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  Наименование CD :
   Melodies (Dudziak, Dartigolles)



Год издания : 1992

Компания звукозаписи : Accord

Время звучания : 57:35

Код CD : Accord 202302

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Classics (Symphony)      

========= from the cover ==========

Debussy is best known for Prelude ii I'Apres-midi d'un faune, Pclleas et Melisande and the Preludes for piano, and it is often forgotten that he composed a large number of songs throughout his life. He had already written more than fourty by the age of twenty three. Why did this genre so appeal to him? His first songs were inspired by his love for the soprano Blanche Vasnier, and some of their vocal features are explained by her exceptional range, but it was probably his interest in other art forms which led him to write in this field where music and poetry arc magically combined. He even wrote the words of several of his songs, for example Proses lyriques and Les Nuits blanches. According to his first biographer, Louis Laloy, "his most profitable lessons did not come from musicians, but from poets and painters".

A brief outline of Achille-Claudc Debussy's early career and intellectual environment will help to explain this amazing output of inti-mist masterpieces. In November 1880, at the time when he dedicated Nuit d'etoiles to Madame Moreau-Sainti, whose singing lessons he accompanied, he was admitted to the Paris Conservatoire, in Ernest Guiraud's composition class. He won a second prize in composition in 1883 with a cantata, I.e Gladiateur, and in 1884 he was awarded the Prix de Rome for another cantata, L'Enfant prodigue, and went to stay at the Villa Medici in Rome. This was the period when the Symbolist movement was gathering way. Remaining in touch with Paris life, Debussy wrote and asked his bookseller, Emile Baron, to send him La Revue indepeudante, Moreas's Canti-lenes and books by Charles Morice and J.K. Huysmans. But it is Paul Vidal's reminiscences which tell us most about Debussy's tastes: "We spent long evenings reading ... When Debussy was still very young he had a marked preference for the Goncourts, Gustave Flaubert, Theodore de Banville and Verlaine, at a time when the latter was known only to a small group. He was also very fond of Paul Bourget's poems."

In this recording, which gives a wide range of songs, from the earliest to the latest, the authors of the texts chosen by Debussy include the three poets mentioned above. In 1880 he set two poems by Banvillc, the Parnassian, of whom Baudelaire said that he "dared to sing of the benevolence of the gods and to be perfectly classical" - Nuit d'etoiles from Stalactites and Aimonx-nous et dormous from Odelettes. In Nuit d'etoiles Debussy expresses the intensity of lost love by repeating the last line of the first, third and fifth stanzas: "Je reve aux amours defunls" (I dream of loves dead and gone). The opening piano chords of Nuit d'etoiles contain a perhaps premonitory hint of Melisande's future motif. In Aimons-nous et dormons, Debussy's imagination is inspired by the theme of love that is stronger than death. Of these two songs, he published Nttit d'etoiles, his Opus 1, in 1882, and sold it for 50 francs on 6 June to the Catalonian publisher Emile Bulla, a friend of his father's. It went completely unnoticed. Of the seventeen settings of poems by Verlaine, eleven were composed before 1892. Mandoline, dated Vienna, 25 November 1882, was written during Debussy's third and last journey with the Russian millionairess Nadezhda von Meek, Tchaikovsky's patroness. She wanted to engage a pianist for the summer and Marmontel, Debussy's teacher, recommended him. It is easy to imagine the contrast between the von Mecks' lifestyle and the two-room flat in Paris where he lived with his parents. Dedicated to his mistress Blanche Vasnier, it shows extraordinary melodic invention and an original harmonic language. Nine years later, he composed three more songs to poems from Sagesse. Like Fetes galantes, they were not played or published for several years. The first was dedicated to Ernest Chausson, and the other two to a Swiss friend, Robert Godet, in the following terms: "I have written two songs with a left-over pen-nib! They are dedicated to you, not just to please you but to give you proof of my friendship. You will forgive their apparent frivolity because of the sincerity that I have put in them". A first series of Fetes galantes was composed in 1891 and a second in 1904, ending with "Colloque sentimental". Thirteen years passed during which Debussy wrote Pelleas et Melisande and became famous. The curves and arabesques of the first series give way to melodies with narrower intervals, similar to speech. The accompaniment generates a universe with repeated patterns. For example, throughout the first section of "Les Ingenus" there is the same pattern of six descending semiquavers in intervals of thirds and fourths. Similarly in "Le Faune" a rhythmic pattern in the left hand like "a sound of distant tambourines, with no nuances but a strong rhythm" ends only in the penultimate bar. And in "Colloque sentimental" a constant A-flat pedal-point creates a kind of timeless landscape of sound.

