Le Coq et l`Arlequin

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Airs chantés [SF]
romantique .............................................[1.38]
champêtre................................................[1.20]
grave ..........................................................[2.38]
vif................................................................[1.08]
21. v. Unis la fraîcheur et le feu ....................[1.25]
22. vi. Homme au sourire tendre .................[2.08]
23. vii. La grande rivière qui va .....................[0.53]
1. Air
2. Air
3. Air
4. Air
Calligrammes [TO]
8. Montparnasse [TO].................................[3.12]
24. i. L’espionne ..................................................[1.48]
25. ii. Mutation.....................................................[0.44]
26. iii. Vers le sud..................................................[1.52]
27. iv. Il pleut.........................................................[1.12]
28. v. La grâce exilée ..........................................[0.39]
29. vi. Aussi bien que les cigales ....................[1.52]
30. vii. Voyage ........................................................[2.49]
9. Hyde Park [TO]........................................[0.55]
31. La souris [LM] ...........................................[0.54]
5. Colloque [TO] and [LA] ........................[3.13]
6. Mazurka [TO] ............................................[3.45]
7. La grenouillère [AM] .............................[2.10]
Deux mélodies
32. Monsieur Sans Souci [JL] ...................[3.05]
10. i. Le pont [RM] ...........................................[1.39]
11. ii. Un poème [TO] .....................................[1.15]
(Il fait tout lui-même)
33. Nous voulons une
12. Le portrait [JMA] .....................................[1.52]
petite sœur [LA] ........................................[5.08]
Miroirs brûlants [SF]
Total timings: ................................................[61.59]
13. i. Tu vois le feu du soir ..............................[4.14]
14. ii. Je nommerai ton front...........................[1.15]
Lorna Anderson [LA]
John Mark Ainsley [JMA]
Sarah Fox [SF]
Jonathan Lemalu [JL]
Lisa Milne [LM]
Ann Murray [AM]
Robert Murray [RM]
Thomas Oliemans [TO]
15. …Mais mourir [JMA] ............................[1.38]
16. Main dominée par le cœur [TO] ....[1.12]
La fraîcheur et le feu [JMA
17. i. Rayons des yeux .....................................[1.17]
18. ii. Le matin les branches attisent ............[0.45]
19. iii. Tout disparut ............................................[1.52]
20. iv. Dans les ténèbres du jardin ................[0.29]
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 19th 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 20th. Otherwise
Poulenc sought either distancing through pre-Romantic poetry or immediacy through
poetry of his own time. The present volume begins with the Airs chantés and continues
with settings of poems entirely by Poulenc’s contemporaries.
It is not always wise to take composers at their word. Poulenc was not alone in occasionally
liking to tease his readers, so his claim, that he loathed the poetry of Jean Moréas (Yannis
Papadiamantopoulos, 1856-1910) and chose these poems as being suitable for mutilation,
should probably be taken with a slight pinch of salt, as should his condemnation of ‘Air
grave’ as ‘certainly my worst song’, though it may be true that he was more successful
elsewhere in imitating ‘ancient’ textures. He professed to be annoyed by the success of the
second and last songs of the set, and the only one to escape censure was the opening ‘Air
romantique’, where he concentrates the music around the tonic E minor, in parallel with
the unvarying tempo.
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‘Colloque’, composed in 1940, was Poulenc’s only setting of words by Paul Valéry.After the
plain opening in octaves the piano, as often in Poulenc’s love songs, then proceeds largely
in pairs of pulsing chords, leading to one of his favourite descending sequences on the
words ‘Si ton désir…’ ‘Mazurka’, his last setting of words by Louise de Vilmorin, was
commissioned by the bass Doda Conrad in 1949 as one of a set of seven songs entitled
Mouvements de coeur to mark the 100th anniversary of the death of Chopin. Poulenc felt his
song might have accompanied the ball in the novel Le grand Meaulnes, and was pleased to
have negotiated the tricky ‘font, font, font’ passages to his own satisfaction.
He once said that he would be happy to have inscribed on his tombstone:‘Here lies Francis
Poulenc, the musician of Apollinaire and Eluard’.The order there is not just alphabetical but,
in Poulenc’s life, chronological. Starting with the tiny poems of Le bestiaire (to follow in the
two final volumes of this series), he employed his own technique, essentially traditional but
also flexible, to mirror the apparent simplicities of Guillaume Apollinaire’s poetry, beneath
which flow powerful currents of humour and nostalgia. He had had in mind to set La
grenouillère for years before finally turning to it in 1938, reminding him as it did of happy
childhood hours spent on the banks of the Marne and of the paintings by Monet and Renoir
depicting boatmen and lazy Sunday afternoons (he admitted that the piano’s floating,
undirected thirds on the line ‘Petits bateaux vous me faites bien de la peine’ were borrowed
from Mussorgsky). With Apollinaire, he wrote, ‘irony is always veiled by tenderness and
melancholy’, and this song must be delivered straight, without knowing winks.
The more he read Apollinaire, the more he realised the poetic importance of Paris in his work
and in Montparnasse the composer looks back to the ‘discovery’ of the Left Bank 30 years
earlier by Picasso, Braque, Modigliani… and Apollinaire. Hyde Park, in contrast, is nostalgiafree – one of Poulenc’s scatty, fast numbers. Le pont, like Montparnasse and many other of his
songs, was written piecemeal: the line ‘qui va de loin qui va si loin’ in 1944, the next line in
1945, and the whole put together in May and July 1946. He hoped, even so, that the song
flowed in one long wave, and insisted it should catch the burbling of the water and of the
conversation going on above it. In ‘the postage stamp’ of Un poème, he admired Apollinaire’s
ability to ‘suggest silence and emptiness in so few words’ and his music, balanced on the edge
of atonality, is the soul of emptiness, redeemed (or is it?) by a final, unforeseen major chord.
The novelist Colette was a friend of Poulenc’s from the early 1930s until her death in 1954
but, despite his frequent entreaties, she gave him only one poem – inscribed on a large gauze
handkerchief and handed to him from her hospital bed in 1938. In Le portrait Colette paints
a version, perhaps, of herself – ‘beautiful, unkind, deceitful, unfair’, she was certainly the first
and could, at times, be the rest – and Poulenc responds with a song of wilful eccentricity,
beginning ‘very violent and impassioned’ and only at the end finding resolution, as the
hankerchief reveals ‘the very portrait of your heart’. Its own qualities aside, the composer
felt that this song, to his own surprise, constitutes the perfect lead-in to…
… ‘Tu vois le feu du soir’, the first of the pair of Miroirs brûlants, composed in 1938-9 to
poems by Paul Eluard. Poulenc had first met the poet in Adrienne Monnier’s bookshop at
the end of the First World War, but did not set any of his poetry until 1935. Of the two
songs making up Miroirs brûlants, he was severe on the second, but reckoned that ‘Tu
vois…’ might well be the one song of his that he would take to his desert island. It is not
hard to see why. There are the usual pulsing chords, some on, some off the beat; a
predominance of minor chords, with or without attendant 7ths and 9ths; a wonderful
lightening of the mood (major chords) at ‘Tu vois un bel enfant…’; and in the voice a line
that seems utterly natural and yet utterly individual.
