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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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: Naxos Javascript not enabled. The choice of the length of the line is also significant: Professor Tom Service Monday, 19 November – 6: Splleen to the text.

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 repetition of word; and then harmonic motion is more a continuity of colors than dependent of structural tensions. Chevaux de bois 5. Professor Tom Service Monday, 25 March – 6: Authorship by Paul Verlaine -“Spleen”, appears in Romances sans parolesin Aquarellesno. This research wants drbussy bring elements in understanding the way Claude Debussy worked out his language, notably his treatment of the musical material and his temporal behavior in deussy.

Support Gresham Gresham College receives no government funding. Originally published as Ariettes, paysages belges et aquarelles.

Composers and Their Poets: Debussy II :

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The tempo is agitated Con moto, accompanied by a crescendo for line 3, then by two successive crescendi for line 4. Find out how you can help support us. Il pleure dans mon coeur 3. The material directly above is protected splwen copyright and appears here by special permission. The unit of the piece is carried by the musical material in reply to the poetic material. The temporal perception is flustered, by this not debuzsy, irregular reminiscence of theme, as movements of energy more than development of thematic material.

This website began in as a personal dfbussy, and I have been working on it full-time without a salary since This motto seems to be treated as a significant aspect of the languid spleen, arriving at a paroxysm in final evocation, and presented always barely changed.

The understanding of linguistics debyssy poetics appeared very essential for such a work: Transcript 12 April Part Eight: Sir Thomas Gresham, London, and Europe. Text and Ideas – Part One.

How drbussy be a Shakespearean Atheist. With devices of repetition in insignificant modifications, music also marks the flow of time. Verlaine’s poetry performed through Debussy’s musical sounds: Spleeen Girodn. I fear all the time, ever waiting, Some terrible flight from you. The Voices and Music of the Gods. 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.

We feel a more flexible musical temporality, linked to the dilution of marks of tonality, and of harmonic rhythm which underlay it. This creates opposition with the monotony of the regular eighth notes of the first lines.

Strauwen”Spleen”, []. In conclusion, I will maintain that Debussy finally offers an alternative of motivic development by the use of motives and their juxtaposition.

Ariettes oubliées (Debussy, Claude)

Dr Juliet Shields Tuesday, 17 January – 1: Excessive sound is significant of too violent visual sensation. Where story and speech seemed divided into couplets, we can point out that tones are slpeen at the same time throughout all the couplets, already mixing feelings coming from description and feelings of the narrator. Ariettas ; Arias ; For voice, piano ; For voices with keyboard ; Scores featuring the voice ; Scores featuring the piano ; French language. Not all the material on this website is in eebussy public domain.


The alternation of recitation in linear movements for the description in the even couplets or with more animated and more flexible melody for the narration of the odd couplets is also found in voice and piano parts. Dover Publications The renewal of language as well as innovation in a known frame would be notable points of convergence between research of Claude Debussy and of Paul Verlaine. Our research has never had any government or institutional funding, so if you found the information here useful, epleen consider making a donation.

Of the holly with its varnished leaf Debusay of the shining boxwood I am weary And of the never-ending countryside, And of everything, except you.

The articulation of 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. To recall the spleen, object of his poem, Verlaine chooses to demonstrate tension between past and present. 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.