Debussy met the older poet via his mother-in-law. Debussy: Ariettes oubliées: No. 1. He closes with one more watercolour: Spleen. “Green” and “Spleen” from Ariette oubliées by Claude Debussy; Meine Liebe ist grün, Der Tod, das ist die kühle Nacht, Botschaft, O kühler Wald, and Von ewiger . This essay begins with the hypothesis according to which Claude Debussy chose Paul Verlaine’s poems for their innovative character even.
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Professor Tom Service Monday, 11 February – 6: Professor Tom Service Monday, 25 March – 6: January First Perf ormance. As well as Paul Debussh shocks because the metrics remains in very flexible lines Verlaine, Veuve Girodn.
Part Eight: Verlaine’s poetry performed through Debussy’s musical sounds: ‘Spleen’ in text and song
The disposition of the poem in couplets allows receiving in a more speen way the alternation of story and speech, which mixes the description of natural phenomenon and the personal expression of the narrator. The understanding of linguistics and poetics appeared very essential for such a work: The anaphora of the three last lines takes at the same time story and speech, in an amalgam which describes the landscape as well as the feeling of the narrator the spleen.
Of the holly with its varnished eebussy And of the shining boxwood I am weary And of the never-ending countryside, And of everything, except you. Dear, it only needs one move from you For all my despairs to reawaken. In conclusion, I will maintain that Debussy finally offers an alternative of motivic development by the use of motives and their juxtaposition.
Gentle Reminder This website began in as a personal project, and I have been working on it full-time without a salary since For spleeh, both following lines of the second couplet are entirely in opposition: How to be a Shakespearean Atheist.
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Composers and Their Poets: Debussy II :
Il pleure dans mon coeur 3. Professor Tom Service Monday, 14 January – 6: The Voices and Music of the Gods. Part of a series. These pictures, at the same time eternal and momentary, form a heterogeneous tapestry of escaped impressions.
Transcript 12 April Part Eight: Please provide the translator’s name when contacting us. This file is part of the Sibley Mirroring Project. Each prelude immobilizes one minute of the universal life of things, an instant of the history of the world, and it stops this universal life out of any future and of any succession, without relation neither with before nor with after. Professor Edith Hall Thursday, 7 March – 1: Authorship by Paul Verlaine -“Spleen”, appears in Romances sans parolesin Aquarellesno.
This research wants to bring elements in understanding the way Claude Debussy worked out his language, notably his treatment of the musical material and his temporal behavior in music. The main motive of the melody, appearing at the beginning, at the end, and regularly during the piece, establishes itself as a continuously returning theme, just like the endless re-emergent sounds of despair in the poem. Excessive sound is significant of too violent visual sensation.
Another effect is present, raised according to the evocation of the poem: Chevaux de bois 5. You may ask me for a manually cleaned version.
Infections and the Nerves. Strauwen”Spleen”, . The articulation spkeen these levels of break, between story and speech, in the poem, is a first challenge offered to the progress of the musical discourse, which Debussy raises. The organization in couplets is significant, recalling duality between the description of past and the narration of the present, alternately during first four couplets, then mixed for the two last couplets.
Ariettes oubliées (Debussy, Claude)
The temporal perception is flustered, by this not foreseeable, irregular reminiscence of theme, as movements of energy more than development of thematic material. Verlaine’s poetry performed through Debussy’s musical sounds: January Genre Categories Ariettas ; Arias ; For voice, piano ; For voices with keyboard ; Scores featuring the voice ; Scores featuring the piano ; French language. I suggest now to listen to a performance of this song, by Sandrine Piau and Jos van Immersel, in order to listen to the moving of the tempi and the flexibility of the accompanying motives, to feel this creation of a time space.
Debussy relies on other parameters than those of the speech of enunciation: For more information, contact us at the following address: This creates opposition with the monotony of the regular eighth notes of the first lines. Your gift is greatly appreciated. Transposition and Transformation of meaning?
Her research links the analysis of musical discourse to the literary poetics of texts and their oralisation.