concert performances, such as my graduation recital and concert practice class during my Master's at the Hong Kong Academy for Performing Arts.

However, during a summer program in New York, a coach advised me against singing it, stating that it was more suited for a female singer. Consequently, I refrained from performing this song. Recently, I seized an opportunity to delve deeper into researching this piece, discovering that it holds more significance than merely portraying a female singer's emotions.

Searching for *Les Chemins de L'Amour* on the internet—whether through recordings or videos—reveals that all versions are sung by female vocalists. Renowned sopranos like Jessye Norman, Angela Gheorghiu, and Véronique Gens have performed it. Yvonne Printemps sang the original version. Even the cover of the initial score edition published by Max Eschig in 1945 credits "Valse chantée par Yvonne Printemps dans la pièce *Léocadia* de Jean Anouilh (Waltz sung by Yvonne Printemps in the play *Léocadia* by Jean Anouilh)" Almost all the available evidence suggests that *Les Chemins de L'Amour* depicts a woman's love. However, upon further investigation, doubts about this interpretation have arisen.
## 2. Poulenc and his songs

Francis Poulenc was born into a wealthy family. His father directed a family pharmaceutical business, which later became the renowned pharmaceutical brand Rhône-Poulenc (Chimènes & Roger, 2001). Meanwhile, his mother, a Parisian from a family of artist-craftsmen, fostered Poulenc's artistic inclinations (Chimènes & Roger, 2001). Deeply influenced by his father's strong Catholic faith, Poulenc inherited his artistic sensibilities from his mother, who was an amateur pianist herself (Chimènes & Roger, 2001). Recognizing her son's potential, Poulenc's mother was convinced of his musical talent and allowed him to begin piano studies at the age of five (Chimènes & Roger, 2001).

Poulenc's approach to music composition underwent notable changes throughout his life, shifting from an early "wild" period to a later, more serious phase. He gained notoriety as the "bad boy of French music" due to incorporating erotic elements into his early compositions, which marked a significant transformation in his style (Elson, 1974). This shift can be attributed partly to Poulenc's personal experiences—having lived through two world wars and coping with the loss of his parents at a young age (Chimènes & Roger, 2001). Additionally, he grappled with severe depression, primarily stemming from his struggle with his homosexual identity (Nichols, 2020). Throughout his life, Poulenc wrestled with internal contradictions between his religious faith and his homosexuality. These conflicts were evident in his music, serving as a profound influence on his creative journey.

Poulenc held a prominent position among the renowned composers of the first half of the twentieth century, boasting an extensive repertoire spanning various musical genres. Alongside his compositions in ballet, piano, chamber music, opera, orchestral pieces, and choral works, his songs stand out as the cornerstone of his legacy, establishing him as one of the greatest composers of *mélodies* in the twentieth century. Expressing a deep admiration for the human voice, Poulenc reiterated his passion for songwriting by affirming, "I am in love with the human voice." (Elson, 1974). His confidence in his songwriting prowess is evident in his own words: "In the field of song, I fear no one, and being the best is always very pleasant" (Johnson, 2020).

The majority of Poulenc's songs feature lyrics sourced from surrealist poets, with particular collaboration with figures such as Guillaume Apollinaire and Paul Eluard. Richard Taruskin highlighted Poulenc's exceptional alignment with surrealistic poets, at times almost merging himself with their artistic world (Taruskin, 2020). Poulenc meticulously studied each poet's distinct characteristics composing music for their songs. For example, he composed melodies without highlighting the peculiarity of specific words, considering Apollinaire's voice, which possessed a blend of melancholy and cheer, occasionally tinged with irony but devoid of deadpan humor (Southon, 2016). Expressing his deep sentiment for this collaboration, Poulenc stated, "If my tomb were inscribed: here lies Francis Poulenc, the musician of Apollinaire and Eluard, I would consider this to be my finest title to fame" (Elson, 1974). These words resonate with his immense love for setting music to the surrealistic poems of these notable poets.

## 3. About the *Les Chemins de L'Amour*

Despite the enduring popularity of *Les Chemins de L'Amour* and its frequent inclusion in numerous concerts, detailed instructions or extensive insights regarding this piece remain notably elusive. Even in Poulenc's own *Diary of My Songs*, the piece is merely listed within the repertoire under the category of Chanson, offering minimal information (Poulenc, 2007).

Interestingly, *Les Chemins de L'Amour* served as an integral component of Jean Anouilh's play *Léocadia*, representing the solo song composed by Poulenc explicitly for this theatrical production. Besides this composition, Poulenc contributed merely five sections of incidental music, one for each act of the play. While the lyrics of this piece were penned by Jean Anouilh for the play, they were not included in the official printed version (Schmidt, 1995). The song found its place within a particular scene of the play, enacted by an actress portraying the prince's lost lover, aiming to rekindle his passion and pursuit of happiness (Johnson, 2020). A distinctive characteristic of *Les Chemins de L'Amour* lies in its strophic form, utilizing primarily divides into two segments: the initial verses, set in C-sharp minor, evoke the sentiment of lost love, while the subsequent verses, shifting to D-flat major, signify an emotional journey from longing to despair. Poulenc's musical nuances as evident in the accompaniment, where he emphasizes the consistent use of the pedal, a hallmark feature of his music. Additionally, the deliberate acceleration in the piano coda towards the piece's conclusion authentically conveys the poignant emotion of lost love to most audiences.

