Two generations after Fauré (and Fauré’s grand-disciple through his teacher Koechlin), Francis Poulenc (1899–1963) displayed a significantly different approach to religion. Poulenc, who like Fauré was from the southern part of France, had been shaped by his homeland in the sense of a ‘rural’, intense but joyous Catholicism. He regarded his 'Gloria' as a more joyful counterpart to some of his other sacred works, and it is in this spirit that the first movement begins in a festive mood with a striking, fanfare-like motif in the full orchestra. If Poulenc cited Gozzoli frescoes with monks sticking out their tongues and Benedictine monks playing football as the source of inspiration for his 'Gloria', then nowhere is this more immediately comprehensible than in the second movement with its rhythmically pointed 'Laudamus te' of the choir.

In both the opera house and concert hall, Prêtre’s interpretations were notable for their full-blooded and highly romantic character; in style, they were often different from those of French conductors of the previous generation. He was an effective conductor not only of the French repertoire but also of the music of Italy and Germany, a fact reflected by the admiration in which he was held in both countries. A highly experienced and polished recording artist, Prêtre had many years’ experience of working in the studio. His discography was large. Especially important were his recordings of the music of Poulenc.