It might seem surprising that after setting poems by Verlaine, Debussy took an interest in those of Paul Bourget. There is no doubt that the two men were acquainted, but the circumstances in which they met are not known. From Les aveux, a volume which appeared in 1882, Debussy used nine poems, between then and 1891, mingling lyricism and Parisian dilettantism. Beau soir, which is similar in style to the two Romances of 1891 ("Romance" and "Les Cloches"), probably dates from 1884-85. Charles Koechlin, in an article on "A few old songs" in the special number of La Revue musicale devoted to Debussy's early works, criticised these songs: "Why-did Debussy not find less familiar accents, less ordinary harmonies, melodic lines with something a little personal? Because of the poems, I think". A somewhat harsh judgement of songs which, even if they lack the boldness of the settings of Verlaine, nonetheless preserve the old-fashioned charm of the nineties. As well as Verlainc, Banville and Baudelaire, Debussy also set poems by writers who are now forgotten - Vincent ITypsa's La belle an bois dormant which recalls the atmosphere of the cabaret patronised by Debussy, Le Chat Noir, where he probably met Hypsa. After contemporary poets, Debussy turned to those of the past, and in 1910 he composed three settings of extracts from Promenoir des deux Amattts, a 17th-century ode by Tristan Lhermitte. The first, "Auprcs de cette grotte sombre", already published in 1904 in Trois chansons de France, is a masterpiece of prosodic subtlety. The rich harmonies and the hypnotic rhythm of the right hand in the piano part help to create a mysterious, haunting atmosphere. Tn Trois Ballades de 1'ranc.ois Villon, also dating from 1910, Debussy tried to adapt the music to the old French text. In an interview in 1912 he admitted that he had found difficulty in "following and reproducing the rhythms while preserving its inspiration". The three ballades, very different in style, with contrasting sorrow, regrets, imploring and lightness, incarnate the perfection of Debussy's art as a song-writer, culminating in the murmuring refrain of the second: "En cette foi je vcux vivre et rnourir". To define what is unique in Debussy's songs, we could quote one of his letters in which, paraphrasing word for word an idea from one of his favourite authors, Baudelaire, he explains the very essence of their magical "personal chemistry": "T want music which is sufficiently flexible and uneven to adapt to the lyrical movements of the soul and to the caprices of dreams."

-Denis Herlin


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Наименование трека

Текст

Длительность

Комментарий
   1 Le Temps A Laisse Son Manteau Vos         0:01:08 Trois Chansons De France
   2 La Grotte         0:02:37 -"-
   3 Pour Ce Que Plaisance Est Morte         0:02:34 -"-
   4 Mandoline         0:01:33 -"-
   5 Los Ingenus         0:02:29 Fetes Galantes II
   6 Le Faune         0:02:04 -"-
   7 Colloque Sentimental         0:04:21 -"-
   8 La Mer Est Plus Belle         0:02:25 Trois Melodies De Paul Verlaine
   9 Le Son Du Cor S'afflige         0:02:56 -"-
   10 L'echelonnement Des Haies         0:01:22 -"-
   11 Nuit D'etoiles         0:02:31 -"-
   12 Aimons-nous Et Dormons         0:02:03 -"-
   13 Villon A Sa Mie         0:04:41 Trois Ballades De Franqois Villon
   14 Priere A Nostre Dame         0:04:21 -"-
   15 Des Femmes De Paris         0:02:11 -"-
   16 La Belle Au Bois Dormant         0:03:12 -"-
   17 Beau Soir         0:02:28 -"-
   18 Les Cloches         0:01:51 -"-
   19 Romance         0:02:13 -"-
   20 Aupres De Cette Grotte Sombre         0:02:36 Le Promenoir Des Deux Amants
   21 Crois Mon Conseil, Chere Climene         0:01:31 -"-
   22 Je Tremble En Voyant Ton Visage         0:02:04 -"-
   23 Le Noel Des Enfants Qui N'ont Plus De Maison         0:02:23 -"-

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