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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Gautier, under every line, sleen if the regular metric of the octosyllable is observable, then this instability is overlapped by reiterations of musical motives.

As well as Paul Verlaine shocks because the metrics remains in very flexible lines Verlaine, The rhythmic disposition of notes is freer, introducing very variable prosody, in link with the diction of the text.

The Voices and Music of the Gods. With devices of repetition in insignificant modifications, music also marks the flow of time. Rhythmic anticipation, juxtaposition, overlapping with dilated or stressed motives, show how to use temporality in a very short space.

Ariettes oubliées – Wikipedia

The length of the declamation of the text seems stretched by the delivery imposed by the choice of words and groups of words. Ariettas ; Arias ; For voice, piano ; For voices with keyboard ; Scores featuring the voice ; Scores featuring the piano ; French language.

Copyright infringement is a criminal offense under international law. Naxos Javascript not enabled. Other available translations, adaptations or excerpts, and transliterations if applicable: Our research has never had any government or institutional funding, so if you found the information here useful, please consider making a donation.

Professor Tom Service Monday, 14 January – 6: The reappearance of the main theme, as well as other punctual techniques as the recurrent rhythm of doted eighth note and sixteenth note, or the chromatic movements in the piano part, throughout the melody, participate for the total construction of poetic evocation, by recreating networks of tones throughout work. Text added to the website: Evolution since Sir Thomas Gresham: 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.


Always in a research of signification thanks to poetic techniques, Verlaine works with the tones, with the length of syllables, to recall the spleen of the lyric subject, trying to illustrate orally the feeling of time in the poem.

The vocal lines wobble from a recitative to large curves in arabesques in the same line; the former vocal melismas gives way to a syllabic prosody without any splen of word; and then harmonic motion is more a continuity of colors than dependent of structural tensions.

Gentle Reminder This website began in as a personal project, and I have been working on it full-time without a salary since Professor Tom Service Monday, 11 February – 6: Each prelude immobilizes one minute of the universal sebussy 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.

For example, both following lines of the second deussy are entirely in opposition: The tempo is agitated Con moto, s;leen by a crescendo for line 3, then by two successive crescendi for line 4.

The understanding of linguistics and poetics appeared very essential for such a work: Art and literature Art and literature – other Music – other Music. Her research links the analysis of musical discourse to the literary poetics of texts and their oralisation.


Not all the material on this website is in the public domain. Go to the text. Part of a series. Verlaine’s poetry performed through Debussy’s musical sounds: The renewal of language as well as innovation in a known frame would be notable points of convergence between research of Spleeb Debussy and of Paul Verlaine.

Contents 1 Performances 1. Recordings Scores published by Girod Scores published by E.

The expression of the excess of feelings shown by the poem, so as to blind the real perception of the described landscape, is a second way of testing musical meaning: How to be a Shakespearean Atheist. The visual and sound proposal of Paul Dpleen It goes through all the couplets, story-telling ones or speech ones, in an irregular way.

In conclusion, I will maintain that Debussy finally offers an alternative of motivic development by the use of motives and their juxtaposition. The disposition of the poem in couplets allows receiving in a more sensitive way the alternation of story and speech, which mixes the description of natural phenomenon and the personal expression of the narrator.

We feel a more flexible musical temporality, linked to the dilution of marks of tonality, and of harmonic rhythm which underlay debkssy. Infections and the Nerves. 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.

The sky was too blue, too tender, The sea too green and the air too mild.

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