In , midway between the Lenten motets and Figure humaine, Poulenc composed Exultate Deo. It responds suitably to its jubilant text, and features a rare. Francis Poulenc. Exultate Deo, motet for solemn occasions, for chorus, FP Composition Information ↓; Description ↓; Appears On ↓. Share on. facebook. Exultate Deo – mixed choir. Motet pour les fêtes solennelles. Francis Poulenc. Exultate Deo – mixed choir. More by this composer.

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Exultate Deo, FP 109 (Poulenc, Francis)

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Francis Poulenc – Exultate Deo – mixed choir

Soprano Susan Gritton is superb, too, in her committed, soaring performances. But perhaps the real interest in this disc lies in the more unfamiliar motets. Pouleenc brings its characteristic incisiveness, precision and evenness of tone to Poulenc’s unaccompanied Lenten and Christmas motets, Salve regina and Exultate Deo.

For this, Polyphony is joined by the Choir of Trinity College, Cambridge, where Stephen Layton presides as director of music, along with the taut playing of the Britten Sinfonia. It’s an exhilarating listen; and on top of all that, Layton’s chosen soloist is a joy, too.

Exultate Deo – Hyperion Records – CDs, MP3 and Lossless downloads

Stephen Layton is a marvelous conductor; not only are his tempos good and his textures clear, but the Britten Sinfonia plays with real gusto. Gloria for mixed choir, soprano and orchestra is an example of his mastery of synthesizing a restrained yet joyful ecstasy with twentieth century spikiness. By reducing the forces in this recording, Stephen Layton reveals their dissonance without mitigating their heartfelt religious spirit. The result is a freshness and clarity that sheds new exuotate on this work.

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The recording, made in All Hallows Church, Gospel Oak, London, is a perfect combination of immediacy and religious resonance that clarifies the musical forces without lessening ambience.

It responds suitably to its jubilant text, and features a rare case for Poulenc of paired, imitative entries at the outset.

Those studies of Bach chorales with Koechlin set him along a predominantly chordal, homophonic path when writing for voices, but pouleenc his knowledge of music by Monteverdi, Palestrina and Gabrieli briefly shines through.

This piece breezes through some unlikely keys in the middle—from its core A major, through F sharp major to C major to C sharp major. It is fluent, cheeky, listen-to-what-I-can-do writing.

The Cambridge SingersJohn Rutter conductor. Collegium’s recording offers an extensive selection of Poulenc’s sacred choral music with the Gloria as centrepiece.