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CD 2 59:43 DDD 8.554176-77 Histoires naturelles § 18:01 RAVEL 1 Le paon 4:42 2 Le grillon 3:26 3 Le cygne 3:36 Chansons • Songs 4 Le martin-pêcheur 3:13 5 La pintade 3:04 Histoires naturelles • Chansons madécasses 6 Ballade de la reine morte d’aimer * 4:55 Inva Mula • Valérie Millot • Claire Brua 7 Tripatos * 1:43 Gérard Theruel • Laurent Naouri Trois Chansons ° 6:21 8 Trois beaux oiseaux du paradis 2:43 David Abramovitz, Piano 9 Nicolette 1:48 0 Ronde 1:49

! Ronsard à son âme ‡ 2:23 @ Les grands vents venus d’outremer ‡ 2:32 # Sainte ‡ 2:49 $ Sur l’herbe ‡ 2:15 % Rêves † 1:26 ^ Vocalise - étude en forme de habanera † 3:11

Chansons madécasses † 14:08 & Nahandove 5:50 * Aoua! 4:08 ( Il est doux... 4:11 with Vinçen Prat, Flute & Xavier Gagnepain, Cello

Publishers: Durand (tracks 1-5, 8-15 & 17-19); Salabert (tracks 6-7) and Leduc (track 16)

Inva Mula * and Valérie Millot °, Sopranos • Claire Brua †, Mezzo-Soprano Gérard Theruel § and Laurent Naouri ‡ , Baritones • David Abramovitz, Piano 2 CDs 8.554176-77 28 554176-77bk Ravel US 19/09/2003 1:44 pm Page 2

Maurice Ravel (1875-1937) CD 1 62:13 Songs 1 Chanson espagnole † 2:26 From his father, a Swiss engineer, Ravel inherited a with the Conservatoire. A second group follows the 2 Chanson française § 2:17 delight in precision and, incidentally, in mechanical toys, composition of the cycle with orchestra, Shéhérazade, in 3 Chanson écossaise * 3:11 while from his Basque mother he acquired a familiarity 1903 and ends with the Chants populaires of 1910. This 4 Chanson italienne ° 1:16 with something of Spanish culture. Born in 1875 in the is followed in 1913 by the Trois poèmes de Stéphane 5 Chanson hébraïque ‡ 4:31 small coastal village of Ciboure in the Basque region of Mallarmé, for voice and instrumental ensemble, not 6 Chanson du rouet † 5:08 France, he spent his childhood and adolescence included here, leading to the final Don Quichotte à 7 Noël des jouets † 3:17 principally in Paris, starting piano lessons at the age of Dulcinée. seven and from the age of fourteen studying the piano in The earliest song is the Ballade de la reine morte Deux mélodies hébraïques ‡ 6:42 the preparatory piano class of the Conservatoire. In 1895 d’aimer (The Ballade of the Queen who died for love) 8 Kaddisch 5:16 he left the Conservatoire, after failing to win the prizes [CD 2/6], a setting of a poem by Roland de Marès, 9 L’énigme éternelle 1:25 necessary for promotion, but resumed studies there three suggesting in its reference to Thule the ballad of the King years later under Gabriel Fauré. His repeated failure to of Thule in Goethe’s Faust. The archaising tendency of Deux épigrammes de win the important Prix de Rome, even when well enough the text is matched by Ravel’s setting in an archaic style Clément Marot § 4:43 established as a composer, disqualified at his fifth attempt that he was soon to explore elsewhere, with elements of 0 D’Anne qui me jecta de la neige 2:48 in 1905, resulted in a scandal that led to changes in the illustration in the sound of the bells that announce the ! D’Anne jouent de l’espinette 1:55 Conservatoire, of which Fauré became director. death of the queen. There is something sinister about the Ravel’s career continued successfully in the years Verlaine setting of 1895, Un grand sommeil noir (A great Cinq mélodies before 1914 with a series of works of originality, black sleep)[CD 1/17], with its menacing accompaniment populaires grecques * 8:27 including important additions to the piano repertoire, to and agonized climax. The pianist Alfred Cortot @ Chanson de la mariée 1:31 the body of French song and, with commissions from remembered his fellow-student as ‘a sarcastic, # Là-bas, vers l’église 1:45 Dyagilev, to ballet. During the war he enlisted in 1915 as argumentative and aloof young man, who used to read $ Quel galant m’est comparable 0:57 a driver and the war years left relatively little time or will Mallarmé and visit Erik Satie’. For his first published % Chanson des cuielleuses for composition, particularly with the death of his mother song, Sainte (Saint)[2/13], written in 1896, Ravel turned de