Le Coq et l`Arlequin

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1. Toréador -
20. iv. Une roulette couverte en tuiles .........[1.02]
21. v. À toutes brides ...........................................[0.41]
22. vi. Une herbe pauvre ...................................[1.40]
23. vii. Je n’ai envie que de t’aimer ...............[0.54]
24. viii. Figure de force brûlante
et farouche ........................................................[1.29]
25. ix. Nous avons fait la nuit ..........................[3.30]
Chanson hispano-italienne [CM] .....[6.26]
Trois Poèmes de Louise Lalanne [FL]
2. i. Le Présent ....................................................[0.54]
3. ii. Chanson ......................................................[0.42]
4. iii. Hier ..............................................................[2.09]
Deux poèmes de
Guillaume Apollinaire [RM]
5. i. Dans le jardin d’Anna .............................[3.06]
6. ii. Allons plus vite .........................................[2.55]
26. La tragique histoire du
petit René [JL] .............................................[1.29]
27. Le petit garçon trop
bien portant [LA].......................................[2.04]
Trois chansons de
Federico Garcia-Lorca [LA]
7. i. L’enfant muet .............................................[1.41]
8. ii. Adelina à la promenade ........................[0.48]
9. iii. Chanson de l’oranger sec ....................[2.40]
Le travail du peintre [CM]
28. i. Pablo Picasso ................................................[2.32]
29. ii. Marc Chagall ...............................................[1.12]
30. iii. Georges Braque ........................................[1.34]
31. iv. Juan Gris .......................................................[2.11]
32. v. Paul Klee .......................................................[0.47]
33. vi. Joan Miró ....................................................[1.43]
34. vii. Jacques Villon ............................................[2.16]
10. Paul et Virginie [CM]............................[1.09]
11. Nuage [LM] .................................................[2.24]
12. Hymne [JL] ..................................................[4.01]
35. Les chemins de l’amour [FL] ............[3.52]
13. Ce doux petit visage [LA] ..................[1.53]
Total timings: ..................................................[72.17]
Deux poèmes de Louis Aragon [LA]
14. i. C ......................................................................[2.55]
15. ii. Fêtes galantes .............................................[0.59]
Lorna Anderson [LA]
Jonathan Lemalu [JL]
Felicity Lott [FL]
Christopher Maltman [CM]
Lisa Milne [LM]
Robert Murray [RM]
16. Priez pour paix [RM]...........................[2.41]
Tel jour telle nuit [FL]
17. i. Bonne journée ...........................................[2.40]
18. ii. Une ruine coquille vide .......................[2.09]
19. iii. Le front comme un drapeau perdu ...[1.04]
Malcolm Martineau piano
I
n his notorious little 1918 pamphlet Le Coq et l’Arlequin, Jean Cocteau pronounced
that ‘a composer always has too many notes on his keyboard.’ This was a lesson the
young Francis Poulenc took to heart and observed throughout his career; and nowhere
more tellingly than in the piano parts of his songs – far better written, he thought, than
his works for piano solo.
After the First World War, the ethos of French art across the board lay in the direction of
clarity and simplicity. Cocteau further cried for ‘an end to clouds, waves, aquariums, water
nymphs, an end to fogs’, and Erik Satie, the cultural godfather of the new French music,
warned that fogs had been the death of as many composers as sailors. Another target was
the ‘music one listens to head in hands’ – Wagner most notably, but also Schumann. For
Poulenc then, in quest of song texts, the nineteenth century was largely to be avoided and
only one of his texts, Théodore de Banville’s Pierrot, was published during it, while Jean
Moréas’s four poems forming the Airs chantés were printed in the first decade of the twentieth.
Otherwise Poulenc sought either distancing through pre-Romantic poetry or immediacy
through poetry of his own time.
In the present volume, only two of the song texts are historically distant. It has been said of
the French that, the more revolutions they went through, the more they hankered after the
certainties, real or imagined, of their past. The fifteenth-century poet Charles d’Orléans,
who provided three texts for Debussy songs, was captured by the English at the battle of
Agincourt in 1415 and kept a prisoner in the Tower of London for 25 years. His poem Priez
pour paix therefore has personal resonance, and Poulenc’s setting, in the style of his recent
Litanies à la Vierge noire, is intimate in tone. Although he called it ‘a prayer at a shrine in time
of war’, he wrote it on 29 September 1938; so it could more accurately be heard as a
prophecy, casting reasonable doubt on the prospects of ‘peace in our time’. Hymne, written
in New York in November 1948, was written for the bass Doda Conrad, who was one of
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singers in Nadia Boulanger’s famous Monteverdi recordings. Racine’s poem comes from a
translation of the Roman breviary he made in 1680. Poulenc underlines its hymnic quality
by frequent doubling of the vocal line by the piano’s right hand.
At the other extreme from these two religious offerings lie four examples of the ‘naughty’
Poulenc – a side of him that for years had the unfortunate effect of deafening critics to his
more serious intentions. In Toréador, written in 1918 for a Cocteau music-hall evening,
Poulenc deliberately mixes genres, producing ‘a Spanish/Italian song…that sends up the
geography of the café concert songs of the time, in which a Japanese girl got bored in
Peking or Sappho fired questions at the Sphinx’.The prevailing waltz rhythm is decorated
with Spanish curlicues (notably on the word ‘Toréador’) and broken up at the end of each
of the three verses in a way that anticipates Poulenc’s later Surrealist style.
Jean-Marie Legrand, known also as Jaboune and as Jean Nohain, had been a fellow pupil
of Poulenc’s at the Lycée Condorcet and remembered the composer as no dunce, but
simply uninterested in the scholarly curriculum. Since no printed edition of the verses is
known, we may assume they were written specially for Poulenc, who set them in 1934.
They are a perfect example of what he called ‘l’adorable mauvaise musique’, reminding us
of his remark that if he hadn’t been Poulenc, he would like to have been Maurice
Chevalier – a parallel further underlined by the waltz Les chemins de l’amour, which closes
this recital in the same style as Toréador opens it. This ‘valse chantée’ formed the leitmotif
of Anouilh’s play Léocadia, produced in Paris in November 1940, when it was sung by
Yvonne Printemps, one of Poulenc’s favourite artists.
The composer joined the French army for just over six weeks in June 1940. After that, he
remained in France throughout the war and, while never an active résistant, was in close
touch with clandestine groups that included poets such as Louis Aragon.The two poems
of his that Poulenc set in the autumn of 1943 see the war from two different perspectives.
In ‘C’, where every line ends with the French sound of that letter, the composer reacts to
what he called the poem’s ‘extreme melancholy’, as the Germans overran France; in ‘Fêtes
galantes’, to the picture of total disorder in which marquises are reduced to riding bicycles
– the title a bitterly ironical reference to the ordered life of eighteenth-century France as
painted by Watteau, Fragonard and Boucher.
The notion of Poulenc as a facile composer died hard. In fact, he often thought about
pieces for years before completing them, as with the song Paul et Virginie to a poem by
Raymond Radiguet, first attempted in 1920 but not given a final version until 1946.The
title refers to the idyllic novel of 1787 by Bernardin de Saint-Pierre that started the French
rage for the exotic. Pierre Bernac says the singer should try to invest the opening line,
‘Ciel! Les colonies’ with the dreamlike atmosphere of ‘long voyages under sail, noble
savages, magic islands’. Poulenc, for his part, thought it would make a perfect encore piece.
He admitted that the three poems by Federico Garcia Lorca he was working on during
the summer of 1947 were giving him problems, and was never entirely happy with the
result – not that composers are always the best judges of their own work! After the spare
opening song, ‘Adelina à la promenade’ bursts in like a whirlwind. The final song is a
sarabande. Poulenc accused it of being ‘nobly French’ instead of ‘gravely Spanish’; but as
Bernac pointed out, Poulenc could never be anything other than French…He also took
his time over setting Laurence de Beylié’s poem ‘Nuage’: the poem was on his desk in
August 1955, but he didn’t finish setting it until September 1956. With its marking
‘doucement mélancolique’, its shifting phrase lengths and vocal style somewhere between
melody and recitative, it conforms to a Poulenc archetype.
He was adamant that the two formative poets for his song writing were Apollinaire and
Eluard. But once more, these influences took their time to mature. After the tiny
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Apollinaire songs in Le bestiaire of 1919, Poulenc waited 12 years before setting the poet
again. The writer of the Trois poèmes de Louise Lalanne was a fictitious personage,
comprising Apollinaire for the middle song and his mistress, the painter Marie Laurencin,
for the outer two. According to Bernac, the Apollinaire poem is pure nonsense and no
attempt should be made to instil any sort of meaning into it. ‘Le présent’ clearly echoes
Verlaine’s ‘Voici les fruits’, set by Debussy and Fauré, in which the most important present
is the poet’s heart. But Poulenc’s version turns rather, by his own admission, to the
implacable octave writing in the finale of Chopin’s B flat minor Sonata. For ‘Hier’, he
thought of an interior as painted by Vuillard: it stands as one of the most sheerly beautiful
of all his songs.