The two settings of the poet he made just after the war are barely less impressive. He
dedicated …mais mourir to the memory of Nusch, Eluard’s second wife, who died suddenly
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of a cerebral haemorrhage in 1946 at the age of just 40. Here the piano chords pulse in groups
of three rather than two, but the elegance and suppleness of the vocal line remain. Referring
to the ‘mains lasses retournant leurs gants’, Poulenc remembered that ‘Nusch’s hands were so
beautiful, this poem seemed to me especially made to evoke them’ (they can be seen and
admired in Francis Poulenc, Music, Art and Literature, ed. Sidney Buckland and Myriam
Chimènes, Aldershot, Ashgate, 1999, Plate 12). In Main dominée par le coeur, the composer
admitted a further borrowing, this time from himself in ‘Plume d’eau claire’ from his 1935
Eluard set, but was proud of the song’s tonal construction: C major – D major (‘...habite...’)
– C major – D major (‘...rien...’) – C major, mirroring the double wave of the poem.
Poulenc’s next settings of Eluard were the seven short songs of La fraîcheur et le feu,
composed in 1950. He described these as ‘mes mélodies les plus concertées’, using that
last word in the sense of ‘unified’. The seven poems were published in Eluard’s 1940
volume Le Livre ouvert I as a group entitled ‘Vue donne vie’, and Poulenc saw them as
essentially making up a single work, ‘progressing wonderfully with the feeling of a
crescendo’. His unified structure rests on the two distinct tempi, fast and slow, with
nothing in between. As already mentioned in the opening paragraph, his piano writing is
typically sparse, although in this case he was thinking specifically of Matisse’s sketches of
a swan to illustrate a volume of Mallarmé’s sonnets, where the lines are gradually reduced
in number and complexity to form the final published drawings. The set is dedicated to
Stravinsky and the third song quotes from the latter’s neoclassical Serenade in A for piano.
The climax comes, after a ‘très long silence’, in the penultimate song where Poulenc
responds once more to Eluard’s ‘côté litanies’, as he had so memorably at the end of his
choral work Figure humaine.
Even if the songs in La fraîcheur et le feu were ‘ses plus concertées’, his concern for structure
had also been evident in the Calligrammes of two years earlier, again a group of seven songs,
this time by Apollinaire. From early in their gestation Poulenc settled on an overall tonal
scheme: F minor – E flat major – E major – B major, then back through E major – E flat
major – F minor. In the event F minor became F# minor, and what he called ‘the hinge
of B major’ for ‘Il pleut’ became B flat minor, but the to-and-fro principle remained.The
poems took him back to his youth and he dedicated each song to a friend from those years.
In ‘L’espionne’, we hear again the syncopated chords that run through so many of his
Eluard settings, but here the tone is ‘more sensual than lyrical’. ‘Mutation’ and ‘Aussi bien
que les cigales’ are what he called ‘soldiers’ songs’, on the cusp between ditties and mélodies
proper, although at the end of the latter he turns on the dramatics for the final line, in
capitals in the original poem. Finally, ‘Voyage’, ‘certainly one of the two or three songs I
value most… It goes from emotion to silence, passing through melancholy and love.’The
spare octaves of the piano epilogue, ‘very blurred and far away in a fog of pedals’, conjure
up the noise of the trains Poulenc used to hear as a boy in July, taking people away on
holiday. But surely not that alone: how better to paint ‘your face that I no longer see’…
The bass Doda Conrad was again the moving spirit behind La souris, one of 80
compositions, dedications and letters he commissioned in 1956 for the 80th birthday of
his mother, the soprano Marya Freund, the original wood dove in Schönberg’s Gurrelieder
and the speaker in the French premiere of Pierrot lunaire. Going back to Apollinaire’s Le
bestiaire, Poulenc chose ‘La souris’ to mark the passing of time, gradually nibbled away by
the mouse. His dedication though is tactful:‘Dear Marya Freund, your heart will always be
20 years old! Alas! The composer of Le bestiaire is a lot more than 28!’
Finally, the two Chansons pour enfants of 1934 (for their companions, see volume 2) again
find Francis Poulenc, alias Maurice Chevalier, on sparkling form.
© Roger Nichols
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Airs Chantés [SF]
Jean Moréas (1856-1910)
Sung Airs
1. Air romantique
1. Romantic Air
J’allais dans la campagne avec le vent d’orage,
Sous le pâle matin, sous les nuages bas,
Un corbeau ténébreux escortait mon voyage
Et dans les flaques d’eau retentissaient mes pas.
I walked in the countryside with the storm wind,
beneath the pallid morning, under the low clouds,
a sinister raven followed me on my way
and my steps splashed in the puddles .
La foudre à l’horizon faisait courir sa flamme
Et l’Aquilon doublait ses longs gémissements;
Mais la tempête était trop faible pour mon âme,
Qui couvrait le tonnerre avec ses battements.
The lightning on the horizon forked its flame
and the North Wind redoubled its long wailing;
but the tempest was too weak for my soul,
which drowned the thunder with its throbbing.
De la dépouille d’or du frêne et de l’érable
L’Automne composait son éclatant butin,
Et le corbeau toujours, d’un vol inexorable,
M’accompagnait sans rien changer à mon destin.
From the golden spoils of the ash and the maple
Autumn amassed her brilliant booty,
and the raven still, with inexorable flight,
bore me company changing nothing towards my fate.
2. Air champêtre
2. Pastoral Air
Belle source, je veux me rappeler sans cesse,
Qu’un jour guidé par l’amitié Ravi,
j’ai contemplé ton visage, ô déesse,
Perdu sous la mousse à moitié.
Lovely spring, I will never cease to remember,
that on a day, guided by friendship entranced,
I gazed upon your face, O goddess,
half hidden beneath the moss.
Que n’est-il demeuré, cet ami que je pleure,
O nymphe, à ton culte attaché,
Pour se mêler encore au souffle qui t’effleure
Et répondre à ton flot caché.
Had he but remained, this friend for whom I weep,
o nymph, a devotee of your cult,
to mingle once again with the breeze that caresses you,
and to respond to your hidden waters.
3. Air grave
3. Grave Air
Ah! fuyez à présent,
malheureuses pensées!
O! colère, ô remords!
Souvenirs qui m’avez
les deux tempes pressées,
de l’etreinte des morts.
Ah! begone now,
unhappy thoughts!
O! anger, O remorse!
Memories that beset
my two temples
with the grip of the dead.
Sentiers de mousse pleins,
vaporeuses fontaines,
grottes profondes, voix
des oiseaux et du vent
lumières incertaines
des sauvages sous-bois.
Moss-grown paths,
vaporous fountains,
deep grottoes, voices
of birds and of the wind,
fitful lights
of the wild undergrowth.
Insectes, animaux,
Beauté future,
Ne me repousse pas
Ô divine nature,
Je suis ton suppliant
Insects, animals,
beauty to come,
do not repulse me
O divine nature,
I am your suppliant
Ah! fuyez à présent,
colère, remords!
Ah! begone now,
anger, remorse!
4. Air vif
4. Lively Air
Le trésor du verger et le jardin en fête,
Les fleurs des champs, des bois
éclatent de plaisir
Hélas! et sur leur tête le vent enfle sa voix.