lentisques 3:22 in 1917. By 1920, however, he had begun to recover his to Mallarmé, the source of later significant inspiration. It ^ Tout gai! 0:52 spirits and resumed work, with a series of compositions, has been suggested that the setting owes something to including an orchestration of his choreographic poem La Satie, in its accompaniment of chords and perhaps in its & Un grand sommeil noir ‡ 4:30 valse, rejected by Dyagilev and the cause of a rupture in mood and direction liturgiquement, which suits a poem * Manteau de fleurs ° 3:45 their relations. He undertook a number of engagements as that gently contemplates St Cecilia. It was first performed ( Si morne! ° 4:33 a pianist and conductor in concerts of his own works, in in 1907. France and abroad. All this was brought to an end by his It was in 1898 that Ravel wrote his setting of Leconte de Don Quichotte à Dulcinée ‡ 7:29 protracted final illness, attributed to a taxi accident in Lisle’s Chanson du rouet (Song of the Spinning-Wheel) ) Chanson romanesque 2:23 1932, which led to his eventual death in 1937. [1/6], a song that cannot help but recall Schubert’s setting ¡ Chanson épique 3:23 Ravel left some 39 songs, a dozen of which are of Gretchen’s spinning-song from Goethe’s Faust. The ™ Chanson à boire 1:44 arrangements of folk-songs. Although any division of piano echoes the movement of the treadle and the wheel, Ravel’s work into periods of supposed development may with a final allusion, in the bass, to the Dies irae when Publishers: Durand (tracks 1-2, 4-5, 8-9, 12-16 & 20-22); Salabert (tracks 3, 6, 17 & 19); seem arbitrary with a composer whose essential style death is mentioned. The same period brought the Deux Mathot (track 7); Max Eschig (track 10); Demets (track 11) and Hamelle (track 18) seems, in other respects, to have been formed so early, it épigrammes de Clément Marot (Two Epigrams of is convenient, at least, to take together the earlier songs, Clément Marot) [1/10-11], sixteenth-century texts that Inva Mula * and Valérie Millot °, Sopranos • Claire Brua †, Mezzo-Soprano settings of individual poems, the composition of which invited archaism. This is suggested by the open fifths of coincides more or less with the composer’s association the accompaniment of the first song, with reflections of Gérard Theruel § and Laurent Naouri ‡ , Baritones • David Abramovitz, Piano 8.554176-77 2 27 8.554176-77 554176-77bk Ravel US 19/09/2003 1:44 pm Page 26

eux les pluies, les tempêtes et les vents storms and poisoned winds. the spinet in the piano figuration of the second. The group by the critic Emile Vuillermoz, of Ravel’s own spoken empoisonnés. Ils ne sont plus, et nous vivons, They are no more, and we live, of early songs ends with the 1903 setting of an indifferent intonations. et nous vivons libres. and we live in freedom. poem by the pseudonymous Paul Gravollet, Manteau de The middle period of Ravel’s songs includes a setting Aoua ! Méfiez-vous des Blancs, Aoua! Beware of the Whites, fleurs (Mantle of Flowers) [1/18] in which Ravel in 1906 of Les grands vents venus d’outremer (The great habitants du rivage. coast-dwellers! effectively prevails over any defects in the text. winds that come from beyond the sea) [2/12], a poem by The short cycle Shéhérazade, settings of three poems the poet and novelist Henri de Régnier. The turbulence * 3. Il est doux * 3. It is pleasant from the collection of that name by his friend Tristan evoked is reflected in the setting, as the winter winds Il est doux de se coucher, durant la chaleur, sous un It is pleasant to lie down, during the heat, under the Klingsor, originally with orchestra and not included here, blow, leading to the bleak ending. Sur l’herbe (On the arbre touffu, et d’attendre que le vent du soir amène dense foliage of a tree, and to wait for the evening opens a new period in Ravel’s songs. Between 1904 and grass) [2/14) sets an evocative poem from Verlaine’s la fraîcheur. Femmes, approchez. Tandis que je me wind to bring freshness. Women, come near. 1906 he set five Greek folk-songs, here sung, as at the first Fêtes galantes, with its snatches of conversation in an repose ici sous un arbre touffu, occupez