By common consent, his Eluard cycle Tel jour telle nuit (As the day so the night), composed
in 1936-7, is one of his outright masterpieces.The emotional and stylistic range of the nine
songs is immense, from the hypnotic pulsing of the first and last of them, both in C major,
linking day with night, to the vividly surrealist images of the fourth and eighth songs,
marked respectively ‘très lent et sinistre’ and ‘presto (très violent)’. Not only cannot any of
the songs be extracted from its context within the whole, but some are even designated by
Poulenc as mere interludes, preparing for the song that follows. Thus the third song
prepares for the fourth, the prestissimo fifth song for the almost religious purity and calm
of the sixth, which barely moves from its E minor/major tonality. Poulenc was remembering
‘that life-affirming bitterness of a flower picked and chewed long ago near La Grande
Chartreuse’. The cycle concludes with a coda for piano in the manner of Schumann:
Poulenc mentioned the one in Dichterliebe, but perhaps an even closer comparison is with
the one that ends Frauenliebe und -leben.
In April 1939 Poulenc was about to re-orchestrate his ballet Les biches, the original
autograph score of which had been buried in 1930 with his friend from childhood,
Raymonde Linossier.Thinking of her, and of how much he used to rely on her taste and
intelligence, he dedicated to her his short song Ce doux petit visage on another poem by
Eluard. It is one of his many essays in lyrical nostalgia.According to his belief that a musical
setting should mirror the layout of the poem, in the fourth line, following a space in
Eluard’s text, the piano texture changes to Poulenc’s favourite repeated pairs of chords. Far
more unusual is his repetition of the last line – we don’t know whether Eluard was
consulted about this! Unusual too is the fact that the repetition is mezzo forte after the
original piano. The effect is almost of Poulenc trying to force out a setting of a line that
lies too deep even for music, evoking Linossier’s youth that did indeed ‘flee before life’.
In the early 1950s Poulenc was mainly engaged on his opera Dialogues des Carmélites, added
to which various commentators were assuring the world that the era of mélodies had now
come to an end. Even so, he was thinking of setting poems from Eluard’s 1948 collection
Voir, devoted to contemporary artists, and he eventually finished his cycle Le travail du
peintre in August 1956. His only regret was that he had been unable, before the poet’s death
in 1952, to persuade him to add a poem in praise of Matisse, as Eluard did not share
Poulenc’s enthusiasm for the artist. For the most part, the songs reflect the painters’
characters: ‘Picasso’ is authoritarian, ‘Chagall’ a scherzo, ‘Braque’, according to Poulenc,
‘perhaps too tasteful’, while in ‘Gris’ he was careful to bring out the rhythmic balancing of
certain phrases, mirroring the painter’s exquisite eye for composition. ‘Klee’ draws the
short straw, as no more than a swift transition to ‘Miro’, marked by tempo fluctuations
unusual for this composer. Finally, in ‘Villon’ Poulenc is able to indulge his love for the
‘litanies’ in Eluard’s poetry, and the cycle ends triumphantly with ‘the blood of the crowd’
– blood for Eluard being a positive symbol of life and energy. The composer’s final
instruction? As always, ‘be careful about the pedalling’…
© Roger Nichols
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1. Toreador –
Chanson hispano-italienne [CM]
Jean Cocteau (1889–1963)
Spanish-Italian Song [CM]
Pépita reine de Venise
Quand tu vas sous ton mirador
Tous les gondoliers se disent:
Prends garde – Toréador!
Pepita, queen of Venice,
when you appear on your balcony
all the gondoliers say:
look out – Toreador!
Sur ton cœur personne ne règne
Dans le grand palais ou tu dors
Et près de toi la vieille duègne
Guette le Toréador.
Toréador brave des braves
Lorsque sur la place Saint marc
Le taureau en fureur qui bave
Tombe tué par ton poignard.
Ce n’est pas l’orgueil qui caresse
Ton cœur sous la baouta d’or
Car pour une jeune déesse
Tu brûles Toréador.
Nobody rules your heart
as you sleep in the great palace
and nearby the old duenna
keeps watch for the toreador.
Toreador, the bravest of the brave
when in Saint Mark’s Square
the bull foaming with rage
falls dead by your dagger,
It is not pride which caresses
your heart beneath your gold cape
It is for a young goddess
that you burn,Toreador.
Belle Espagnole
Dans ta gondole
Tu caracoles
Carmencita
Sous ta mantille
Œil qui pétille
Bouche qui brille
C’est Pépita.
Spanish beauty,
in your gondola
you twist and turn
Carmencita
Beneath your mantle,
your eyes sparkle
your mouth shimmers,
it is Pepita!
C’est demain jour de Saint Escure
Qu’aura lieu le combat à mort
Le canal est plein de voitures
Fêtant le Toréador!
De Venise plus d’une belle
Palpite pour savoir ton sort
Tomorrow is the day of Saint Escure
A fight to the death will occur
The canal is full of vessels
Cheering the toreador!
More than one beautiful heart
throbs to know your fate
Mais tu méprises leurs dentelles
Tu souffres Toréador.
Car ne voyant pas apparaître.
Caché derrière un oranger,
Pépita seule à sa fenêtre,
Tu médites de te venger.
Sous ton caftan passe ta dague
La jalousie au cœur te mord
Et seul avec le bruit des vagues
Tu pleures toréador.
but you scorn their beauty
You suffer Toreador.
For not seeing her appear.
Hidden behind orange-blossom,
Pepita alone at her window,
You brood on revenge.
Beneath your kaftan is your dagger
jealousy bites your heart
and alone with the sound of the waves
you weep toreador.
Belle Espagnole …
Spanish beauty …
Que de cavaliers! que de monde!
Remplit l’arène jusqu’au bord
On vient de cent lieues à la ronde
T’acclamer Toréador!
C’est fait il entre dans l’arène
Avec plus de flegme qu’un lord.
Mais il peut avancer a peine
Le pauvre Toréador.
Il ne reste à son rêve morne
Que de mourir sous tous les yeux
En sentant pénétrer des cornes
Dans son triste front soucieux
Car Pépita se montre assise
Offrant son regard et son corps
Au plus vieux doge de Venise
Et rit du toréador.
What gentry! what a crowd!
Filling the areana to the brim
They’ve come from a hundred miles around
to cheer you,Toreador!
It’s begins, he enters the arena
With more calm than a lord.
But he can barely move
The poor Toreador;
All that remains of his sad dream
is to die in front of everyone
feeling the horns penetrate
his sad and grieving brow
For he sees the seated Pepita
offering her looks and her body
to the old Doge of Venice,
and laughing at the toreador.
Belle Espagnole …
Spanish beauty…
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Trois Poèmes de Louise Lalanne
i. and iii. Marie Laurencin (1885–1956)
ii. Guillaume Apollinaire (1880–1918)
Three Poems by Louise Lalanne
2. i. Le Présent [FL]
2. i. The Present [FL]
Si tu veux je te donnerai
Mon matin, mon matin gai
Avec tous mes clairs cheveux
Que tu aimes;
Mes yeux verts
Et dorés
Si tu veux.
Je te donnerai tout le bruit
Qui se fait
Quand le matin s’éveille
Au soleil
Et l’eau qui coule
Dans la fontaine
Tout auprés;
Et puis encor le soir qui
viendra vite
Le soir de mon âme triste A pleurer
Et mes mains toutes petites
Avec mon cœur qu’il faudra près
du tien
Garder.
If you wish I will give you
my morning, my gay morning
with all my bright hair
that you love;
my eyes green
and gold
if you wish.
I will give you all the sound
which is heard
when morning awakens
to the sun
and the water that flows
in the fountain
nearby;
And then again the evening that will
come quickly
the evening of my soul sad enough
to weep, and my hands so small
with my heart that will need to be close
to your own
to keep.
3. ii. Chanson [FL]
3. ii. Song [FL]
Les myrtilles sont pour la dame
Qui n’est pas là
La marjolaine est pour mon âme
Tralala!
Le chèvrefeuille est pour la belle
Irrésolue.
Quand cueillerons-nous les airelles
Lanturlu.
Mais laissons pousser sur la tombe
O folle! O fou!
Le romarin en touffes sombres
Laïtou!
Myrtle is for the lady
who is absent
marjoram is for my soul
Tra-la-la!
Honeysuckle is for the fair
Irresolute.
When do we gather the bilberries
Lan-tur-lu.
But let us plant on the tomb
O crazed! O mazed!
Rosemary in dark tufts
La-i-tou!
4. iii. Hier [FL]
4. iii. Yesterday [FL]
Hier, c’est ce chapeau fané
Que j’ai longtemps trainé
Hier, c’est une pauvre robe
Qui n’est plus à la mode.
Hier, c’était le beau couvent
Si vide maintenant
Et la rose mélancolie
Des cours de jeunes filles
Hier, c’est mon cœur mal donné
Une autre, un autre année!
Hier n’est plus, ce soir,
qu’une ombre
Près de moi dans ma chambre.
Yesterday is this faded hat
that I have trailed about so long
Yesterday is a shabby dress
no longer in fashion.
Yesterday was the beautiful convent
so empty now
and the rose-tinged melancholy
of the young girls’ classes
Yesterday, is my heart ill-bestowed
in a past, a past year!
Yesterday is no more, this evening,
than a shadow
close to me in my room.
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Deux poèmes de Guillaume Apollinaire
Guillaume Apollinaire
Two Poems by Guillaume Apollinaire
5. i. Dans le jardin d’Anna [RM]
5. i. In Anna’s Garden [RM]
Certes si nous avions vécu en l’an
dix-sept cent soixante
Est-ce bien la date que vous déchiffrez.
