By Helen Abbott
The interval from the 1850s to the Nineties in Paris marked a key turning aspect for poets and composers, as they grappled with the hot ways that poetry and track may well intersect. lower than the actual stipulations of the time and position, either artwork varieties underwent major advancements which challenged the prestige of every shape. In either inventive and important paintings from this period, poets and composers provided tantalising yet problematical insights into ‘musical’ poetry and ‘poetic’ music.
The relevant factor tested during this e-book is that of what occurs to poetry whilst it encounters tune, in particular as tune. the writer areas Baudelaire’s recognized sonnet ‘La Mort des amants’ on the center of the research, tracing its transposition into track by means of a succession of either novice composers, analyzing works through Villiers de l’Isle-Adam, Serpette, Rollinat, Debussy and Charpentier, in addition to a rare parodic music model through Valade and Verlaine.
A significant other site bargains recordings of every of the songs analysed during this publication
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Additional resources for Parisian Intersections : Baudelaire's Legacy to Composers
This tercet, then, seems to present us with the scene of death, but it remains unclear as to how or when exactly this takes place. What Baudelaire does address, however, is the emotional ef fect: the ‘sanglot’ and the ‘adieux’ – with their awkward admixture of the singular and the plural – signal a sorrow to come. The term ‘chargé’ also hints at the loaded-gun analogy that Richter perceived in the ‘éclair’ but a further paradox comes through the brevity of the ‘éclair’ coupled with the length of the ‘sanglot’.
40 Chapter 2 Villiers veut signifier que l’on n’émet pas la substance sonore, l’âme, sans risques. Comme la voix chantée se confond avec l’être, l’expressivité totale, par la dépense d’énergie qu’elle suppose, vide la cantatrice de son principe vital et la précipite dans la mort. Villiers suggère que le moment culminant du chant entraîne la disparition de l’artiste. L’âme trop généreusement prodiguée est trahie par le corps. 43 The singer risks death each time she sings because she performs the ultimate act of love, allowing the song to take precedence over her physical being.
However, the sonnet presents rather more challenges and questions than a purely positive reading would allow. If the lovers’ union expressed in this sonnet were indeed so positive and unproblematic, then the sonnet would not, I believe, have resulted in such a significant set of musical afterlives in the divergent forms of popular song, bawdy parody and high-art mélodie. A closer look at the text reveals a number of interpretative challenges which call for an engagement with music because the sonnet plays with notions of time and identity in such a way as to open up questions about the very status of poetry itself.