The riches of the orchard and the festive garden,
the flowers of the fields, of the woods
burst forth with delight
Alas! and above their head the wind's voice is rising.
Mais toi, noble océan
que l’assaut des tourmentes
Ne saurait ravager,
Certes plus dignement lorsque tu te lamentes
Tu te prends à songer.
But you, noble ocean
whom the assault of tempests
cannot ravage,
most certainly with more dignity, when you lament
you lose yourself in dreams.
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5. Colloque [LA] and [TO]
Page Nos.
5. Colloquy
Paul Valéry (1871-1945)
6. Mazurka [TO]
6. Mazurka
Louise de Vilmorin (1902-1969)
D’une rose mourante
L’ennui se penche vers nous
Tu n’es pas différente
Dans ton silence doux
De cette fleur mourante;
Elle se meurt pour nous.
Tu me sembles pareille
À celle dont l’oreille
Était sur mes genoux
À celle dont l’oreille
Ne m’écoutait jamais!
Tu me sembles pareille
À l’autre que j’aimais:
Mais de celle ancienne
Sa bouche était la mienne
Like to a dying rose
weariness weighs upon us;
you are not different
in your sweet silence
from this dying flower:
it dies for us …
you seem to resemble
her whose head
I cradled in my lap,
but who never
listened to me!
You seem to resemble
the other whom I loved:
but the lips of this former love
were one with my own.
Que me compares-tu
quelque rose fanée?
L’amour n’a de vertu
que fraîche et spontanée
Mon regard dans le tien
Ne trouve que son bien
Je m’y vois toute nue!
Mes yeux effaceront
Tes larmes qui seront
d’un souvenir venues.
Si ton désir naquit
qu’il meure sur ma couche
Et sur mes lèvres
qui t’emporteront la bouche.
Why do you compare me
to some faded rose?
Love’s one virtue
is fresh and spontaneous.
Gazing into your eyes
I find only what is good.
I see myself laid bare!
My eyes will make you
forget your tears
flowing from a memory.
If your desire is born
let it die on my couch
and on my lips_
which will impassion your own.
Les bijoux ause poitrines,
Les soleils aux plafonds,
Les robes opalines,
Miroirs et violons,
The jewels on the breasts,
the suns on the ceiling,
the opaline gowns,
mirrors and violins.
Font ainsi, font, font, font,
Make thus, make, make, make,
Des mains tomber l’aiguille,
L’aiguille de raison,
Des mains de jeunes filles
Qui s’envolent et font,
Hands let fall the needle,
the needle of reason,
from hands of young girls
that fly past and make,
D’un regard qui s’appuie,
D’une ride à leur front,
Le beau temps ou la pluie.
Ed d’un soupir larron,
Of a stare that is fixed,
of a wrinkle on the brow,
fine weather or rain.
And of a thievish sigh,
Du bal une tourmente
Où sage et vagabond,
D’entendre l’inconstante,
Dire oui, dire non,
A tempest of the ball
where the wise and the flighty,
hear the fickle one,
say yes, say no,
Danser l’incertitude
Dont les pas compteront.
Oh! le doux pas des prudes,
Leurs silences profonds,
The uncertainty dance
of which the steps will count.
Oh! the soft steps of the prudes,
their profound silences,
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Du bal une contrée
Où les feux s’uniront.
Des amours recontrées
Ainsi la neige fond.
A country of the ball
where fires will unite.
From encountered loves
thus the snow melts.
La neige fond, fond, fond.
The snow melts, melts, melts.
7. La grenouillère [AM]
7. The Froggery
Guillaume Apollinaire (1880-1918)
Au bord de l’île on voit
Les canots vides qui s’entre-cognent
Et maintenant
Ni le dimanche ni les jours de la semaine
Ni les peintres ni Maupassant ne se promènent
Bras nus sur leurs canots avec des
femmes à grosse poitrines
Et bêtes comme chou*
Petits bateaux vous me faites bien de la peine
Au bord de l’île
By the shore of the isle one sees
the empty boats that bump against each other
and now
neither on Sunday nor on weekdays
neither the painters nor Maupassant set out
with bare arms in their boats with
their women friends full-bosomed
and stupid as a cabbage
little boats you make me very sad
by the short of the isle
* sweetly silly
8. Montparnasse [TO]
8. Montparnasse
Guillaume Apollinaire
O porte de l’hôtel avec deux plantes vertes
Vertes qui jamais
Ne porteront de fleurs
Où sont mes fruits? Où me planté-je?
O porte de l’hôtel un ange est devant toi
Distribuant des prospectus
On n’a jamais si bien défendu la vertu
Donnez-moi pour toujours une
chambre à la semaine
Ange barbu vous êtes en réalité
O door of the hotel with two green plants
green which never
will bear any flowers
where are my fruits? where do I plant myself?
O door of the hotel an angel stands in front of you
distributing prospectuses
virtue has never been so well defended
give me for ever a room
by the week
bearded angel you are really
Un poète lyrique d’Allemagne
Qui voulez connaître Paris
Vous connaissez de son pavé
Ces raies sur lesquelles il ne faut pas
que l’on marche
Et vous rêvez
D’aller passer votre Dimanche à Garches
a lyric poet from Germany
who wants to know Paris
you know on its pavement
these lines on which one
must not step
and you dream
of going to pass your Sunday at Garches
Il fait un peu lourd et vos cheveux sont longs
O bon petit poète un peu bête et trop blond
Vos yeux ressemblent tant à ces
deux grands ballons
Qui s’en vont dans l’air pur
A l’aventure
it is rather sultry and your hair is long
O good little poet a bit stupid and too blond
your eyes so much resemble these
two big balloons
that float away in the pure air
at random.
9. Hyde Park [TO]
9. Hyde Park
Les faiseurs de religion
Prêchaient dans le brouillard
Les ombres près de qui nous passions
Jouaient à collin-maillard
The promoters of religions
were preaching in the fog
the shadowy figures near us as we passed
played blind man’s buff
A soixante-dix ans
Joues fraîches de petits enfants
Venez venez Eléonore
Et que sais-je encore
at seventy years old
fresh cheeks of small children
come along come along Eleonore
and what more besides
Regardez venir les cyclopes
Les pipes s’envolaient
Mais envolez-vous-en
Regards impénitents
Et l’Europe l’Europe
look at the Cyclops coming
the pipes were flying past
but be off
obdurate staring
and Europe Europe
Regards sacrés
Mains énamourées
Et les amants s’aimèrent
Tant que prêcheurs prêchèrant
worshipping looks
hands in love
and the lovers made love
as long as the preachers preached
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Deux melodies
Two Melodies
10. i. Le pont [RM]
10. i. The Bridge
Deux dames le long de fleuve
Elles se parlent par-dessus l’eau
Et sur le pont de leurs paroles
La foule passe et repasse en dansant
Two women along the river
they speak to each other across the water
and upon the bridge of their words
the crowd passes to and fro dancing
un dieu c’est pour toi seule que le sang coule
tu reviendras
Hi! oh! là-bas
a god it is for you alone that the blood flows
you will come back
Hi! Oh! over there
Tous les enfants savent pourquoi
Passe mais passe donc
Ne te retourne pas
Hi! oh! là-bas
all the children know why
go on but go on then
do not turn back
Hi! Oh! over there
Les jeunes filles qui passent sur le pont léger
portent dans leurs mains
le bouquet de demain
Et leurs regards s’écoulent
Dans ce fleuve à tous étranger
Qui vient de loin qui va si loin
Et passe sous le pont léger de vos paroles
Ô bavardes le long de fleuve
Ô bavardes ô folles le long du fleuve
The young girls who cross over the airy bridge
carry in their hands
the bouquet of tomorrow
and their gaze pours
into this river stranger to all
that comes from far away that goes so far away
and passes under the airy bridge of your words
O chatterers along the river
O chatterers O foolish ones along the river
11. ii. Un poème [TO]
Il est entré
Il s’est assis
Il ne regarde pas le pyrogène
aux chevaux rouges
L’allumette flambe
Il est parti
12. Le portrait [JMA]
12. The Portrait
Sidonie-Gabrielle Colette (1873-1954)
Belle, méchante, menteuse, injuste, plus changeante
que le vent d’Avril, tu pleures de joie, tu ris de
colère, tu m’aimes quand je te fais mal, tu te
moques de moi quand je suis bon.Tu m’as
à peine dit merci lorsque je t’ai donné le beau
collier, mais tu as rougi de plaisir, comme une
petite fille, le jour où je t’ai fait cadeau de ce
mouchoir et tous disent de toi : ‘C’est à n’y rien
comprendre!’ Mais je t’ai, un jour, volé ce
mouchoir que tu venais de presser sur ta bouche
fardée. Et, avant que to ne me l’aies enlevé d’un
coup de griffe, j’ai eu le temps de voir que ta
bouche venait d’y peindre, rouge, naïf, dessiné à
ravir, simple et pur, le portrait même de ton cœur.