Anna, sur ce banc de pierre
To be sure had we lived in the year
seventeen hundred and sixty
Is it not the date which you decipher, Anna,
on this stone bench
Et que par malheur j’eusse été allemand.
Mais que par bonheur j’eusse été près
de vous
Nous aurions parlé d’amour de façon
imprécise
Presque toujours en francais
Et pendue éperdûment à mon bras
Vous m’auriez écouté vous parler de
Pythagoras
En pensant aussi au café qu’on
prendrait
Dans une demi-heure.
and if by mischance I had been German, but
if by good fortune I had been close
to you
we would have spoken of love in a
vague way
almost always in French
and hanging passionately on my arm
you would have listened to me speaking
to you of Pythagoras
while also thinking of the coffee we
would take
in half-an-hour.
Et l’automne eût été pareil à cet
automne
Que l’epine-vinette et les pampres
couronnent
And the autumn would have been
like this autumn
crowned with berberis and vine
branches
Et brusquement parfois j’eusse salué très
bas
De nobles dames grasses et
langoureuses
and I would at times have abruptly
made a deep bow
to stout languorous ladies of the
nobility
J’aurais dégusté lentement et tout seul
Pendant de longues soirées
Le tokay épais ou la malvoisie
J’aurais mis mon habit espagnol
Pour aller sur la route par laquelle
Arrive dans son vieux carrosse
I would have sipped slowly all by myself
during long evenings
heavy tokay or malmsey wine
I would have donned my Spanish coat
to go out on the road along which
will arrive in her old fashioned carriage
Ma grand’mere qui se refuse à
comprendre l’allemand
J’aurais écrit des vers pleins de mythologie
Sur vos seins la vie champêtre et sur
les dames
Des alentours
my grandmother who refuses to
understand German
I would have written lines full of mythology
on your breasts on the pastoral life and on the
ladies
of the neighbourhood
J’aurais souvent cassé ma canne
Sur le dos d’un paysan
J’aurais aimé entendre de la musique
en mangeant
Du jambon
J’aurais juré en allemand je vous
le jure
Lorsque vous m’auriez surpris
embrassant à pleine bouche
Cette servante rousse
I should have often broken my walking stick
on a peasant’s back
I should have liked to hear music while
eating
ham
I should have sworn in German I
assure you
when you caught me kissing full on
the mouth
this red haired serving-wench
Vous m’auriez pardonné dans le bois
aux myrtilles
you would have forgiven me in the
myrtle wood
J’aurais fredonné un moment
Puis nous aurions écouté longtemps
les bruits du crepuscule
I should have hummed for a moment then we
would have listened long to
the sounds of twilight
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6. ii. Allons plus vite [RM]
6. ii. Come along make haste [RM]
Et le soir vient et les lys meurent
Regarde ma douleur beau ciel qui me
l’envoie
Une nuit de mélancolie
And the evening comes and the lilies die
beautiful sky see my suffering which
you send to me
a night of melancholy
Enfant souris ô sœur écoute
Pauvres marchez sur la grand’route
O menteuse forêt qui surgis à ma
voix
Les flammes qui brûlent les âmes
Smile child O sister listen
poor folk walk on the high road
O deceptive forest risen at my
voice
the flames which burn souls
Sur le boulevard de Grenelle
Les ouvriers et les patrons
Arbres de mai cette dentelle
Ne fais donc pas le fanfaron
Allons plus vite nom de Dieu
Allons plus vite
On the Boulevard de Grenelle
the workers and the employers
trees of maytime this lace
do not flaunt it so much
come along make haste for God’s sake
come along make haste
Tous les poteaux télégraphiques
Viennent là-bas le long du quai
Sur son sein notre République
A mis ce bouquet de muguet
Qui poussait dru le long du quai
Allons plus vite nom de Dieu
Allons plus vite
La bouche en cœur Pauline honteuse
Les ouvriers et les patrons
All the telegraph poles
reach yonder along the quay
on the breast of our Republic
they have put this bouquet of
lilies of the valley
which grew densely along the quay
come along make haste for God’s sake
come along make haste
Simpering bashful Pauline
the workers and the employers
Oui-dà oui-dà belle endormeuse
Ton frère
Allons plus vite nom de Dieu
Allons plus vite
O yes O yes beautiful humbug
your brother
come along make haste for God’s sake come
along make haste
Trois chansons de Federico Garcia-Lorca
Federico Garcia-Lorca (1898-1936)
Three Songs by Federico Garcia-Lorca
7. i. L’enfant muet [LA]
7. i. The Dumb Child [LA]
L’enfant cherehe sa voix.
C’est le roi des grillons qui l’a.
Dans une goutte d’eau, l’enfant
cherchait sa voix.
Je ne la veux pas pour parler,
j’en ferais une bague
Que mon silence portera à son plus
petit doigt.
Dans une goutte d’eau l’enfant
cherchait sa voix
(La voix captive, loin de là, met un
costume de grillon).
The child searches for his voice.
It is the king of the crickets who has it.
In a drop of water, the child looked
for his voice.
I do not want it to speak with,
I should make a ring of it
that my silence will carry to his
smallest finger.
In a drop of water the child
looked for his voice
(The captive voice, far from there,
put on a cricket’s costume).
8. ii. Adelina à la promenade [LA]
8. ii. Adelina Out Walking [LA]
La mer n’a pas d’oranges et Séville n’a
pas d’amour,
Brune, quelle lumière brûlante!
Prête-moi ton parasol.
Il rendra vert mon visage
– Jus de citron et de limon –
Et tes mots – petits poissons –
Nageront tout à l’entour.
La mer n’a pas d’oranges
Ay amour
Et Séville n’a pas d’amour.
The sea has no oranges and Seville
has no love.
Brunette, what a burning light!
lend me your parasol
it makes my face look green
– juice of lemon and of lime –
and your words – little flshes –
will swim all round about.
The sea has no oranges
Alas love
and Seville has no love.
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9. iii. Chanson de l’oranger sec [LA]
Page Nos.
9. iii. Song of the Dried up Orange Tree [LA]
11. Nuage [LM]
11. Cloud [LM]
Laurence de Beylié (1893–1968)
Bucheron
Abat mon ombre
Délivre-moi du supplice
De me voir sans oranges.
Woodman
cut down my shadow
deliver me from the anguish
of seeing myself without oranges
Pourquoi suis-je né entre des miroirs?
Le jour me fait tourner
Et la nuit me copie dans toutes ses étoiles.
Je veux vivre sans me voir
Les fourmis et les liserons,
Je rêverai que ce sont mes feuilles et
mes oiseaux.
why was I born between mirrors
day turns me round
and night imitates me in all its stars
I want to live without seeing myself
the ants and the lizards
I will dream that they are my leaves
and my birds
Bûcheron
Abat mon ombre
Délivre-moi du supplice
De me voir sans oranges.
woodman
cut down my shadow
deliver me from the anguish
of seeing myself without oranges.
10. Paul et Virginie [CM]
10. Paul and Virginia [CM]
J’ai vu reluire en un coin de mes âges,
un souvenir qui n’était plus à moi.
Son père était le temps
sa mère une guitare
qui jouiat sur des rêves errants.
Leur enfant tomba dans mes mains
et je le posai sur un chêne.
Un oiseau en prit soin,
maintenant il chante.
Comment retrouver son père,
voilé de vent,
et comment recueillir les larmes de sa
mère
pour lui donner un nom.
Dans le passage d’un nuage
nous verrons poindre l’éternité
chassant le temps.
En ce point tout est écrit.
I saw shining in a corner of my past life,
a memory that was no longer mine.
Its father was time
its mother a guitar
that played on wandering dreams.
Their child fell into my hands
and I put him in an oak tree.
A bird took care of him
now he sings.
How to find his father again,
veiled with wind,
and how to gather the tears of his
mother
to give him a name.
In the passing of a cloud
we shall see eternity appear
pursuing time.
At this point all is written.
12. Hymne [JL]
12. Hymn [JL]
Jean Racine (1639–1699)
(Traduit du Breviaire Romain)
(Translated from the Roman Breviary)
Sombre nuit, aveugles ténèbres,
Fuyez, le jour s’approche et
l’Olympe blanchit;
Et vous, démons, rentrez dans vos
prisons funèbres;
De votre empire affreux, un Dieu nous
affranchit.
Dark night, blind shadow,
fly away, day approaches and Olympus
pales;
and you, demons, go back to your
gloomy prisons;
a God releases us from your dreadful
power.
Le soleil perce l’ombre obscure,
Et les traits éclatants qu’il lance
dans les airs,
The sun penetrates the obscure shadow,
and the glittering arrows that it shoots
into the air,
Raymond Radiguet (1903–1923)
Ciel! les colonies.
Heavens! The colonies.
Dénicheur de nids,
Un oiseau sans ailes,
Que fait Paul sans elle?
Où est Virginie?
Bird-nester,
a bird without wings,
what is Paul doing without her?
Where is Virginia?
Elle rajeunit.
She grows younger.
Ciel des colonies,
Paul et Virginie:
Pour lui et pour elle
C’était une ombrelle.
Heaven of the colonies
Paul and Virginia
for him and for her
it was an umbrella.
