On today’s date in 1961, the French composer Francis Poulenc was in Boston for the premiere of his new choral work. It was a setting a Latin text “Gloria in excelsis Deo” or “Glory to God in the Highest.”

These days Poulenc’s “Gloria” is regarded as one of his finest works, but back in 1961, some critics shook their heads and tut-tutted about the perceived irreverence of sections of the new work which to them came off as too light-hearted and out of place in a presumably “serious” religious work. Poulenc’s setting of the Latin text “Laudamus te, Benedicimus te” (We praise you, we bless you), seemed downright giddy to those critics.

In his defense, Poulenc said: "I was thinking when I composed it of these frescoes by Gozzoli with angels sticking out their tongues, and of Benedictine [clergy] I once saw playing soccer."

In retrospect, it seems odd that anyone should have been surprised by the coexistence of the serious and the silly in the music of Poulenc, since both moods had been evident in his music for decades. In 1950, the critic Claude Rostand described the composer as "A lover of life, mischievous and good-hearted, tender and impertinent, melancholy and serenely mystical, half monk—and half delinquent.”