Beautiful, wicked, lying, unjust, more changeable than
the April wind, you weep for joy, you laugh in anger,
you like me when I treat you badly, you mock me
when I am kind.You scarcely thanked me when I
gave you the beautiful necklace, but you blushed
with pleasure, like a little girl, when I gave you this
handkerchief as a present and everyone said of you:
“It is beyond me!” But one day I stole this handkerchief
when you had just pressed it against your rouged lips.
And, before you snatched it away as a cat with its claws,
I had time to see that your mouth had just painted
upon it, red, naïve, designed to delight, simple and pure,
the very portrait of your heart.
Miroirs brûlants [SF]
Paul Eluard (1895-1952)
Burning Mirrors
13. i. Tu vois le feu du soir
13. i. You see the fire of evening
Tu vois le feu du soir qui sort de sa coquille
Et tu vois la forêt enfouie dans sa fraîcheur
You see the fire of evening emerging from its shell
and you see the forest buried in its coolness
11. ii. A Poem
Tu vois la plaine nue aux flancs
du ciel traînard
La neige haute comme la mer
Et la mer haute dans l’azur
You see the bare plain at the edges
of the straggling sky
the snow high as the sea
and the sea high in the azure
He came in
he sat down
he did not look at the pyrogene
with its red hair
the match flamed
he went
Pierres parfaites et bois doux
secours voilés
Tu vois des villes teintes de mélancolie
Dorée des trottoirs pleins d’excuses
Une place où la solitude a sa statue
Souriante et l’amour une seule maison
Perfect stones and sweet woods
veiled succours
you see cities tinged with gilded melancholy
pavements full of excuses
a square where solitude has its statue
smiling and love a single house
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Tu vois les animaux
Sosies malins sacrifiés l’un à l’autre
Frères immaculés aux ombres confondues
Dans un désert de sang
You see animals
malign doubles sacrificed one to another
immaculate brothers with intermingled shadows
in a wilderness of blood
Tu vois un bel enfant quand il
joue quand il rit
Il est bien plus petit
Que le petit oiseau du bout des branches
you see a beautiful child when he
plays when he laughs
he is smaller
than the little bird on the tip of the branches
Tu vois un paysage aux saveurs
d’huile et d’eau
D’où la roche est exclue où la
terre abandonne
Sa verdure à l’été qui la
couvre de fruits
you see a countryside with its savour
of oil and of water
where the rock is excluded where the
earth abandons
her greenness to the summer which
covers her with fruit
Des femmes descendant de leur
miroir ancien
T’apportent leur jeunesse et leur
foi en la tienne
Et l’une sa clarté la voile
qui t’entraîne
Te fait secrètement voir le monde
sans toi.
women descending from their
ancient mirror
bring you their youth and their
faith in yours
and one of them veiled by her clarity
who allures you
secretly makes you see the world
without yourself.
Je t’abattrai jardin secret
Plein de pavots et d’eau précieuse
Je te ligoterai de mon fouet
I will destroy your secret graden
full of poppies and precious water
I will bind you with my whip
Tu n’avais dans ton cœur que
lueurs souterraines
Tu n’auras plus dans tes prunelles
que du sang
In your heart you had nothing but
subterranean gleams
you will have nothing in the pupils
of your eyes but blood
Je nommerai ta bouche et tes mains
les dernières
Ta bouche écho détruit tes mains
monnaie de plomb
Je briserai les clés rouillées qu’elles
commandent
I will name your mouth and your
hands the last
your mouth destroyed echo your
hands leaden coins
I shall break the rusted keys that
they command
Si je dois m’apaiser profondément
un jour
Si je dois oublier que je n’ai pas su
vaincre
Qu’au moins tu aies connu la grandeur
de ma haine.
If the day comes when I am
completely calmed
if I must forget that I have not known
victory
at least let it be that you have known
the extent of my hate.
15. …Mais mourir [JMA]
15. …But to Die
Paul Eluard
14. ii. Je nommerai ton front
14. ii. I will name your brow
Je nommerai ton front
J’en ferai un bûcher au sommet
de tes sanglots
Je nommerai reflet la douleur
qui te déchire
Comme une épeé dans un rideau de soie
I will name your brow
I will make of it a stake at the summit
of your sobs
I will name reflection the sorrow
which rends you
like a sword in silken curtain
Mains agitées aux grimaces nouées
Une grimace en fait une autre
L’autre est nocturne le temps passe
Ouvrir des boîtes casser des verres
creuser des trous
Et vérifier les formes invisibles du vide
Mains lasses retournant leurs gants
Paupières des couleurs parfaites
Coucher n’importe où
Et garder en lieu sûr
Le poison qui se compose alors
dans le calme mais mourir.
Restless hands with twisted expressions
one expression brings another
the other is nocturnal time passes
to open boxes break glasses
dig holes
and verify the useless forms of empty space
tired hands turning down their gloves
eyelids of perfect colours
to lie no matter where
and to keep in a safe place
the poison which is engendered then
in the stillness but to die.
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16. Main dominée par le cœur [TO]
Page Nos.
16. Hand ruled by the Heart
Paul Eluard
Main dominée par le cœur
Cœur dominé par le lion
Lion dominé par l’oiseau
Hand ruled by the heart
heart ruled by the lion
lion ruled by the bird
L’oiseau qu’efface un nuage
Le lion que le désert grise
Le cœur que la mort habite
La main refermée en vain
The bird that a cloud effaces
the lion intoxicated by the desert
the heart where death abides
the hand closed in vain
Aucun secours tout m’échappe
Je vois ce qui disparaît
Je comprends que je n’ai rien
Et je m’imagine à peine
No help all escapes me
I see that which disappears
I realize that I have nothing
and I barely imagine myself
Entre les murs une absence
Puis l’exil dans les ténèbres
Les yeux purs la tête inerte.