The baritone Pierre Bernac, who collaborated with Poulenc as a renowned piano and vocal duo for 25 years during the first half of the twentieth century, possessed insights into the darker aspects of Poulenc's nature. However, even
years after the composer's death, Bernac was reticent to divulge much about these aspects (Johnson, 2020). In his book *Francis Poulenc: The Man and His Songs*, Bernac briefly discussed *Les Chemins de L'Amour*, stating, "I shall not give detailed indications of interpretation for this Walz. It should be sung with a kind of nonchalant elegance, in a style which is in itself pseudo-Viennese, as if accompanied by a gypsy orchestra. The important point is to give the character of this charming light music, without ever bordering on bad taste" (Bernac, 2001). The reason for Pierre's reluctance to provide more specifics and his use of terms like "nonchalant" and "pseudo" may be found in the historical context of this piece.

The composition of music for Jean Anouilh's play *Léocadia* coincided with the tumultuous period of the Second World War. Following Poulenc's demobilization from the military, he sought refuge in Brive-la-Gaillarde, where he reunited with his uncle, sister, nieces, and cousins. It was during this time in Brive that he shared a dinner with the renowned actor Pierre Fresnay and his wife Yvonne Printemps, a celebrated singer. During this gathering, the couples expressed a wish for Poulenc to compose music for Jean Anouilh's play *Léocadia*, and Poulenc accepted this composing task. Approximately two months before completing the composition for the play, Poulenc wrote another piano piece *Mélancolie* (Melancholy) for Raymond Destouches, his long-term homosexual lover with whom he shared a profound relationship in Noizay (Johnson, 2020). At the time of composing *Mélancolie*, Poulenc was residing in Brive, while his lover Raymond Destouches remained in the distant town of Noizay (Johnson, 2020). Two months later, *Les Chemins de L'Amour* emerged as the only song in the play, infused with profound memories of lost love, composed by Poulenc for Jean Anouilh's *Léocadia*.

## 4. Conclusion

It is plausible that Pierre Bernac refrained from delving extensively into Poulenc's life due to the prevalent societal intolerance toward homosexuality during that era. The text of *Les Chemins de L'Amour* might have stirred Poulenc's emotions, leading him to compose this song for the play as a tribute to his lost love. Beneath the veneer of "nonchalant" and "pseudo", Poulenc's true emotions may have resided. It is conceivable that Poulenc, through using a female singer to perform *Les Chemins de L'Amour*, sought to express his feelings for his lost lover, feelings that were deemed unacceptable by societal standards. In essence, the enigmatic depths of *Les Chemins de L'Amour* encapsulate Poulenc's concealed homosexual love, a sentiment veiled within the music, possibly reflected in his choice of a female singer, alluding to the unspoken yearning of a male voice that echoes through the hidden narratives of this poignant composition.

## References

* Bernac Pierre. *Francis Poulenc: The Man and His Songs*. UK: Kahn & Averill, 2001.

* Chimènes, Myriam, and Roger Nichols. "Poulenc, Francis." *Grove Music Online*. 2001. https://doi.org/10.1093/gmo/9781561592630.article.22202.

* Elson, James M. "The Songs of Francis Poulenc." *The NATS Bulletin*, 36, No.2 (November-December, 1979): 14-20.

* Johnson, Graham. *Poulenc: The Life in the Songs*. New York: Liveright Publishing Corporation, 2020.

* Lawson, Colin, and Robin Stowell, ed. *The Cambridge History of Musical Performance*. UK: Cambridge University Press, 2012.

* Low, Peter. "Far from Banal: Poulenc's Banalités." *Journal of Singing*, 69, No.3 (January-February 2013): 289-295.

* Nichols, Roger. *Poulenc: A Biography*. New Haven, US: Yale University Press, 2020.

* Poulenc, Francis. *Diary of My Songs*. UK: Kahn & Averill, 2007.

* Schmidt, Carl B. *The Music of Francis Poulenc: A Catalogue*. New York: Oxford University Press, 1995.

* Southon, Nicolas, ed. *Francis Poulenc: Articles and Interviews, Notes from The Heart*. New York: Routledge Press, 2016.

* Taruskin, Richard. "Chapter 10 The Cult of the Commonplace." In *Music in the Early Twentieth Century*. New York: Oxford University Press, 2005. Retrieved 28 Nov. 2020, from https://www.oxfordwesternmusic.com.

* Trezise, Simon, ed. *The Cambridge Companion to French Music*. UK: Cambridge University Press, 2015.