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Rompant le voile épais qui couvrait la
nature,
Redonnent la couleur et l’âme à
l’univers.
breaking through the thick veil that
covered nature,
give colour once again to the soul and
the universe.
A la sortie de l’hiver
Quand les nuages commencent à brûler
Comme toujours
Quand l’air frais se colore
At the end of winter
when the clouds begin to burn
as always
when the fresh air is tinged with colour
O Christ, notre unique lumière,
Nous ne reconnaissons que tes saintes clartés,
Notre esprit t’est soumis,
entends notre prière,
Et sous ton divin joug, range nos
volontés.
O Christ, our only light,
we acknowledge only your holy clarity,
our spirit is in submission to you,
hear our prayer,
and beneath your divine yoke, subject
our will.
Rien que cette jeunesse qui fuit
devant la vie.
Nothing but this youth that flies in
the face of life.
Deux poèmes de Louis Aragon
Louis Aragon (1897-1982)
Two Poems by Louis Aragon
Souvent notre âme criminelle
Sur sa fausse vertu, téméraire,
s’endort;
Hâte-toi d’éclairer, ô lumière éternelle,
Des malheureux assis dans l’ombre de
la mort.
Often our guilty soul
with false courage, recklessly
sleeps;
hasten to enlighten, O eternal light,
the wretched ones crouched in the
shadow of death.
14. i. C [LA]
14. i. C [LA]
J’ai traversé les ponts de Cé
C’est là que tout a commencé
Une chanson des temps passés
Parle d’un chevalier blessé
I have crossed the bridges of Cé
it is there that it all began
a song of bygone days
tells of a wounded knight
Gloire à toi,Trinité profonde,
Père, Fils, Esprit Saint: qu’on t’adore toujours,
Tant que l’astre des temps éclairera le monde,
Et quand les siècles même auront fini
leur cours.
Hail to thee, profound Trinity,
Father, Son, Holy Ghost; let us ever adore you,
as long as the sun illuminates the world,
and even when the centuries end
their course.
D’une rose sur la chaussée
Et d’un corsage délacé
Du château d’un duc insensé
Et des cygnes dans les fossés
of a rose on the carriage-way
and an unlaced bodice
of the castle of a mad duke
and swans on the moats
De la prairie où vient danser
Une éternelle fiancée
Et j’ai bu comme un lait glacé
Le long lai des gloires faussées
of the meadow where comes dancing
an eternal betrothed
and I drank like iced milk
the long lay of false glories
La Loire emporte mes pensées
Avec les voitures versées
Et les armes désamorcées
Et les larmes mal effaces
the Loire carries my thoughts away
with the overturned cars
and the unprimed weapons
and the ill-dried tears
O ma France ô ma délaissée
J’ai traversé les ponts de Cé.
O my France O my forsaken France
I have crossed the bridges of Cé.
13. Ce doux petit visage [LA]
13. This Sweet Little Face [LA]
Paul Eluard (1895–1952)
Rien que ce doux petit visage
Rien que ce doux petit oiseau
Sur la jetée lointaine où les enfants
faiblissent
Nothing but this sweet little face
nothing but this sweet little bird
on the distant jetty where the children
wane
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15. ii. Fêtes galantes [LA]
15. ii. Fêtes galantes* [LA]
16. Priez pour paix [RM]
16. Pray for Peace [RM]
Charles d’Orléans (1394–1465)
On voit des
On voit des
On voit des
voilettes
On voit des
pompons
On
On
On
On
voit
voit
voit
voit
On voit
On voit
On voit
gênent
On voit
marquis sur des bicyclettes
marlous en cheval jupon
morveux avec des
pompiers brûler les
You see fops on bicycles
You see pimps in kilts
You see brats with
veils
You see firemen burning their
Pompons
des mots jetés à la voirie
des mots élevés au pavois
les pieds des enfants de Marie
le dos des diseuses à voix
You
You
You
You
des voitures à gazogène
aussi des voitures à bras
des lascars que les longs neez
You see motor cars run on gasogene
You see also handcarts
You see wily fellows whose long noses
hinder them
You see fools of the first water
des coîons de dix huit carats
see
see
see
see
words thrown on the rubbish heap
words extolled to the skies
the feet of Mary’s children
the backs of cabaret singers
On voit ici ce que l’on voit ailleurs
On voit des demoiselles dévoyées
On voit des voyous on voit des voyeurs
On voit sous les ponts passer
les noyés
You see what you see elsewhere
You see girls who are led astray
You see gutter-snipes you see perverts You see
drowned folk floating under
the bridges
On voit chômer les marchands
de chaussures
On voit mourir d’ennui les mireurs
d’œufs
On voit péricliter les valeurs sûres
Et fuir la vie à la six quatre deux.
You see out of work
shoemakers
You see egg candlers bored to
death
You see true values in jeopardy
And life whirling by in a slap-dash way.
* This title is here used as a parody of the poetic Fêtes
galantes of Watteau and Verlaine.This poem consists of
many idioms, and words which are occasionally used as
much for their sound as for their sense. It is difficult to
translate it adequately, but an attempt is made to give an
idea of the meaning.
Priez pour paix, douce Vierge Marie,
Reine des cieux et du monde maîtresse,
Faites prier, par votre courtoisie,
Saints et saintes, et prenez votre adresse
Vers votre Fils, requérant sa Hautesse.
Qu’il lui plaise son peuple regarder,
Que de son sang a voulu racheter,
En déboutant guerre qui tout dévoie.
De prières ne vous veuillez lasser.
Priez pour paix, priez pour paix,
Le vrai trésor de joie.
Pray for peace, gentle Virgin Mary,
Queen of the skies and Mistress of the world,
Of your courtesy, ask for the prayers
of all the saints, and make your address
to your Son, beseeching his Majesty
that he may please to look upon his people,
whom he wished to redeem with his blood,
banishing war which disrupts all.
Do not cease your prayers.
Pray for peace, pray for peace,
and true treasure of joy.
Tel jour telle nuit
Paul Eluard
Such a Day Such a Night
17. i. Bonne journée [FL]
17. i. A good day [FL]
Bonne journée j’ai revu qui je
n’oublie pas
Qui je n’oublierai jamais
Et des femmes fugaces dont les yeux
Me faisaient une haie d’honneur
Elles s’enveloppèrent dans leurs
Sourires
A good day I have again seen whom I
do not forget
whom I shall never forget
and women fleeting by whose eyes formed for me a
hedge of honour
they wrapped themselves in their
smiles
Bonne journee j’ai vu mes amis sans soucis
Les hommes ne pesaient pas lourd
Un qui passait
Son ombre changée en souris
Fuyait dans le ruisseau
a good day I have seen my friends carefree
the men were light in weight
one who passed by
his shadow changed into a mouse
fled into the gutter
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J’ai vu le ciel très grand
Le beau regard des gens privés de tout
Plage distant où personne n’aborde
I have seen the great wide sky
the beautiful eyes of those deprived of everything
distant shore where no one lands
Tout le reste est parfait
Tout le reste est encore plus inutile
Que la vie
all the rest is perfect
all the rest is even more useless
than life
Bonne journée qui commença melancolique
Noire sous les arbres verts
Mais qui soudain trempée d’aurore
M’entra dans le cœur par surprise.
a good day which began mournfully
dark under the green trees
but which suddenly drenched with dawn
invaded my heart unawares.
Creuse la terre sous ton ombre
Hollow the earth beneath your shadow
Une nappe d’eau près des seins
Où se noyer
Comme une pierre.
A sheet of water reaching the breasts wherein to
drown oneself
like a stone.
18. ii. Une ruine coquille vide [FL]
18. ii. A ruin an empty shell [FL]
20. iv. Une roulette couverte en tuiles [FL]
20. iv. A gypsy wagon roofed with tiles [FL]
Une ruine coquille vide
Pleure dans son tablier
Les enfants qui jouent autour d’elle
Font moins de bruit que des mouches
A ruin an empty shell
weeps into its apron
the children who play around it
make less sound than flies
La ruine s’en va à tâtons
Chercher ses vaches dans un pré
J’ai vu le jour vois cela
Sans en avoir honte
the ruin goes groping
to seek its cows in the meadow
I have seen the day I see that
without shame
Une roulotte couverte en tuiles
Le cheval mort un enfant maître
Pensant le front bleu de haine
A deux seins s’abattant sur lui
Comme deux poings
A gypsy wagon roofed with tiles
the horse dead a child master
thinking his brow blue with hatred
of two breasts beating down upon him
like two fists
Ce mélodrame nous arrache
La raison du cœur.
This melodrama tears away from us
the sanity of the heart.
Il est minuit comme une flèche
Dans un cœur à la portée
Des folâtres lueurs nocturnes
Qui contredisent le sommeil.
It is midnight like an arrow
in a heart within reach
of the sprightly nocturnal glimmerings
which gainsay sleep.