An absence between the walls
then the exile into the darkness
the eyes pure the head inert.
La fraîcheur et le feu [JMA]
Paul Eluard
The Coolness and the Fire
17. i. Rayons des yeux
17. i. Beams of eyes
Rayons des yeux et des soleils
Des ramures et des fontaines
Lumière du sol et du ciel
De l’homme et de l’oubli de l’homme
Un nuage couvre le sol
Un nuage couvre le ciel
Soudain la lumière m’oublie
La mort seule demeure entière
Je suis une ombre je ne vois plus
Le soleil jaune le soleil rouge
Le soleil blanc le ciel changeant
Beams of eyes and of suns
of branches and of fountains
light of earth and of sky
of man and man’s oblivion
a cloud covers the earth
a cloud covers the sky
suddenly the light is unmindful of me
death alone remains complete
I am a shadow I see no longer
the yellow sun the red sun
the white sun the changing sky
Je ne sais plus
La place du bonheur vivant
Au bord de l’ombre sans
ciel ni terre.
I know no longer
the place of living happiness
at the edge of the shadow with neither
sky nor earth.
18. ii. Le matin les branches attisent
18. ii. In the morning the branches stir up
Le
Le
Le
Le
In the morning the branches stir up
the effervescence of the birds
at evening the trees are peaceful
the rustling day is resting.
main les branches attisent
bouillonnement des oiseaux
soir les arbres sont tranquilles
jour frémissant se repose.
19. iii. Tout disparut
19. iii. All disappeared
Tout disparut même les toits même le ciel
Même l’ombre tombée des branches
Sur les cimes des mousses tendres
Même les mots et les regards bien accordés
All disappeared even the roofs even the sky
even the shade fallen from the branches
upon the tips of the soft mosses
even the words and the concordant looks
Sœurs mirotières de mes larmes
Les étoiles brillaient autour de ma fenêtre
Et mes yeux refermant leurs ailes
pour la nuit
Vivaient d’un univers sans bornes.
Sisters mirroring my tears
the stars shone around my window
and my eyes closing their wings
again for the night
lived in a boundless universe.
20. iv. Dans les ténèbres du jardin
20. iv. In the darkness of the garden
Dans les ténèbres du jardin
Viennent des filles invisibles
Plus fines qu’à midi l’ondée.
In the darkness of the garden
come some invisible girls
more delicate than the shower at midday.
Mon sommeil les a pour amies
Elles m’enivrent en secret
De leurs complaisances aveugles.
My sleep has them for friends
they elate me secretly
with their blind complaisance.
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21. v. Unis la fraîcheur et le feu
21. v. Unite the coolness and the fire
Unis la fraîcheur et le feu
Unis tes lèvres et tes yeux
De ta folie attends sagesse
Fais image de femme et d’homme
Unite the coolness and the fire
unite your lips and your eyes
await wisdom from your folly
make a likeness of woman and of man.
22. vi. Homme au sourir tendre
22. vi. Man of the tender smile
Homme au sourir tendre
Femme aux tenres paupières
Homme aux joues rafraîchies
Femme aux bras doux et frais
Homme aux prunelles calmes
Femme aux lèvres ardentes
Homme aux paroles pleines
Femme aux yeux partagés
Homme aux deux mains utiles
Femme aux mains de raison
Homme aux astres constants
Femme aux seins de durée
Man of the tender smile
woman of the tender eyelids
man of the freshened cheeks
woman of the sweet fresh arms
man of the calm eyes
woman of the ardent lips
man of the plenitude of speech
woman of the shared eyes
man of the useful hands
woman of the sensible hands
man of the steadfast stars
woman of the enduring breasts
Il n’est rien qui vous retient
Mes maîtres de m’éprouver.
there is nothing that prevents you
my masters from testing me.
23. vii. La grande rivière qui va
23. vii. The great river that flows
La grande rivière qui va
Grande au soleil et petite à la lune
Par tous chemins à l’aventure
Ne m’aura pas pour la montrer du doigt
The great river that flows
big under the sun and small under the moon
in all directions at random
will not have me to point it out
Je sais le sort de la lumière
J’en ai assez pour jouer son éclat
Pour me parfaire au dos de mes paupières
Pour que rien ne vive sans moi.
I know the spell of the light
I have enough of it to play with its brilliance
so that I may perfect myself behind my eyelids
so that nothing lives without me.
Calligrammes [TO]
Calligrams
24. i. L’espionne
24. i. I Spy
Pâle espionne de l’Amour
Ma mémoire à peine fidèle
N’eut pour observer cette belle
Forteresse qu’une heure un jour
Tu te déguises
A ta guise
Mémoire espionne du cœur
Tu ne retrouves plus l’exquise
Ruse et le cœur seul est vainqueur
Pale spy of love
my memory scarcely to be trusted
having watched this beautiful
fortress for but one hour one day
disguise yourself
as you will
memory spy of the heart
you find no longer the exquisite
trickery and the heart alone is victorious
Mais la vois-tu cette mémoire
Les yeux bandés prête à mourir
Elle affirme qu’on peut l’en croire
Mon cœur vaincra sans coup férir
but do you see this memory
eyes blindfolded at the point of death
it affirms that it can be believed
my heart will conquer without a shot
25. ii. Mutation
25. ii. Mutation
Une femme qui pleurait
Eh! Oh! Ah!
Des soldats qui passaient
Eh! Oh! Ah!
Un éclusier qui pêchait
Eh! Oh! Ah!
Les tranchées qui blanchissaient
Eh! Oh! Ah!
Des obus qui pétaient
Eh! Oh! Ah!
Des allumettes qui ne prenaient pas
Et tout
A tant changé
En moi
Tout sauf mon amour
Eh! Oh! Ah!
A woman who wept
Eh! Oh! Ah!
Soldiers who passed
Eh! Oh! Ah!
A lock-gate keeper who was fishing
Eh! Oh! Ah!
The trenches that grew white
Eh! Oh! Ah!
Shells that burst
Eh! Oh! Ah!
Matches that did not strike
And all
Has so much changed
in me
All but my love
Eh! Oh! Ah!
