Debussy met the older poet via his mother-in-law. Debussy: Ariettes oubliées: No. 1. He closes with one more watercolour: Spleen. “Green” and “Spleen” from Ariette oubliées by Claude Debussy; Meine Liebe ist grün, Der Tod, das ist die kühle Nacht, Botschaft, O kühler Wald, and Von ewiger . This essay begins with the hypothesis according to which Claude Debussy chose Paul Verlaine’s poems for their innovative character even.
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Evolution since Sir Thomas Gresham: Performers Xiaobo Su sopranoGiorgi Latsabidze piano. Part of a series. The visual and sound proposal of Paul Verlaine: The rhythmic disposition of notes is freer, introducing very variable prosody, in link with the diction of the text.
This motto seems to be treated as a significant aspect of the languid spleen, arriving at a paroxysm in final evocation, and presented always barely changed. Always in a research of signification thanks to poetic techniques, Verlaine works with the tones, with the length of syllables, to recall the spleen of the lyric subject, trying to illustrate orally the feeling of time in the poem.
In conclusion, I will maintain that Debussy finally offers an alternative of motivic development by the use of motives and their juxtaposition. For more information, contact us at the following address: Creative Commons Zero 1. We feel a more flexible musical temporality, linked to the dilution of marks of tonality, and of harmonic rhythm which debusay it.
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Ariettes oubliées – Wikipedia
The unit of the piece is carried by the musical material in reply to the poetic material. The vocal lines wobble from a recitative to large curves in arabesques in the same line; the former vocal melismas gives way to a syllabic prosody without any repetition of word; and then harmonic motion is more a continuity of colors than dependent of structural tensions. This research wants to bring elements in understanding the way Claude Debussy worked out his language, notably his treatment of the musical material and his temporal behavior in music.
Debussy relies on other parameters than those of the speech of enunciation: Of the holly with its varnished leaf And of the shining boxwood I am weary And of the never-ending countryside, And of everything, except you. Where story and speech seemed divided into couplets, we can point out that tones are led at the same time throughout all the couplets, already mixing feelings coming from description and feelings of the narrator.
The disposition of the poem in couplets allows receiving in a more sensitive way the alternation of story and speech, which mixes the description of natural phenomenon and the personal expression of the narrator.
Please provide the translator’s name when contacting us. It goes through all the couplets, story-telling ones or speech ones, in an irregular way.
Part Eight: Verlaine’s poetry performed through Debussy’s musical sounds: ‘Spleen’ in text and song
Not all the material on this website is in the public domain. The renewal of language as well as innovation in a known frame would be notable points of convergence between research of Claude Debussy and of Paul Verlaine.
Our research has never had any government or institutional funding, so if you found the information here useful, spleem consider making a donation. January Genre Categories Ariettas ; Arias ; For voice, piano ; For voices debussy keyboard ; Scores featuring the voice ; Scores featuring the piano ; French language.
Dr Juliet Shields Tuesday, 17 January – 1: Device is incompatible to play the video. It is illegal to copy and distribute our copyright-protected material without permission. This musical treatment will be the object of our second part. This website began in as a personal project, and I have been working on it full-time without a salary since Veuve Girodn.
Transcript 12 April Part Eight: The Voices and Music of the Gods. Each prelude immobilizes one minute of the universal life of things, an instant of the history of the world, and it stops this universal life out of any future and of any succession, without relation neither with before nor with after. Il pleure dans mon coeur 3. Dear, it only needs one move from you For all my despairs to reawaken.
The sky was too blue, too tender, The sea too green and the air too mild.