21. v. À toutes brides [FL]
21. v. Riding full tilt [FL]
A toutes brides toi dont le fantôme
Piaffe la nuit sur un violon
Viens régner dans les bois
Riding full tilt you whose phantom
prances at night on a violin
come to reign in the woods
19. iii. Le front comme un drapeau perdu [FL]
19. iii. The brow like a lost flag [FL]
Le front comme un drapeau perdu
Je te traîne quand je suis seul
Dans des rues froides
Des chambres noires
En criant misère
The brow like a lost flag
I drag you when I am alone
through the cold streets
the dark rooms
crying in misery
Les verges de l’ouragan
Cherchent leur chemin par chez toi
Tu n’es pas de celles
Don’t on invente les désirs
the lashings of the tempest
seek their path by way of you
you are not of those
whose desires one imagines
Je ne veux pas les lâcher
Tes mains claires et compliquées
Nées dans le miroir clos des miennes
I do not want to let them go
your clear and complex hands
born in the enclosed mirror of my own
Viens boire un baiser par ici
Céde au feu qui te
désespère.
come drink a kiss here
surrender to the fire which drives
you to despair.
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22. vi. Une herbe pauvre [FL]
22. vi. Scanty grass [FL]
Une herbe pauvre
Sauvage
Apparut dans la neige
C’était la santé
Ma bouche fut émerveillée
Du goût d’air pur qu’elle avait
Elle était fanée.
Scanty grass
wild
appeared in the snow
it was health
my mouth marvelled
at the savour of pure air it had
it was withered.
23. vii. Je n’ai envie que de t’aimer [FL]
23. vii. I long only to love you [FL]
Je n’ai envie que de t’aimer
Un orage emplit la vallée
Un poisson la rivière
Je t’ai faite à la taille de ma solitude
Le monde entier pour se cacher
Des jours des nuits pour se comprendre
I long only to love you
a storm fills the valley
a fish the river
I have formed you to the pattern of my solitude
the whole world to hide in
days and nights to understand one another
Pour ne plus rien voir dans tes yeux
Que ce que je pense de toi
Et d’un monde à ton image
to see nothing more in your eyes
but what I think of you
and of a world in your likeness
Et des jours et des nuits réglés par tes
paupières.
and of days and nights ordered by your
eyelids
24. viii. Figure de force brûlante
et farouche [FL]
24. viii. Image of fiery wild forcefulness [FL]
Figure de force brûlante et farouche
Cheveux noirs où l’or coule
vers le sud
Aux nuits corrompues
Image of fiery wild forcefulness
black hair wherein the gold flows
towards the south
on corrupt nights
Or englouti étoile impure
Dans un lit jamais partagé
engulfed gold tainted star
in a bed never shared
Aux veines des tempes
Comme au bout des seins
La vie se refuse
Les yeux nul ne peut les crever
Boire leur éclat ni leurs larmes
Le sang au dessus d’eux triomphe
pour lui seul
to the veins of the temples
as to the tips of the breasts
life denies itself
no one can blind the eyes
drink their brilliance or their tears
the blood above them triumphs for
itself alone
Intraitable démesurée
Inutile
Cette santé bâtit une prison.
intractable unbounded
useless
this health builds a prison.
25. ix. Nous avons fait la nuit [FL]
25. ix. We have made night [FL]
Nous avons fait la nuit je tiens ta
main je veille
Je te soutiens de toutes mes forces
Je grave sur un roc l’étoile de tes forces
Sillons profonds où la bonté de ton
corps germera
Je me répète ta voix cachée ta voix
publique
Je ris encore de l’orgueilleuse
Que tu traites comme une mendiante
Des fous que tu respectes des simples
où tu te baignes
Et dans ma tête qui se met doucement
d’accord avec la tienne avec la nuit
Je m’émerveille de l’inconnue que tu deviens
Une inconnue semblable à toi
semblable à tout ce que j’aime
Qui est toujours nouveau.
We have made night* I hold your
hand I watch over you
I sustain you with all my strength
I engrave on a rock the star of your strength
deep furrows where the goodness of
your body will germinate
I repeat to myself your secret voice
your public voice
I laugh still at the haughty woman
whom you treat like a beggar
at the fools whom you respect the
simple folk in whom you immerse yourself
and in my head which gently begins
to harmonize with yours with the night
I marvel at the stranger that you become
a stranger resembling you resembling
all that I love
which is ever new.
*We have turned out the light
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26. La tragique histoire du petit René [JL]
26. The Tragic History of little René [JL]
Jean-Marie Legrand (1900–1981)
Avec mon face à main
Je vois ce qui se passe
Chez Madame Germain
Dans la maison d’en face.
Les deux filles cadettes
Préparent le repas
Reprisent les chaussett’s
Et font le lit de leur papa.
Emma s’occupe du balai,
Paul va chercher le lait,
Mais le petit René
Quoique étant l’aîné
Fait rougir la maisonnée
D’un bout de l’année
À l’aut bout d’l’année,
Il met les doigts dans son nez.
With my spyglass to my face
So much I can see
Of Mrs. Germaine’s place
The house across from me
The two youngest girls busily spin
Mend the socks with sewing thread
Make dad’s bed with a grin
And set out the dinner spread
Every day Emma sweeps the floor,
Fetching the milk is Paul’s daily chore,
And what of René?
Though he is the oldest
It’s embarrassing to say
What he does best
From year start till year close,
Is stick his fingers in his nose.
Les sermons, les discours
Dont ses parents le bourrent
Semblent tomber toujours
Dans l’oreille d’un sourd.
Sa mère consternée
A beau le sermonner,
Le priver de dîner,
Et lui donner le martinet,
L’enfermer dans les cabinets,
Il se met les doigts dans le nez
D’un bout de l’année
À l’aut’ bout de l’année,
C’est sa triste destinée,
Pauvre petit René,
Pour en terminer,
On a dû lui couper le nez.
The lectures, the speeches
All the nightly preaches
Plainly appear
To fall on deaf ears.
His poor worried mother
Tries one thing after another
No suppers, a chiding,
Even a right hiding,
She locks him in the closet
But in there still he does it,
From year start to year close,
He sticks his fingers in his nose
The sad end of the day,
For poor little René,
To help him to stop,
His nose had to get the chop.
27. Le petit garçon trop
27. The Little Boy Who Was
bien portant [LA]
Jean-Marie Legrand
Too Healthy [LA]
Ah! Mon cher docteur, je vous écris,
Vous serez un peu surpris,
Je n’suis vraiment pas content
D’être tou jours trop bien portant …
Je suis gras … Trois fois trop,
J’ai des bras … Beaucoup trop gros.
Et l’on dit, en me voyant:
“Regardez-le, c’est effrayant,
Quelle santé, Quelle santé!
Approchez, on peut tâter!..
Dear doctor, this may be unexpected,
But I’m writing you, dejected
I am finding it quite loathsome
Always being healthy and wholesome
I am as large … as a brig
And my arms … are way too big.
People say, when they see me,
“Look at him, how can it be?
So healthy, oh so healthy,
Is it real? Can we feel?”
Ah! Mon cher docteur, c’est un enfer,
Vraiment je n’sais plus quoi faire,
Tous les gens disent à ma mère:
“Bravo, ma chère, il est en fer…”
Dear doctor, I am through,
I really don’t know what to do,
To my mom, they say, when they see my mass,
“Well done, dear, he’s made of brass…”
J’ai René, Mon aîné,
Quand il faut être enrhumé,
Ça lui tombe toujours sur le nez…
Les fluxions,
Attention!..
C’est pour mon frère Adrien!
Mais moi, j’n’attrappe jamais rien!
My brother René, I must say
Seems to really have a way
A cold comes by, with him it stays
And all coughs,
They go off
To my brother Adrian, always coughing
But me? I catch nothing!
En pourtant j’ai beau, pendant l’hiver,
M’exposer aux courants d’air,
Manger à tort à travers
Tous les fruits verts
Y’a rien à faire…
In wintertime, I try so hard,
To sit in drafts out in the yard
And you can always find me chewing
Fruit that’s still green
– nothing doing!
Hélas, je sais que lorsqu’on à la rougeole,
On reste au lit, mais on ne va plus à l’écolle…
Vos parents sont près de vous,
Ils vous cajolent,
I know when you get the measles, you’ll
Stay in bed, and can skip school
Your parents nearby,
letting you rule
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Et l’on vous dit des tas de petits mots gentils…
Votr’ maman, constamment
Vous donne des medicaments.
Saying nice things, hugging you too
And your mommy, constantly
Giving you the medicine that you need
Ah! Mon cher docteur, si vous étiez
Gentil vous auriez pitié!
Je sais bien c’que vous feriez,
Les pilules que vous m’enverriez!..
Oh, dear doctor, if only
You would take pity on me!
I know just what you could do
And what pills to send me, too!
Etre bien portant Tout l’temps,
C’est trop embêtant…
Je vous en supplie, docteur…
Pour un’ fois, ayez bon cœur…
Docteur, un’ seule fois, rendez moi Malad’
Pendant une heure!
To always, always be healthy,
Is so annoying, can’t you see?
I beg you doctor, just this once
Give me a special ordinance,
Have a heart, if you will
For an hour, make me ill!
