Le chant intime : the interpretation of French mélodie /
Le Roux, François,author.
Raynaldy, Romain,author.
Kahan, Sylvia,translator.
"Le Chant intime is the very first book, since Pierre Bernac's landmark work in 1978, to deal specifically with the topic of the interpretation of French mélodie, written by a singer. It offers an essay about the general approach to be taken when preparing a French song, and analyses of a selection of 60 selected mélodies (none of which appear in Bernac's book), from Berlioz to contemorary composers like Hersant and Lancino. More than rules, Le Chant intime tries to give paths to be taken; more than answers, questions to be addressed. The lesson of Debussy's Pelléas et Mélisande has served as a guiding principle: a song should be the junction of two dreams - the composer's and the poet's - not an explanation or an elicitation. Or, as Poulenc put it so wittily: a song should always be "a love affair, not an arranged marriage.""--
Includes bibliographical references and index.
Part I: Listening to and understanding French mélodie. To listen -- To know -- To perform -- Part II: Analysis and interpretation of French mélodies. Georges Auric: Le petit bois -- Hector Berlioz: Au cimetière -- Charles Bordes: Sur un vieil air -- Lili Boulanger: Reflets ; Le retour -- Emmanuel Chabrier: Pastorale des cochons roses ; Tes yeux bleus -- Cécile Chaminade: Malgré nous ; Mignonne -- Ernest Chausson: La chanson bien douce ; Le chevalier Malheur -- Claude Debussy: Nuits blanches: I. Nuit sans fin ; II. Lorsqu'elle est entrée ; Apparition ; Trois poèmes de Stéphane Mallarme. I. Soupir ; II. Placet futile ; III. Éventail -- Henri Duparc: Sérénade ; Romance de Mignon ; Le galop -- Louis Durey: Trois poèmes de Pétrone. I. La boule de neige ; La métempsycose ; La grenade -- Henri Dutilleux: San Francisco night -- Gabriel Fauré: L'absent ; Puisque j'ai mis ma l'evre ; Tristesse d'Olypio ; Cygne sur l'eau -- Charles Gounod: Ô ma belle rebelle ; Ma belle amie est morte (lamento) -- Reynaldo Hahn: En sourdine ; Au pays musulman -- Philippe Hersant: Paroles peintes -- Augusta Holmès: Rondel -- Arthur Honegger: Trois poèmes de Paul Fort. I. Le chasseur perdu en forêt ; Cloche du soir ; Chanson de fol -- Vincent d'Indy: L'amour et le crâne -- Marie Jaëll. Larmes -- Thierry Lancino: L'amour par terre -- Jules Massenet: Le poète et le fantôme -- Olivier Messiaen: Trois mélodies. I. Pourquoi? ; II. Le sourire ; III. La fiancée perdue -- Darius Milhaud: L'innocence -- Francis Poulenc: Poète et ténor ; Pierrot -- Ravel: Les grands vents venus d'outre-mer ; Sainte ; Deux épigrammes de Clément Marot. I. D'Anne, qui me jecta de la neige ; II. D'Anne jouant de l'espinette -- Albert Roussel: La menace -- Camille Saint-Saëns. Au cimetière ; Si vous n'avez rien à me dire ; Grasselette et maigrelette -- Déodat de Séverac: Paysages tristes: soleils couchants ; Les hiboux -- Germaine Tailleferre: Vrai Dieu, qui m'y confortera -- Pauline Viardot: Lamento ; Ici-bas tous les lilas meurent
"Le Chant intime is the very first book, since Pierre Bernac's landmark work in 1978, to deal specifically with the topic of the interpretation of French mélodie, written by a singer. It offers an essay about the general approach to be taken when preparing a French song, and analyses of a selection of 60 selected mélodies (none of which appear in Bernac's book), from Berlioz to contemorary composers like Hersant and Lancino. More than rules, Le Chant intime tries to give paths to be taken; more than answers, questions to be addressed. The lesson of Debussy's Pelléas et Mélisande has served as a guiding principle: a song should be the junction of two dreams - the composer's and the poet's - not an explanation or an elicitation. Or, as Poulenc put it so wittily: a song should always be "a love affair, not an arranged marriage.""--
Songs, French
Songs, French