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26. iii. Vers le sud
26. iii. Towards the South
28. v. La grâce exilée
28. v. Exiled Grace
Zénith
Tous ces regrets
Ces jardins sans limite
Où le crapaud module un
tendre cri d’azur
La biche du silence éperdu
passe vite
Un rossignol meurtri par l’amour chante sur
Le rosier de ton corps
dont j’ai cueilli les roses
Nos cœurs pendent ensemble au
même grenadier
Et les fleurs de grenade en nos
regards écloses
En tombant tour à tour ont jonché le sentier
Zenith
all these regrets
these limitless gardens
where the toad modulates a
tender cry of blue
the doe in bewildered silence
passes quickly
a nightingale anguished by love sings on
the rose bush of your body
from which I have gathered the roses
our hearts hang together on the
same pomegranate tree
and the pomegranate flowers opened
in our sight
falling one by one have strewn our path
Va-t’en va-t’en mon arc-en-ciel
Allez-vous-en couleurs charmantes
Cet exil t’est essentiel
Infante aux écharpes changeantes
Away, go away my rainbow
away charming colours
this exile is essential for you
Infanta of the changing scarves
Et l’arc-en-ciel est exilé
Puisqu’on exile qui l’irise
Mais un drapeau s’est envolé
Prendre ta place au vent de bise
and the rainbow is exiled
since she is exiled who gives it iridescence
but a flag is flying
to take your place in the North wind
29. vi. Aussi bien que les cigales
29. vi. As well as the cicadas
27. iv. Il pleut
27. iv. It rains
Il pleut des voix de femmes comme si
elles étaient mortes mêmes
dans le souvenir
C’est vous aussi qu’il pleut
merveilleuses rencontres de ma vie
ô gouttelettes
Et ces nuages cabrés se prennent à
hennir tout un univers de villes
auriculaires
Ecoute s’il pleut tandis que le regret et
le dédain pleurent une
ancienne musique
Ecoute tomber les liens qui te retiennent
en haut et en bas
It is raining women’s voices as though
they were dead even
in memory
it is you also that it is raining marvelous
encounters of my life
O droplets
and these rearing clouds begin to neigh
a whole universe of
auricular cities
listen if it is raining while regret and
disdain are weeping an
ancient music
hear the bonds falling that hold you
high and low
Gens du midi gens du midi
vous n’avez donc pas regardé les cigales
que vous ne savez pas creuser
que vous ne savez pas vous
éclairer ni voir
Que vous manque-t’il donc pour voir
aussi bien que les cigales
Mais vous savez encore boire comme
les cigales
ô gens du midi gens du soleil
gen qui devriez savoir creuser
et voir aussi bien
pour le moins aussi bien que les cigales
Eh quoi! Vous savez boire et ne savez
plus pisser utilement
comme les cigales
le jour de gloire sera celui où vous
saurez creuser pour bien
sortir au soleil
creusez buvez pissez comme les cigales
gens du midi il faut creuser voir boire
pisser aussi bien que les cigales pour
chanter comme elles
‘La joie adorable de la paix solaire’
Folk of the south folk of the south
so you have not watched the cicadas
since you cannot dig
since you cannot make
light or see
What are you lacking that you cannot
see as well as the cicadas
But yet you can drink like
the cicadas
O folk of the south folk of the sun
folk who should know how to dig
and see as well
at least as well as the cicadas
What! You can drink and no longer
know how to pee to some purpose
like the cicadas
the day of glory will come when you
know how to dig your way out
into the sun
dig see drink pee like the cicadas
folk of the south you must dig see
drink pee as well as the cicadas to
sing like they do
‘The adorable joy of the sun-filled peace’
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30. vii. Voyage
Page Nos.
30. vii. Journey
Adieu amour nuage qui fuit et n’a pas
chu pluie féconde
refais le voyage de Dante
Farewell love cloud that flies and has
not shed fertile rain
take again the journey of Dante
Télégraphe
oiseau qui laisse tomber ses ailes partout
telegraph
bird who lets its wings fall everywhere
Où va donc ce train
qui meurt au loin
Dans les vals et les beaux bois frais du
tendre été si pâle?
Where is this train going that dies
away in the distance
in the vales and the lovely fresh woods
of the tender summer so pale?
La douce nuit lunaire
et pleine d’étoiles
C’est ton visage que je ne vois plus
The gentle night moonlit
and full of stars
it is your face that I no longer see
31. La souris [LM]
31. The Mouse
Belles journées, souris du temps,
Vous rongez peu à peu ma vie.
Dieu! Je vais avoir vingt-huit ans,
Et mal vécus, à mon envie.
Lovely days, mouse of time
little by little you nibble away my life
Heavens! I shall soon be twenty-eight years old,
and wasted years, I fear.
32. Monsieur Sans Souci [JL]
32. Mister Carefree
(He does everything himself)
(Il fait tout lui-même)
Jean Nohain (1900-1981)
Quand les gens
Ont beaucoup d’argent,
Pour leur service
Ils ont, diton:
Larbins, nourrices
Et marmitons.
Ce n’est pas ainsi,
Chez Monsieur Sans-Souci…
Il fait tout lui même
Dans sa petit maison.
C’est le bon système :
Il a bien raison!
Il frotte, il astiqué ;
Pas de domestiqué.
Son plancher reluit…
Qu’on est bien chez lui!
Les petits plats qu’il aime,
Il se les fait lui même
Et puis, ils ‘dit: “Merci”
Monsieur Sans-Souci…
When someone
Has a lot of funds,
It’s said that they
Often employ:
A cook, a maid, and
Delivery boy
But this just won’t be
For dear Mister Carefree.
He’s found the perfect way
In his little home.
None he has to pay:
He does it all on his own.
He scrubs, he cleans, he plants.
No need for servants.
His floor really shines.
His home is just sublime!
If he likes a dish he’s tasted,
He’ll go ahead and make it.
Then he’ll tell himself “Thank ye.”
Dear Mister Carefree.
Au printemps,
Il est bien content…
Le jardinage
Prend tout son temps…
Malgré son âge
C’est en chantant
Des airs d’antan
Qu’il se met à l’ouvrage…
Dans son petit jardin,
Et les fleurs qu’il aime
Il les a pour rien.
Il bêche, il arrosé,
Springtime comes
He has so much fun.
Gardening
Becomes his thing
In spite of his age
From him you’ll hear
Songs of yesteryear
As he works away
Alone, the work he does
In his garden, you see
The flowers that he loves
He gets them for free.
He plants and weeds and hoses,
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Il taille ses roses
Et dans sa villa
C’est plein de lilas…
Il a des chrysanthèmes
Qu’il cueille pour lui même
Et pour les dames aussi,
Monsieur Sans-Souci…
And trims and prunes his roses.
In his sitting room
Lilacs are in bloom.
Chrysanthemums a-plenty
For him should he want any,
And for the ladies too, you see?
Le bon vieux
N’est jamais envieux,
Il se contente
Toujours de peu…
Rien ne le tente:
Il est heureux…
Son seul désir,
C’est de vous faire plaisir…
Pour qu’on soit content…
Tout le monde l’aime
Il vivra longtemps…
Il est centenaire
Et déjà Saint-Pierre
L’attend, m’a t’on dit,
Dans son paradis…
Il entre ra sans peine,
Et près du Bon Dieu lui même
Nous le verrons assis,
Monsieur Sans-Souci.
This dear old sir
Envies no one ever.
He is content
With what he has,
Impossible to tempt,
He’s always glad.
He wants only
To make you happy.
He does it all himself
To make our days a song.
We all wish him good health.
May his life be long!
He’s lived a hundred years.
Already Saint Peter,
So they say, awaits
At the pearly gates.
His admission will be easy
And by the Lord’s side we’ll see
Him sitting happily,
33. Nous voulons une petite sœur [LA]
33. We want a little sister [LA]
Jean Nohain
Madame Eustache a dix-sept filles,
Ce n’est pas trop,
Mais c’est assez
La jolie petite famille
Vous avez dû dû dû
Madame Eustache has seventeen daughters,
That’s not too many,
But it’s just right
The pretty little family
It must have been, been, been
Vous avez dû dû dû
Vous avez dû la voir passer.