Le travail du peintre
Paul Eluard
The Work of the Painter
28. i. Pablo Picasso [CM]
28. i. Pablo Picasso [CM]
Entoure ce citron de blanc d’œuf informe
Enrobe ce blanc d’œuf d’un azur souple et fin
La ligne droite et noire a beau venir de toi
L’aube est derrière ton tableau
Surround this lemon with formless white of egg
coat this egg white with a malleable delicate blue
although the straight black line surely comes from you
the dawn lies behind your picture
Et des murs innombrables croulent
Derrière ton tableau et toi l’œil fixe
Comme un aveugle comme un fou
Tu dresses une haut épée dans le vide
And innumerable walls crumble
behind your picture and you your eyes fixed
like a blind man like a madman
you put a tall sword in the empty space
Une main pourquoi pas une seconde main
Et pourquoi pas la bouche nue comme
une plume
Pourquoi pas un sourire et pourquoi
pas des larmes
Tout au bord de la toile où jouent les
petits dous
A hand why not a second hand
and why not a denuded mouth like
a quill
why not a smile and why not tears
on the very edge of the canvas
where little nails are fixed
Voici le jour d’autrui laisse aux ombres
leur chance
Et d’un seul mouvement des
paupières renonce.
This is the day of others leave their food
fortune to the shadows
and with a single movement of the
eyelids renounce.
29. ii. Marc Chagall [CM]
29. ii. Marc Chagall [CM]
Ane ou vache coq ou cheval
Jusqu’ à la peau d’un violon
Homme chanteur un seul oiseau
Danseur agile avec sa femme
Ass or cow cock or horse
even the skin of a violin
a singing man a single bird
agile dancer with his wife
Couple trempé dans son printemps
Couple steeped in their springtime
L’or de l’herbe le plomb du ciel
Séparés par les flammes bleues
De la santé de la rosée
Le sang s’irise le cœur tinte
Un couple le premier reflet
The gold of the grass the lead of the sky
divided by the blue flames
of health and of dew
the blood grows iridescent the heart rings
A couple the first reflection
Et dans un souterrain de neige
La vigne opulente dessine
Un visage aux lèvres de lune
Qui n’a jamais dormi la nuit.
And in an underground cavern of snow
the opulent vine delineates
a face with moon-like lips
which has never slept at night.
30. iii. Georges Braque [CM]
30. iii. Georges Braque [CM]
Un oiseau s’envole,
Il rejette les nues comme un voile inutile,
Il n’a jamais craint la lumière,
Enfermé dans son vol,
Il n’a jamais eu d’ombre.
A bird flies away
it throws offthe clouds like a useless veil,
it has never feared the light,
enclosed in its flight,
it has never had a shadow.
Coquilles des moissons brisées par le
soleil.
Toutes les feuilles dans les bois disent
Husks of harvest grains split by
the sun.
All the leaves of the wood say
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Oui,
Elles ne savent dire que oui,
Toute question, toute réponse
Et la rosée coule au fond de ce
oui.
yes,
they can say nothing but yes,
every question, every answer
and the dew flows in the depth of this
yes.
32. v. Paul Klee [CM]
32. v. Paul Klee [CM]
Sur la pente fatale le voyageur profite
De la faveur du jour, verglas et sans cailloux,
Et les yeux bleus d’amour, découvre
sa saison
Qui porte à tous les doigts de grands
astres en bague.
On the fatal slope the traveller benefits
from the favour of the day, glazed
with frost and without pebbles,
and his eyes blue with love, discovers his season
which bears on every finger great
stars as rings.
Un homme aux yeux légers décrit le ciel
d’amour.
Il en rassemble les merveilles
Comme des feuilles dans un bois,
Comme des oiseaux dans leurs ailes
Et des hommes dans le sommeil.
A man with carefree eyes describes
the heaven of love.
He gathers its wonders
like leaves in a wood,
like birds in their wings
and men in sleep.
Sur la plage la mer a laissé ses oreilles
Et le sable creusé la place d’un beau crime.
Le supplice est plus dur aux bourreaux
qu’aux victimes
Les couteaux sont des signes et les
balles des larmes.
On the shore the sea has left its ears
and the hollowed sand site of a noble crime.
The agony is worse for the
executioners than for the victims
knives are omens and
bullets are tears.
31. iv. Juan Gris [CM]
31. iv. Juan Gris [CM]
De jour merci de nuit prends garde
De douceur la moitié du monde
L’autre montrait rigueur aveugle
By day give thanks by night beware sweetness
one half of the world
the other showed blind harshness
33. vi. Joan Miró [CM]
33. vi. Joan Miró [CM]
Aux veines se lisait un présent sans merci
Aux beautés des contours l’espace limité
Cimentait tous les joints des objets familiers
In the veins a merciless present was read
in the beauties of the contours limited space
cemented all the joinings of familiar objects
Soleil de proie prisonnier de ma tête,
Enlève la colline, enlève la forêt.
Le ciel est plus beau que jamais.
Sun of prey prisoner of my head,
remove the hill, remove the forest.
The sky is more beautiful than ever.
Table guitar et verre vide
Sur un arpent de terre pleine
De toile blanche d’air nocturne
Table guitar and empty glass
on an acre of solid earth
of white canvas of nocturnal air
Les libellules des raisins
Lui donnent des formes précises
Que je dissipe d’un geste.
The dragonflies of the grapes
give precise forms to it
that I dispel with a gesture.
Table devait se soutenir
Lampe rester pépin de l’ombre
Journal délaissait sa moitié
Table had to support itself
lamp to remain a pip of the shadow newspaper
abandoning half of itself
Nuages du premier jour,
Nuages insensibles et que rien n’autorise,
Leurs graines brûlent
Dans les feux de paille de mes regards.
Clouds of primeval day,
insensitive clouds sanctioned by nothing,
their seeds burn
in the straw fires of my glances.
Deux fois le jour deux fois la nuit
De deux objets un double objet
Un seul ensemble à tout jamais.
Twice the day twice the night
of two objects a double object
a single whole for ever and ever.
A la fin, pour se couvrir d’une saube
Il faudra que le ciel soit aussi pur
que la nuit.
At the end, to cloak itself with dawn
the sky must needs be as pure as the
night.
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34. vii. Jacques Villon [CM]
Page Nos.
34. vii. Jacques Villon [CM]
35. Les chemins de l’amour [FL]
35. The Paths of Love [FL]
Jean Anouilh (1910–1987)
Irrémédiable vie
Vie à toujours chérir
Irremediable life
life ever to be cherished
En dépit des fléaux
Et des morales basses
En dépit des étoiles fausses
Et des cendres envahissantes
Despite scourges
and base morals
despite false stars
and encroaching ashes
En dépit des fièvres grinçantes
Des crimes à hauteur du ventre
Des seins taris des fronts idiots
En dépit des soleils mortels
Despite grinding fevers
crimes belly-high
dried up breasts foolish faces
despite the mortal suns
En dépit des dieux morts
En dépit des mensonges
L’aube l’horizon l’eau
L’oiseau l’homme l’amour
Despite the dead gods
despite the lies
dawn horizon water
bird man love
L’homme leger et bon
Adoucissant la terre
Eclaircissant les bois
Illuminant la pierre
man light-hearted and good
smoothing the earth
clearing the woods
illuminating the stone
Et la rose nocturne
Et le sang de la foule.
And the nocturnal rose
and the blood of the crowd.
Les chemins qui vont à la mer
Ont gardé de notre passage,
Des fleurs effeuillées
Et l’écho sous leurs arbres,
De nos deux rires clairs.
Hélas! des jours de bonheur,
Radieuses joies envolées,
Je vais sans retrouver traces
Dans mon cœur.
The paths that lead to the sea
have kept from our passing,
flowers with fallen petals
and the echo beneath their trees
of our clear laughter.
Alas! of our days of happiness,
radiant joys now flown,
no trace can be found again
in my heart.
Chemins de mon amour,
Je vous cherche toujours,
Chemins perdus, vous n’êtes plus
Et vos échos sont sourds.
Chemins du désespoir,
Chemins du souvenir,
Chemins du premier jour,
Divins chemins d’amour.
Paths of my love,
I seek you for ever,
lost paths, you are there no more
and your echoes are mute.
Paths of despair,
paths of memory,
paths of the first day,
divine paths of love.
Si je dois l’oublier un jour,
La vie effaçant toute chose,
Je veux, dans mon cœur, qu’un souvenir
repose,
Plus fort que l’autre amour.
Le souvenir du chemin,
Où tremblante et toute éperdue,
If one day I must forget,
life effacing all remembrance
I would, in my heart, that one memory
remains,
stronger than the former love.
The memory of the path,
where trembling and utterly bewildered,
Un jour j’ai senti sur moi
Brûler tes mains.
one day I felt upon me
your burning hands.
Chemins de mon amour,
(etc…)
Paths of my love,
(etc…)
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LORNA ANDERSON
JONATHAN LEMALU
Lorna Anderson has appeared in opera, concert and recital with major
orchestras and festivals throughout Europe and elsewhere. As a renowned
performer of the baroque repertoire she has sung with the Orchestra of the
Age of Enlightenment, Les Arts Florissants, The Sixteen, The English
Concert, St. James Baroque, London Baroque, Collegium Musicum 90,
The King’s Consort, London Classical Players, La Chapelle Royale and the
Academy of Ancient Music under conductors which include William
Christie, Harry Christophers, Richard Egarr, Trevor Pinnock, Richard
Hickox, Nicholas McGegan, Robert King, and Sir Charles Mackerras.
Jonathan Lemalu, a New Zealand born Samoan, is already at the very
forefront of today’s young generation of singers. He graduated from a
Postgraduate Diploma Course in Advanced Performance on the London
Royal Schools Opera Course at the Royal College of Music and was
awarded the prestigious Tagore Gold Medal. He is a joint winner of the
2002 Kathleen Ferrier award and the recipient of the 2002 Royal
Philharmonic Society’s Award for Young Artist of the Year.