mon oreille While I rest here under the dense foliage of a tree, performance, in Greek, but more often performed with the idealised past world of Watteau. The Vocalise [2/16], a par vos accents prolongés. Répétez la chanson de la fill my ears with your voices. Sing again the song translation by Michel Calvocoressi. Only the third and study in the form of a habanera, was commissioned for jeune fille, lorsque ses doigts tressent la natte ou of the young girl, when her fingers plait the fibres fourth of the original set were published, with three the Paris Conservatoire and later won wider fame in lorsqu’assise auprès du riz, elle chasse les oiseaux of a mat or when sitting by the rice she chases further songs added for the subsequent publication. The various instrumental transcriptions. avides. away the greedy birds. first group of songs were set very quickly to illustrate a Ravel’s Deux mélodies hébraïques (Two Jewish Le chant plaît à mon âme. La danse est pour moi The song pleases my soul. The dance is for me lecture and the whole set, with the newly added songs, Songs) [1/8-9] include the important Aramaic Kaddish presque aussi douce qu’un baiser. Que vos pas almost as sweet as a kiss. Take slow steps; let them was first performed at a lecture-recital by Calvocoressi. text, the cantor’s melismatic chant sparely supported by soient lents; qu’ils imitent les attitudes du plaisir et imitate the attitudes of pleasure and the abandon of The Cinq mélodies populaires grecques [1/12-16] is the piano. The second song, L’énigme éternelle (The l’abandon de la volupté. desire. Ravel’s first venture into the harmonization of folk-songs. Eternal Enigma) is in Yiddish and of a very different kind, Le vent du soir se lève; la lune commence à The evening wind arises; the moon starts to In 1909 he set another Greek folk-song, Tripatos [2/7], but imparting an air of mystery. The Trois chansons briller au travers des arbres de la montagne. Allez, et shine through the trees on the mountain. Go, make before turning the following year to a group of songs in (Three Songs) [2/8-10] of 1914-15 were adapted as solo préparez le repas. ready the meal. Spanish, Limousin French, English, Italian and Yiddish, songs by the composer from his four-part original the Chants populaires [1/1-5], with apt harmonizations unaccompanied settings of the same date. The words are and piano accompaniments that enhance the melodies. by the composer and refer obliquely to the war in the birds English translations by Keith Anderson Ravel wrote his own words for the charming Noël des of paradise, with their blue, white and red colours, the last jouets (The Toys’ Christmas) [1/7] of 1905, with its child- bringing a soldier’s death. Nicolette has a simple like wonder at the figures of the crib. The piano suggests narrative, illustrated by the piano, and the final Ronde is a the bells of Christmas, with a vocal line that seems to comic song. prefigure both the Histoires naturelles [2/1-5] of 1906 and Ronsard à son âme (Ronsard to his soul) [2/11] of the later collaboration with Colette, L’enfant et les 1923-24 was Ravel’s contribution to a tribute to Ronsard, sortilèges. The first of these is a successful attempt to set the Tombeau de Ronsard, for which a number of leading prose rather than verse. Jules Renard, author of the composers provided settings. The flavour of the period is famous novel of unhappy childhood Poil de carotte, reflected in the open intervals of the accompaniment, with turned from verse to the writing of prose sketches, at their its suggestions of organum, recalling the earlier of the two most successful in the poetic observation of nature Marot songs. The evocative little setting of Rêves depicted in Histoires naturelles, a collection of prose- (Dreams) [2/15], a poem by Léon-Paul Fargue was poems illustrated by Toulouse-Lautrec, Bonnard and written in 1927. others. Ravel sought to interpret these texts in musical Ravel completed his Chansons madécasses terms, the vocal line largely following the rhythms and (Madagascan Songs) [2/17-19] in 1926, settings of three intonations of the words. Renard, who enjoyed a very poems allegedly translated but possibly written by the considerable reputation, had doubts about the need for Creole poet Evariste-Désiré de Forges, Vicomte de Parny, musical intervention, but was persuaded to hear the first and published in 1787. For voice, flute, cello and piano in performance of Ravel’s work, with its echoes, perceived their original version, the songs were written in response 8.554176-77 26 3 8.554176-77 554176-77bk Ravel US 19/09/2003 1:44 pm Page 4