Le vingt décembre on les appelle:
Que voulez-vous mesdemoiselles
Pour votre Noël?
Voulez-vous une boite à poudre?
Voulez-vous de petits mouchoirs?
Un petit nécessaire à coudre?
Un perroquet sur son perchoir?
Voulez-vous un petit ménage?
Un stylo qui tache les doigts?
Un pompier qui plonge et qui nage?
Un vase á fleurs presque chinois?
Mais les dix-sept enfants en chœur
Ont répondu: Non.
It must have been, been, been
You must have seen her going by
December comes and she inquires:
Dear little girls, for Christmas time,
What would you desire?
Would you like a powder box?
Would you like little handkerchiefs?
Or how about little sewing blocks?
Or a pretty little parakeet?
Would you like a dollhouse?
A ball pen that your fingers stains?
A man that dives and swims around?
A nearly Chinese flower vase?
But as one the seventeen children
Replied: No!
Ce n’est pas ça que nous voulons
Nous voulons une petite sœur
Ronde et joufflue comme un ballon
Avec un petit nez farceur
Avec les cheveux blonds
Avec la bouche en cœur
Nous voulons une petite sœur
We would not like any of that
A little sister’s what we chose
With smiling lips and a little hat
With a cute little button nose
With golden hair at that
A little one for us to tease
We would like a little sister please
L’hiver suivant, elles sont dix huit
Mais c’est assez
Noël approche et les petites
Sont bien emba ba ba
Sont bien emba ba ba
Sont vraiment bien embarrassées.
Madame Eustache les appelle:
Décidez-vous mesdemoiselles
Pour votre Noël:
Voulez-vous un mouton qui frise?
Voulez-vous un réveille matin?
Un coffret d’alcool dentifrice?
Trois petits coussins de satin?
Next winter comes and there are eighteen
That’s not too many,
But that will do
Christmas is coming and it would seem
That they don’t know know know
That they don’t know know know
That they don’t know what they should do.
Their mother calls them and inquires
What it is that you require?
Would you like a curly sheep?
Would you like an alarm clock?
Pink toothpaste to clean your teeth?
Or a brand-new satin clock?
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Voulez-vous une panoplie
De danseuse de l’Opéra?
Un petit fauteuil qui se plie
Et que l’on porte sous son bras?
Mais les dix-huit enfants en chœur
Ont répondu: Non.
Would you like a dress-up kit
To have an opera dancer’s charm
A little couch ‘pon which you can sit
Which folds and fits under your arm
But as one the eighteen children
Replied: No!
Ce n’est pas ça que nous voulons…
We would not like any of that…
Elles sont dix-neuf l’année suivante
Mais c’est assez
Quand revient l’époque émouvante
Noël va de nou nou
Noël va de nou nou
Noël va de nouveau passer.
Madame Eustache les appelle:
Décidez-vous mesdemoiselles
Pour votre Noël:
Voulez-vous des jeux excentriques
Avec des piles et des moteurs?
Voulez-vous un ours électrique?
Un hippopotame à vapeur?
Pour coller des cartes postales
Voulez-vous un superbe album?
Une automobile à pédales?
Une bague en aluminium?
Mais les dix-neuf enfants en chœur
Ont répondu: Non.
There are nineteen girls the next year,
That’s not too much,
But it’s enough
When the time comes for season’s cheer
Christmas is cu, cu cu
Christmas is cu, cu cu
Once again Christmas is coming up
Their mother calls them and inquires
What is it that you require?
Would you like a toy that is eccentric?
With batteries and an engine too?
A teddy bear that is electric?
An animal that steams for you?
Would you like a beautiful album
That you can put your postcards in?
A pretty ring made of aluminum?
A pedal car that you can ride in?
But as one the nineteen children
Replied: No!
Ce n’est pas ça que nous voulons
Nous voulons deux petites jumelles
Deux sœurs exactement pareilles
Deux sœurs avec des cheveux blonds!
Leur mère a dit : c’est bien
Mais il n’y a pas moyen
Cette année, vous n’aurez rien.
For all those things we do not care
We would like twin sisters, if we may
Two sisters that are just the same
Two sisters with pretty golden hair
The mother said: I see
But there’s no way this will be
So this year, you’ll get nothing.
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LORNA ANDERSON [LA]
JOHN MARK AINSLEY [JMA]
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.
John Mark Ainsley was born in Cheshire, began his musical training in
Oxford and continues to study in London with Diane Forlano.
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. Lorna Anderson also features in a recording of ‘Lament for Mary
Queen of Scots’ which was commissioned from James MacMillan.
A highly versatile concert singer, his international engagements include
appearances with the London Symphony under Sir Colin Davis,
Rostropovich and Previn, the Concert D’Astrée under Haim, the London
Philharmonic under Norrington, Les Musiciens du Louvre under
Minkowski, the Cleveland Orchestra under Welser-Möst, the Berlin
Philharmonic under Haitink and Rattle, the Berlin Staatskapelle under
Jordan, the New York Philharmonic under Masur, the Boston Symphony under Ozawa, the San
Francisco Symphony under Tate and Norrington, the Vienna Philharmonic under Norrington,
Pinnock and Welser-Möst, and both the Orchestra of the Maggio Musicale Fiorentino and the
Orchestre de Paris under Giulini.
On the operatic stage he has sung Don Ottavio at the Glyndebourne Festival under Sir Simon
Rattle, directed by Deborah Warner, the Aix-en-Provence Festival under Claudio Abbado,
directed by Peter Brook and for his debut at the Royal Opera House, Covent Garden, under
Mackerras. His many appearances at the Munich Festival include Bajazet (Tamerlano), Jonathan
(Saul), the title role in a new production of Idomeneo at the Cuvilliestheater and as Orfeo, for
which he received the Munich Festival Prize. He created the role of Der Daemon in the world
premiere of Hans Werner Henze’s L’Upupa at the Salzburg Festival and Hippolyt in the world
premiere of Henze’s Phaedra in Berlin and Brussels. He sang Skuratov in Janacek’s From the House
of the Dead directed by Chereau and conducted by Boulez at the Amsterdam,Vienna and Aix-enProvence Festivals and subsequently in his house debut at La Scala, Milan under Salonen.A DVD
of this production has also been released. He sang his first Captain Vere in Billy Budd in Frankfurt
directed by Richard Jones and 2010 saw his first Captain Vere in the UK in Michael Grandage’s
production of Billy Budd for the Glyndebourne Festival.
John Mark won the 2007 Royal Philharmonic Society Singer Award. He is a Visiting Professor at
the Royal Academy of Music.
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SARAH FOX [SF]
JONATHAN LEMALU [JL]
Sarah Fox studied at London University and the Royal College of Music.
She won the Kathleen Ferrier Award in 1997 and the John Christie Award
in 2000.
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.
For the Royal Opera Covent Garden, she has sung Woglinde (Das
Rheingold & Gotterdammerung),Waldvogel (Siefried), Zerlina (Don Giovanni),
Lucy Lockitt (The Beggar’s Opera) and Asteria (Tamerlano). Her roles at the
Glyndebourne Festival include Karolka (Jenufa), Zerlina (Don Giovanni)
and Susanna (Le Nozze di Figaro). Further British engagements include
Ann Page (Sir John in Love) with ENO, Merab (Saul), Musetta and Mimi (La Boheme) with Opera
North and Servilia (La Clemenza di Tito) with WNO. At the Edinburgh Festival, her roles have
included Iphis (Jephtha) and Cleofide (Poro).