In opera she has sung Morgana (Alcina) at the Halle Handel Festival, Sevilla (La Clemenza di Tito)
with the Flanders Philharmonic Orchestra, Handel (Theodora) with Glyndebourne Touring
Opera, Handel (Riccardo Primo) at the Göttingen Festival with Nicholas McGegan, Purcell (The
Fairy Queen) with the English Concert and Monteverdi’s Il combattimento di Tancredi e Clorinda
with Netherlands Opera which was also filmed.
Lorna Anderson has also established an important reputation in the standard concert repertoire,
having sung with the BBC Orchestras, the Bach Choir, London Mozart Players, Royal Liverpool
Philharmonic, Israel Camerata, RAI Turin (Les Noces), New World Symphony in Miami,
Houston Symphony Orchestra, Washington Symphony Orchestra, Scottish Chamber Orchestra,
Ensemble Intercontemporain under Pierre Boulez, London Sinfonietta under Sir Simon Rattle
and at the Salzburg, Edinburgh and Aldeburgh Festivals among others. She has recently toured in
Libya and China with the Academy of Ancient Music.
Her numerous recordings include; The Fairy Queen under Harry Christophers, Haydn Masses
under Richard Hickox, a disc of Portuguese love songs and for Hyperion she has recorded Britten
folksong settings with Malcolm Martineau, Handel’s L’Allegro with Robert King and is an artist
on Graham Johnson’s complete Schubert Edition. Recent releases include part of a long term
project to perform and record all of Haydn’s Scottish song arrangements for voice and piano trio
with Haydn Trio Eisenstadt. The fifth and final set of discs were released in October 2008 as a
prelude to the bicentenary celebrations of both Haydn and Robert Burns in 2009 when
performances were given throughout the year in Europe as well as New York and Washington.
Lorna Anderson also features in a recording of ‘Lament for Mary Queen of Scots’ which was
commissioned from James MacMillan.
Jonathan’s debut recital disc was awarded the Gramophone Magazine
Debut Artist of the Year award. He subsequently released his first solo recording, with the New
Zealand Symphony Orchestra, and then a recital disc with Malcolm Martineau, featuring the
Belcea Quartet.
He has performed at the Tanglewood Festival with the Boston Symphony Orchestra and at the
Ravinia Festival with the Chicago Symphony Orchestra under Conlon.At the Edinburgh Festival
he has appeared under Runnicles and Mackerras. At the BBC Proms he has performed with the
Hallé Orchestra and with the New Zealand Symphony Orchestra. Other concert engagements
include The Flowering Tree with the Tokyo Symphony Orchestra, The Damnation of Faust with the
Toronto Symphony Orchestra under Dutoit, the Chicago Symphony Orchestra, the London
Symphony Orchestra under Sir Colin Davis and with the Berlin Philharmonic Orchestra under
Dutoit, Mendelssohn’s Elijah with the Netherlands Philharmonic Orchestra, Mozart arias with
the Salzburg Camerata, Handel’s Messiah with the New York Philharmonic and the world
premiere of Harbison’s Requiem with the Boston Symphony Orchestra under Bernard Haitink in
Boston and New York.
Equally at home on the recital platform, he has given recitals throughout Europe and North
America, taking him to Cologne, Athens, Birmingham, Amsterdam, Salzburg, Brussels, BadenBaden, Vienna, Montreal, Vancouver, Atlanta, San Francisco, Washington, New York’s Carnegie
Hall, London’s Wigmore Hall and the Munich and Edinburgh Festivals.
His operatic engagements in the UK have included Figaro (Le Nozze di Figaro) and Don Basilio
(The Barber of Seville) for English National Opera, Papageno (The Magic Flute) for the
Glyndebourne Festival and Zoroastro (Orlando) and Colline (La Boheme) at the Royal Opera
House, Covent Garden. In Europe, he has sung the title roles in Saul and Le Nozze di Figaro,
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Argante (Rinaldo) and Leporello (Don Giovanni) for the Bayerische Staatsoper, Leporello for
Hamburg Opera, Rodomonte (Orlando Palladino) and Papageno for the Theater an der Wien,
Bottom for the Opera de Lyon and in Bari and Rocco (Fidelio) under Gergiev at the Gergiev
Festival in Rotterdam. He also recently sang his first Porgy for the Styriarte Festival with
Harnoncourt. For Opera Australia he has sung Leporello (Don Giovanni) and Mozart’s Figaro. In
the United States, he made his debuts for the Metropolitan Opera Company as Masetto (Don
Giovanni), for the Lyric Opera of Chicago as Papageno, the title role in Le Nozze di Figaro for
the Cincinnati Opera and Queegueg in Jake Heggie’s world premiere based on Moby Dick for
Dallas Opera.
FELICITY LOTT
Felicity Lott was born and educated in Cheltenham, read French at Royal
Holloway College, of which she is now an Honorary Fellow, and singing at
the Royal Academy of Music, of which she is a Fellow and a Visiting
Professor. Her operatic repertoire ranges from Handel to Stravinsky, but she
has above all built up her formidable international reputation as an
interpreter of the great roles of Mozart and Strauss. At the Royal Opera
House she has sung Anne Trulove, Blanche, Ellen Orford, Eva, Countess
Almaviva and under Mackerras, Tate, Davis and Haitink, the Marschallin.
At the Glyndebourne Festival her roles include Anne Trulove, Pamina, Donna Elvira,
Oktavian, Christine (Intermezzo), Countess Madeleine (Capriccio) and the title role in Arabella. Her
roles at the Bavarian State Opera, Munich include Christine, Countess Almaviva, Countess
Madeleine and the Marschallin. For the Vienna State Opera her roles include the Marschallin
under Kleiber which she has sung both in Vienna and Japan. In Paris, at the Opera Bastille, Opera
Comique, Chatelet and Palais Garnier she has sung Cleopatra, Fiordiligi, Countess Madeleine, the
Marschallin and the title roles in La Belle Helene and La Grande Duchesse de Gerolstein. At the
Metropolitan Opera, New York, she sang the Marschallin under Carlos Kleiber and Countess
Almaviva under James Levine. She also sang Poulenc’s heroine in staged performances of La Voix
Humaine at the Teatro de La Zarzuela, Madrid, the Maison de la Culture de Grenoble and the
Opera National de Lyon.
under Armin Jordan, the Boston Symphony under Previn, the New York Philharmonic under
Previn and Masur, the BBC Symphony Orchestra with Sir Andrew Davis in London, Sydney and
New York, and the Cleveland Orchestra under Welser-Moest in Cleveland and Carnegie Hall. In
Berlin she has sung with the Berlin Philharmonic under Solti and Rattle and the Deutsche
Staatskapelle under Philippe Jordan.
A founder member of The Songmakers’ Almanac, Felicity has appeared on the major recital
platforms of the world, including the Salzburg, Prague, Bergen, Aldeburgh, Edinburgh and
Munich Festivals, the Musikverein and Konzerthaus in Vienna and the Salle Gaveau, Musée
d’Orsay, Opera Comique, Chatelet and Theatre des Champs Elysees in Paris. She has a particularly
close association with the Wigmore Hall and received the Wigmore Hall Medal in February 2010
for her significant contribution to the hall.
Her many awards include honorary doctorates at the Universities of Oxford, Loughborough,
Leicester, London and Sussex and the Royal Academy of Music and Drama in Glasgow. She was
made a CBE in the 1990 New Year Honours and in 1996 was created a Dame Commander of
the British Empire. In February 2003 she was awarded the title of Bayerische Kammersängerin.
She has also been awarded the titles Officier de l’Ordre des Arts et des Lettres and Chevalier de
l’Ordre National de la Légion d’Honneur by the French Government.
She has sung with the Vienna Philharmonic and Chicago Symphony Orchestras under Solti, the
Munich Philharmonic under Mehta, the London Philharmonic under Haitink,Welser-Moest and
Masur, the Concertgebouworkest under Masur, the Suisse Romande and Tonhalle orchestras
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LISA MILNE
CHRISTOPHER MALTMAN
Scottish soprano Lisa Milne studied at the Royal Scottish Academy of Music
and Drama.
Winner of the Lieder Prize at the 1997 Cardiff Singer of the World
Competition, Christopher Maltman read biochemistry at Warwick
University and studied singing at the Royal Academy of Music.
In opera, her appearances have included Pamina (Die Zauberflöte) and
Susanna (Le nozze di Figaro) at the Metropolitan Opera, New York and
Pamina, Marzelline (Fidelio), Micäela (Carmen) and the title roles in
Rodelinda and Theodora at the Glyndebourne Festival. Her many roles at
the English National Opera have included Countess Almaviva (Le nozze di
Figaro), the title role in Alcina and Anne Trulove (The Rake’s Progress). At
the Welsh National Opera she has sung Servilia (La clemenza di Tito) and she created the role of
Sian in the world premiere of James MacMillan’s opera The Sacrifice. For Scottish Opera she has
sung the title role in Semele, Adèle (Die Fledermaus), Adina (L’Elisir d’Amore), Zerlina (Don
Giovanni), Susanna, Ilia (Idomeno) and Despina (Così fan tutte). She has also appeared with the
Dallas Opera, Stuttgart Opera, Royal Danish Opera, at the Göttingen Handel Festival and on tour
with the Salzburg Festival.