to a commission from Elizabeth Sprague Coolidge and work Ravel returns to Spain, basing each of the songs on Elle vient. J’ai reconnu la respiration précipitée She comes. I recognised the fast breathing from reflect an eroticism that matches the texts but is unusual a Spanish or Basque dance rhythm. The extravagant que donne une marche rapide; j’entends le her rapid step, I hear the rustling of the cloth that in Ravel. This is particularly evident in the first song, promises of Chanson romanesque are followed by the froissement de la pagne qui l’enveloppe; c’est elle, covers her. It is she, it is Nahandove, beautiful Nahandove. The cautionary Aoua! and the final Il est solemn prayer to St Michael of Chanson épique and the c’est Nahandove, la belle Nahandove ! Nahandove. doux are bitonal, the latter expressive of sultry languor. final more boisterous celebration of Chanson à boire Reprends haleine, ma jeune amie; repose-toi sur O catch your breath again, my young friend, rest The three songs of Don Quichotte à Dulcinée (Don (Drinking Song). mes genoux. Que ton regard est enchanteur ! Que le on my knees. How charming is your look! How Quixote to Dulcinea) [1/20-22] were written in 1932-33 mouvement de ton sein est vif et délicieux sous la deliciously alive is the movement of your breast to texts by Paul Morand. They were originally intended main qui le presse! Tu souris, Nahandove, ô belle under the hand that presses it! You smile, Nahandove, for the great Russian singer Shalyapin in a film about Nahandove ! O beautiful Nahandove! Cervantes, but not used for that purpose. In this final Keith Anderson Tes baisers pénètrent jusqu’à l’âme; tes caresses Your kisses penetrate down to my soul, your brûlent tous mes sens; arrête, ou je vais mourir. caresses burn all my senses: stop, or I am going to die. Meurt-on de volupté, Nahandove, ô belle Does one die from pleasure, Nahandove, O beautiful Nahandove ? Nahandove? Le plaisir passe comme un éclair. Ta douce Pleasure passes in a flash, your sweet breath grows Inva Mula haleine s’affaiblit, tes yeux humides se referment, ta weaker, your moist eyes close again, your head bends Inva Mula was born in Albania and after triumph in a number of international competitions, including the Georges tête se penche mollement, et tes transports down gently and your transports of delight are Enescu, Barcelona Madama Butterfly, and the 1993 First Placido Domingo Competition, was launched on an s’éteignent dans la langueur. Jamais tu ne fus si quenched in languor. Never have you been so international career. She has appeared with Placido Domingo at the Opéra-Bastille in Paris, in Munich, Brussels belle, Nahandove, ô belle Nahandove ! ... beautiful, Nahandove, O beautiful Nahandove! and elsewhere. She has made her débuts in major opera houses, including the Paris Opéra, Bonn, Hamburg, the Tu pars, et je vais languir dans les regrets et les You go, and I shall languish in regrets and desires. Vienna State Opera and the Verona Arena, as well as in leading venues in America, including her début at the désirs. Je languirai jusqu’au soir. Tu reviendras ce I shall languish until evening. You will come back Metropolitan Opera as Musetta in La Bohème. Collaboration with Riccardo Muti has brought appearances at La soir, Nahandove, ô belle Nahandove ! this evening, Nahandove, O beautiful Nahandove! Scala and in major opera houses throughout Italy. She has won equal success in the concert hall. Inva Mula’s recordings include the rôle of Micaëla in Carmen, with Roberto Alagna and participation in Bizet’s Ivan IV. * 2. Aoua! * 2. Aoua! Aoua ! Méfiez-vous des Blancs, habitants du rivage. Aoua! Beware of the Whites, living on the coast. In Du temps de nos pères, des Blancs