Her European engagements include: Michal (Saul), Eurydice (Orphee et Euridice) and Asteria
(Tamerlano) with the Bayerische Staatsoper Munchen; Ilia (Idomeneo) with De Vlaamse Opera;
Susanna (Le Nozze di Figaro) for the Royal Danish Opera; and Second Niece (Peter Grimes)
and Woglinde (Das Rheingold) at the Salzburger Festspiele. She has also sung Zerlina for
Cincinnati Opera.
She has recently toured throughout Europe and the USA as Josabeth (Athalia) with the Koln
Konzert under the baton of Sir Ivor Bolton, and has performed in concert with the Bach Choir;
Halle; CBSO and The English Concert. Other concert work has included tours to Japan and
Israel; BBC Proms; and performances with the COE and the San Francisco Symphony.
Her numerous recordings include Vivaldi’s Sacred Music with the Choir of Kings College
Cambridge for EMI; Vaughan Williams’ Christmas Music with the City of London Sinfonia;
Leighton’s 2nd Symphony for Chandos; and Owen Wingrave and The Beggar’s Opera also for Chandos.
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.
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,
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, Bari and Rocco (Fidelio) under Gergiev at the Gergiev Festival
in Rotterdam and for the Cincinnati Opera and Queegueg in Jake Heggie’s world premiere based
on Moby Dick for Dallas Opera.
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LISA MILNE [LM]
ANN MURRAY [AM]
Scottish soprano Lisa Milne studied at the Royal Scottish Academy of Music
and Drama.
Ann Murray was born in Dublin and studied with Frederick Cox at the
Royal Manchester College of Music. She has established close links with
both the English National Opera, for whom she has sung the title roles in
Handel’s Xerxes and Ariodante and Donizetti’s Maria Stuarda, and with the
Royal Opera House, Covent Garden, where her roles have included
Cherubino, Dorabella, Donna Elvira, Rosina, Octavian, and new
productions of L’Enfant et les Sortilèges, Ariadne auf Naxos, Idomeneo,
Mitridate, Re di Ponto, Cosi fan Tutte, Mosé in Egitto, Alcina and Giulio Cesare.
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.
Much sought after as a concert singer, she has sung with the Orchestre de Paris under Kubelik,
the Philadelphia Orchestra under Sawallisch, the Berlin Philharmonic Orchestra under Muti, the
Chicago Symphony Orchestra under Solti, the Royal Concertgebouw Orchestra under Haitink
and in the Musikverein,Vienna under Sawallisch and Harnoncourt. She sings in Great Britain
with the leading orchestras, at the BBC Promenade Concerts (where she has sung at both the
First and Last Nights of the Proms) and at the major festivals.
Her discography reflects not only her broad concert and recital repertoire but also many of her
great operatic roles, including Purcell’s Dido under Harnoncourt, Dorabella under Levine,
Cherubino under Muti, Hansel under Colin Davis, Sextus under Harnoncourt and Donna Elvira
under Solti.
Her operatic engagements have taken her to Hamburg, Dresden, Brussels, Paris, Berlin, Cologne,
Zurich, Amsterdam, the Chicago Lyric Opera and the Metropolitan Opera, New York. At La
Scala, Milan her roles have included Donna Elvira, Sextus, Dorabella and Cherubino under Muti.
For the Bavarian State Opera, Munich she has sung Cherubino, Dorabella, Sextus, Elvira, the
Composer, Octavian, Xerxes, Ariodante, Giulio Cesare and Rinaldo.
In 1997 Ann Murray was made an Honorary Doctor of Music by the National University of
Ireland, in 1998 she was made a Kammersängerin of the Bavarian State Opera and in 1999 an
Honorary Fellow of the Royal Academy of Music. In the 2002 Golden Jubilee Queen’s Birthday
Honours she was appointed an honorary Dame Commander of the Most Excellent Order of the
British Empire. In 2004 she was awarded the Bavarian Order of Merit.
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ROBERT MURRAY [RM]
THOMAS OLIEMANS [TO]
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.
Born in Amsterdam in 1977, the Dutch baritone Thomas Oliemans
graduated from the Amsterdam Conservatory, coached by Margreet Honig.
He continued his studies with KS Robert Holl, Elio Battaglia and Dietrich
Fischer-Dieskau.
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.
In 2005 he made his debut at the Salzburg Festival in Schreker’s Die
Gezeichneten conducted by Kent Nagano. Further important debuts
followed in 2006 as Papageno in Mozart’s Die Zauberflöte with the Opera
of Nantes and Angers, to great public and critical acclaim, and at the
Opera de Genève as Guglielmo in Cosi fan Tutte.
Most recent appearances include Marcello (La Bohème) and Donner (Das Rheingold) at the
Nationale Reisopera, Figaro (Le Nozze di Figaro) and Figaro (Il Barbiere di Siviglia) Scottish Opera
(both directed by Sir Thomas Allen), Hercule (Alceste) at the Aix-en-Provence Festival, Maximilian
(Candide) and Tarquinius (The Rape of Lucretia) both at the Vlaamse Opera. Papageno (Die
Zauberflöte) at the Théâtre du Capitole in Toulouse, Harlequin (Ariadne auf Naxos) at the Opera
National du Rhin Strasbourg, Frank (Die tote Stadt) at the Opéra National de Lorraine. His
strong ties to De Nederlandse Opera have resulted in parts in Don Carlo, Un Ballo in Maschera and
Castor et Pollux. He also sang leading roles in two world-premiere productions of contemporary
Dutch operas by Wagemans and Zuidam.
Thomas Oliemans appears regularly on the concert stage and his repertoire includes nearly all
major works by J.S. Bach, Mahler’s orchestral song cycles, Requiems of Brahms, Fauré and
Duruflé, Rossini’s Petite Messe Solenelle, Honegger’s Le roi David as well as Mendelssohn’s Elijah.
Recent concert appearances include Des Knaben Wunderhorn with the Norwegian Radio
Orchestra in Oslo, Beethoven’s 9th Symphony with the Kioi Sinfonietta Tokyo and Mahler’s 8th
Symphony with the Bochumer Symphoniker.
Oliemans has worked with such conductors as Ivor Bolton, Frans Brüggen, Hartmut Haenchen,
Edo de Waart, Jaap van Zweden, Reinbert de Leeuw, Paul McCreesh, and Riccardo Chailly.
His discography includes Schubert’s Winterreise, as well as the CD ‘Mirages’ with song cycles by
Francis Poulenc and Gabriel Fauré and Schubert’s Schwanengesang, both with pianist Malcolm
Martineau. In orchestral repertoire 2010 saw the release of a disc with works by Frank Martin for
baritone with the Stavanger Symphony Orchestra and conductor Steven Sloane.
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MALCOLM MARTINEAU
Malcolm Martineau was born in Edinburgh, read Music at St Catharine's
College, Cambridge and studied at the Royal College of Music.
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.
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
Recording Engineer & Editor – Andrew Mellor
Design - Darren Rumney
P 2011 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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Le Coq et l`Arlequin

Transcription

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