A frequent guest at the major festivals, her many concert engagements have included appearances
with the Boston Symphony Orchestra and Levine, the Berlin Philharmonic with Rattle, the
Rotterdam Philharmonic Orchestra with Gergiev, the Dresden Staatskapelle with Ticciati, the
Budapest Festival Orchestra with Fischer and the New York and Vienna Philharmonic Orchestras
with Harding.
A renowned recitalist, she has appeared at the Aix-en-Provence, Edinburgh and City of London
Festivals; the Oxford Lieder Festival; the Palais des Beaux Arts in Brussels and at the
Schumannfeste in Dusseldorf. She is a regular guest at London’s Wigmore Hall.
Her many recordings include Ilia and Servilia with Mackerras, Atalanta (Serse) with McGegan,
The Governess (The Turn of the Screw) with Hickox and Mahler’s Symphony No. 2 with Fischer
– winner of a Gramophone Award.
She was awarded an MBE in the Queen’s Birthday Honours in 2005.
On the opera stage, his recent appearances include the title role of Don
Giovanni at the Salzburg Festival, at the Bayerische Staatsoper, Munich and
in Cologne; and Papageno (Die Zauberflöte), Guglielmo (Così fan tutte),
Forester (The Cunning Little Vixen), Marcello (La bohème) and Ramiro
(L’heure espagnole) at the Royal Opera House Covent Garden. His roles at
the Glyndebourne Festival have included Papageno, Figaro (Le nozze di Figaro) and Sid (Albert
Herring). At the Bayerische Staatsoper, Munich, he has sung Tarquinius (The Rape of Lucretia),
Guglielmo, Marcello and Albert (Werther). Other opera appearances in Europe include Il Conte
(Le nozze di Figaro) and Aeneas (Dido and Aeneas) in Vienna; Figaro (Il barbiere di Siviglia) at the
Deutsche Staatsoper, Berlin and Tarquinius at the Aldeburgh Festival and at the English National
Opera. An acclaimed Billy Budd, he has sung the role at Welsh National Opera,Teatro Regio in
Turin, Seattle, Frankfurt and in Munich.
In the U.S. he has appeared at the Metropolitan Opera, New York as Papageno, Harlekin (Ariadne
auf Naxos) and Silvio (I Pagliacci); in San Francisco as Papageno; in Seattle as Guglielmo and in
San Diego as Figaro (Il barbiere di Siviglia) and Laurent (Therese Raquin).
He appears regularly in concert with the world’s great orchestras and conductors. A renowned
recitalist, he has appeared in Edinburgh, Vienna, Amsterdam, Salzburg, Frankfurt, Cologne,
Milan, and New York. He is a regular guest at the Wigmore Hall in London and at the
Schwarzenberg Schubertiade.
He has recorded the Vaughan Williams Serenade to Music for Decca;Warlock, Holst and Somervell
songs for Collins Classics; and he took part in Deutsche Grammophon’s complete Beethoven
Folk Song project. His recording of Schumann’s Dichterliebe for Hyperion was released to
tremendous critical acclaim and he has recently recorded Schumann’s Liederkreis Op.24 with
Graham Johnson, a Debussy album with Malcolm Martineau and a disc of English songs with
Roger Vignoles. On film, he has appeared in John Adams’ award-winning The Death of Klinghoffer,
and as the title role in Juan, a new film production of Don Giovanni which premiered at the
FilmFest Hamburg in October 2010.
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ROBERT MURRAY
MALCOLM MARTINEAU
Robert Murray studied at the Royal College of Music and the National
Opera Studio. He won second prize in the Kathleen Ferrier awards 2003
and was a Jette Parker Young Artist at the Royal Opera House Covent
Garden. Operatic roles at the Royal Opera House include Tamino (Die
Zauberflote), Borsa (Rigoletto), Gastone (La Traviata), Harry (La Fanciulla del
West), Lysander (A Midsummer Night’s Dream), Agenore (Il re Pastore),
Belfiore (La Finta Giardiniera), Jacquino (Fidelio) and Don Ottavio (Don
Giovanni). He recently sang the title role in Albert Herring for
Glyndebourne On Tour, Tom Rakewell (The Rake’s Progress) for Garsington Opera,
The Simpleton (Boris Godunov), Tamino, Toni Reischmann (Henze’s Elegy For Young Lovers) and
Idamante (Idomeneo) for ENO; Benvolio (Romeo et Juliette) at the Salzburg Festival and Ferrando
(Cosi fan Tutte) for Opera North.
Malcolm Martineau was born in Edinburgh, read Music at St Catharine's
College, Cambridge and studied at the Royal College of Music.
He has sung in concert with many of the leading early music specialists, including Sir John Eliot
Gardiner for the BBC Proms, Sir Charles Mackerras, Emanuelle Haim and Harry Christophers.
At the Aldeburgh Festival, he has performed Britten’s War Requiem with Simone Young, and
Britten’s Our Hunting Fathers with the CBSO and Thomas Adès.At the Edinburgh Festival he has
performed Strauss’s Elektra with the Royal Scottish National Orchestra and Edward Gardner,
Vaughan Williams’s Serenade to Music with the Scottish Chamber Orchestra and David Jones,
Schumann’s Manfred with the BBC Scottish Symphony Orchestra and Ilan Volkov and Haydn’s
Die sieben letzten Worte des Erlösers am Kreuze with the SCO. In Europe he appeared with the
Rotterdam Philharmonic under Valery Gergiev and Yannick Nezet-Seguin; at the Gstaad Festival
with the Gabrieli Consort under Paul McCreesh; in Paris under Esa-Pekka Salonen and in
Madrid with the Orquesta y Coro Nacionales de Espana.
In recital he has performed at the Newbury, Two Moors, Brighton and Aldeburgh Festivals and
at London’s Wigmore Hall. He has toured Die Schöne Müllerin extensively with Malcolm
Martineau, and recorded a recital of Brahms, Poulenc and Barber with Simon Lepper for Voices
on BBC Radio 3.
Recognised as one of the leading accompanists of his generation, he has
worked with many of the world’s greatest singers including Sir Thomas
Allen, Dame Janet Baker, Olaf Bär, Barbara Bonney, Ian Bostridge, Angela
Gheorghiu, Susan Graham,Thomas Hampson, Della Jones, Simon Keenlyside,
Anna Netrebko, Frederica von Stade, Bryn Terfel and Sarah Walker.
He has presented his own series at St Johns Smith Square (the complete songs of
Debussy and Poulenc), the Wigmore Hall (a Britten and a Poulenc series broadcast by the BBC)
and at the Edinburgh Festival (the complete lieder of Hugo Wolf). He has appeared throughout
Europe (including London’s Wigmore Hall, Barbican, Queen Elizabeth Hall and Royal Opera
House; La Scala, Milan; the Chatelet, Paris; the Liceu, Barcelona; Berlin’s Philharmonie and
Konzerthaus; Amsterdam’s Concertgebouw and the Vienna Konzerthaus and Musikverein),
North America (including in New York both Alice Tully Hall and Carnegie Hall), Australia
(including the Sydney Opera House) and at the Aix-en-Provence, Vienna, Edinburgh,
Schubertiade, Munich and Salzburg Festivals.
Recording projects have included Schubert, Schumann and English song recitals with Bryn Terfel
(for Deutsche Grammophon); Schubert and Strauss recitals with Simon Keenlyside (for EMI);
recital recordings with Angela Gheorghiu and Barbara Bonney (for Decca), Magdalena Kozena
(for DG), Della Jones (for Chandos), Susan Bullock (for Crear Classics), Solveig Kringelborn (for
NMA); Amanda Roocroft (for Onyx); the complete Fauré songs with Sarah Walker and Tom
Krause; the complete Britten Folk Songs for Hyperion; and the complete Beethoven Folk Songs
for Deutsche Grammophon.
Recent engagements include appearances with Sir Thomas Allen, Susan Graham, Simon
Keenlyside, Angelika Kirchschlager, Magdalena Kozena, Dame Felicity Lott, Christopher
Maltman, Kate Royal, Michael Schade, and Bryn Terfel.
He was a given an honorary doctorate at the Royal Scottish Academy of Music and Drama in
2004, and appointed International Fellow of Accompaniment in 2009.
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This recording was made with generous support
from Simon Yates and Kevin Roon.
Song texts are reproduced by kind permission of Kahn & Averill,
from Pierre Bernac’s Francis Poulenc: The man and his songs,
with English translations by Winifred Radford.
The Steinway concert piano chosen and hired by Signum Records for
this recording is supplied and maintained by Steinway & Sons, London
Recorded at St Michael and All Angels in Summertown, Oxford,
from 14-20 February and 6-10 September 2010.
Producer – John West
Engineer & Editor – Andrew Mellor
Design - Darren Rumney
P2011 The copyright in this recording is owned by Signum Records Ltd.
C2011 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd.
Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs
constitutes an infringement of copyright and will render the infringer liable to an action by law. Licences for public
performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part
of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form or by any means,
electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd.
SignumClassics,
Signum Records Ltd, Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK.
+44 (0) 20 8997 4000 E-mail: info@signumrecords.com
www.signumrecords.com
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