descendirent our fathers’ time some Whites landed on this Valérie Millot dans cette île. On leur dit: Voilà des terres, que vos island. they were told: There is land, let your Valérie Millot studied with Andréa Guiot at the Paris Conservatoire, winning two Premier Prix for opera and femmes les cultivent; soyez justes, soyez bons, et women cultivate it; be just, be virtuous, and amassing a number of international competition successes. In 1988 she made her professional début singing Lady devenez nos frères. become our brothers. Billows in Britten’s Albert Herring before performing in the première of Antoine Duhamel’s Quatre-vingt-treize Les Blancs promirent, et cependant ils faisaient The Whites promised, and yet they made with the Lyon Opera the following year. Other highlights of her operatic career include Marguerite (Faust) in Paris, des retranchements. Un fort menaçant s’éleva; le changes. A menacing fort arose; there was thunder productions of Mireille across France and at the Paris Opéra-comique, and Madame Lidoine (Dialogue des tonnerre fut renfermé dans des bouches d’airain; held in mouths of bronze; their priests wanted to carmélites) at the Grand Théâtre in Geneva, in Strasbourg with Marthe Keller’s production, in the Savonlinna leurs prêtres voulurent nous donner un Dieu que give us a God that we did not known, they spoke Festival and at the 1999 BBC Proms in London. In May 1994 she sang Brunehild in Ernest Reyer’s Sigurd in nous ne connaissons pas, ils parlèrent enfin finally of obedience and slavery. Montpellier where she also sang in Faust with Roberto Alagna. She won great success as Elsa (Lohengrin) for the d’obéissance et d’esclavage. Opéra de Nancy and Opera of the Rhine, before making her début as Mimì (La Bohème) for the Opéra-Comique in Plutôt la mort. Le carnage fut long et terrible; Death, rather. The carnage was long and Paris. Subsequently she was acclaimed for her performances at the Avignon Opera in La Bohème, Faust, Mireille mais malgré la foudre qu’ils vomissaient, et qui terrible: but in spite of the thunderbolts they and as the Countess in The Marriage of Figaro. Other engagements include Musetta (La Bohème) and Marianne écrasait des armées entières, ils furent tous spewed out and which wiped out whole armies, (Der Rosenkavalier) for the Paris Opéra-Bastille, Elisabeth (Don Carlo) in Strasbourg, and La voix humaine in exterminés. they were all exterminated. Nancy and Saint-Etienne. She made her German début in Düsseldorf and Hamburg singing Elisabeth (Don Carlos Aoua ! Aoua ! Méfiez-vous des Blancs ! Aoua! Aoua! Beware of the Whites! in French) and Dialogues des carmélites. She recently triumphed in her first Tosca for Dijon and Massy. Her concert performances have included Verdi’s Requiem, Ravel’s Shéhérazade in Paris, Beethoven’s Choral Nous avons vu de nouveaux tyrans, plus forts et We have seen new tyrants, strong and more Symphony in Toulouse, Poulenc’s Stabat Mater and Gloria, and Rossini’s Stabat Mater. plus nombreux, planter leur pavillon sur le rivage: numerous, plant their banner on the coast: heaven le ciel a combattu pour nous; il a fait tomber sur has fought for us; it has caused rain to fall on them, 8.554176-77 4 25 8.554176-77 554176-77bk Ravel US 19/09/2003 1:44 pm Page 24

Je ne vous décroche une étoile. I do not unhook a star for you. Claire Brua The mezzo-soprano Claire Brua began her studies at the Nice Conservatoire, while also reading for a master’s - Je voudrais être petit chien ! I would like to be a little dog! degree in literature. She completed her training with Lorraine Nubar, Gundula Janowitz and Margeet Honig. She Embrassons nos bergères, l’une Let us kiss our shepherdesses, one took a first prize at the Paris Conservatoire under William Christie and has appeared internationally with Les arts Après l’autre, Messieurs, eh bien ? After the other, gentlemen, shall we? florissants, notably as Dido in Purcell’s Dido and Aeneas at the Bastille and in Rome. She worked in the opera Do, mi, sol. - Hé ! bonsoir la Lune ! Do, mi, sol. - Hey! Good evening, Moon! school of the Opéra Bastille and appeared at the Palais Garnier in Manuel de Falla’s Sombrero de tres picos