Although both strongly advocate fidelity to the score as a first principle, Bathori tends toward a more literal interpretation, while Bernac allows considerably more latitude. This difference is evident in their remarks below:.
What I have said for [the Chansons de ] Bilitis , I will repeat for each group of songs: Try to enter into the essence of this music, which is at one with the text. Once you are in possession of this foundation, your personality, if you have one, will have a chance to manifest itself. I compare the work of the singer with that of the pianist. One must lay the groundwork of a piano piece, paying scrupulous attention to the notes, accents, accidentals, etc.
Selected Poems in Translation
Therefore, why permit alterations of time, tempo, or shading in a song just because there are words, and because one believes that one feels them otherwise, and better, than the way they have been set by the composer. Bathori , 35— Obviously the written text, however fully annotated, cannot contain the actual reality of the performance. Liszt, the very model of the composer-performer, said: To treat the work with respect it is, therefore, necessary to go beyond the text.
All the interest of the performance lies in the fact that, to be faithful to the work he performs, the interpreter has to have his personal vision of it. Considered together, their respective approaches generate a chain of interpretive possibilities for the analyst, including:. These comparisons help illuminate differences in their musical conceptions, which in turn present different implications for music analysis. In this sense, my analysis does not give equal time and space to both performances for all sections of the song.
Written in decasyllabic meter, the poem divides into eight spatially separated rhyming couplets distiques. These are grouped into three parts: For the dialogue, Rolf shows two sets of left and right grouping brackets. The right-side grouping links distiques 4—5 and 6—7 through their iteration of questions and rhapsodic responses, respectively.
Bonne Chanson: Colloque sentimental
Debussy includes numerous tempo markings throughout the song, delineating dramatic and musical points of emphasis as well as formal sections shown in the chart. The first pair of excerpts shows their sharp differences regarding the expression of character:. Present the opening descriptive section without dynamics and with an inexorable rhythm.
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Then ensues the dramatic part [the dialogue]: Allow the questions to be a bit louder, with a hint of movement and restlessness. The responses, on the contrary, should be a bit slower and unrelenting. Follow the dynamic markings and tempi which are so admirably indicated. Bathori , 63— This is to say that the singer must succeed in giving three different colours to his voice: It seems obvious, from the tessitura and the writing of the music, that the first one to speak is the woman. But he replies, in a slower tempo, with a darker timbre which should not be overdone , and with a cold and indifferent expression: Their interpretations of mm.
She proposes that gender, as distinct from sex, is something performed as opposed to biologically given. For a music analyst, then, a logical question to follow is: This has ramifications for a number of structural concerns including tonal progression, agency as reflected in the voice leading, and structural closure, as will be seen below. Salient pitch events in the prelude and opening narration.
Une Interpretation Du Poeme Colloque Sentimental de Paul Verlaine by Enrico Quaas - Paperback
Each is briefly described below:. The left side shows the poem and my comments. Musically, as in other opera duets, the two characters engage in a battle for control of the musical progression. The right side provides a harmonic reduction corresponding to the three attempts.
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Example 1 ; with the initial rolled diminished seventh chord m. The motive comprises two parts: S1 excises the intonation from the Nightingale motive and twice uses the arabesque as a kind of antecedent segment. System a traces the chord-by-chord progression and voice leading. System b clarifies how F serves as cadential dominant in this structural context. The left side shows a hypothetical conventional path to D major: The right side substitutes F for A 7: In the prelude, the motion at m.
For the dialogue, the rooting of the dominant chord on F and its semitone resolution to F completes the cadential gesture initiated but unconsummated in the prelude, and the key of D itself provides the major mediant between the opening incipient tonics of F and A. With the second iteration, the melody extends upward and leads directly to the complete arabesque on D , anticipating the cadence to D -as-tonic. Its arrival on the downbeat of m. My answer, while incomplete, attempts to further contextualize the climactic phrase mm. The main reason is that, as noted earlier, she both plays and sings on this recording, and therefore has additional challenges in virtuoso passages like this one of course without the benefits of studio editing and combining multiple takes.
Thus the fact that her performance of this crucial passage is relatively pale from a dramatic standpoint may have little to do with conscious artistic choice. The Food Culture of France is a content-based cultural text centered around the cuisine of France and various French-speaking cultures. Organized like a French menu, each chapter includes prose, poetry, film references, and recipes, together with vocabulary, grammar points, and exercises.
The author has also added questions for reading comprehension and has expanded and rearranged select readings to give the text a more coherent organization. A chronological arrangement of chapters, along with a variety of food-related sources, encourages a comprehensive yet flexible approach to learning French language and its cultural contexts.
Paul Verlaine
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