and as Mercedes in Carmen at the Opéra-Bastille. In early music Claire Brua has worked with René Jacobs, Roland de % Rêves (French) % Dreams Lulli, Jean-Claude Malgloire and Jordi Savall, but has an extensive repertoire and has appeared in leading rôles in Léon-Paul Fargue (1878-1947) Léon-Paul Fargue (1878-1947) operas ranging from Cavalli to Gounod. Her recordings include distinguished performances in early repertoire and Un enfant court A child runs in French song, a particular interest. Autour des marbres Around the marble statues Une voix sourdre A voice arises Des hauts parages From the lofty surroundings Gérard Theruel A pupil of Robert Manuel at the National Conservatoire of Dramatic Art, the baritone Gérard Theruel completed his Les yeux si tendres Eyes so tender musical studies at the Paris Conservatoire, where he took first prizes in chamber music and in singing. He started De ceux qui t’aiment Of those who love you his operatic career at the Opéra de Lyon, where he sang Claudio in Berlioz’s Béatrice et Bénédict, Orphée in Songent et passent Dream and pass Milhaud’s Les malheurs d’Orphée, a rôle he repeated in Berlin. He sang the rôle of Pelléas in Peter Brook’s Entre les arbres. Among the trees. Impressions sur Pelléas, and returned for the re-opening of the Opéra de Lyon, singing Epaphus in Lully’s opera Phaëton and Demetrio in Britten’s A Midsummer Night’s Dream. In 1997 he was awarded the French critics’ prize Aux grandes orgues To the great organs and has continued his career in the opera house and concert hall, in addition to a successful series of recordings. De quelque gare Of some railway station Gronde la vague Rumbles the wave Des grands départs. Of great departures. Laurent Naouri The baritone Laurent Naouri began his musical studies in 1986. Whilst he was still studying, the CNIPAL in Dans un vieux rêve In an old dream Marseilles gave him the chance to perform the rôle of Guglielmo in Così fan tutte. These performances led to a Au pays vague In a misted countryside number of concerts and recordings, including the Radio France and Montpellier Festivals. He completed his studies Des choses brêves Some brief things at the Guildhall School of Music and Drama in London, where he sang several rôles, including those of the Theatre Qui meurent sages. That die sensibly. Director in Poulenc’s Les mamelles de Tirésias, Ford in The Merry Wives of Windsor, and Ferdinand in Prokofiev’s Betrothal in a Monastery for Rostropovich. His professional career began properly in 1992 in the title rôle of ^ Vocalise-étude (en forme de habanera) ^ Vocalise-study (in the form of a habanera) Milhaud’s Christopher Columbus at the opening of the Imperial Theatre in Compiègne. He has since performed in France, Italy, Holland, Belgium and Spain with a wide repertoire ranging from Monteverdi to contempory works Chansons madécasses (French) Songs of Madagascar and including such rôles as Eugene Onegin in Nantes, Tarquin in Britten’s The Rape of Lucretia at Tourcoing, Evariste Désiré de Forges Parny (1753-1814) Evariste Désiré de Forges Parny (1753-1814) Lully’s Roland at Montpellier and Bottom in Britten’s A Midsummer Night’s Dream at Lyon, with such conductors as Maurizio Benini, William Christie, René Jacobs, Marc Minkowski and Kent Nagano. Other notable appearances & 1. Nahandove & 1. Nahandove include the four leading rôles in Offenbach’s Les contes d’Hoffmann in Metz and Tours, his Opéra Bastille début as Nahandove, ô belle Nahandove ! L’oiseau nocturne Nahandove, O beautiful Nahandove! The bird of Figaro in The Marriage of Figaro and as Des Grieux in Massenet’s Manon, his Palais Garnier début as Theseus in a commencé ses cris, la pleine lune brille sur ma night has begun his cries, the full moon shines on Rameau’s Hippolyte et Aricie, Hidraot in Lully’s Armide in Nice, Gluck’s Iphigénie en Tauride in Amsterdam, Don tête, et la rosée naissante humecte mes cheveux. my head, and the dew, new-forming, moistens my Giovanni at the Opéra Royal de Wallonie, Fieramosca in Berlioz’s Benvenuto Cellini, with Ravel’s L’enfant et les Voici l’heure: qui peut t’arrêter, Nahandove, ô belle hair. This is the hour: what can be stopping you, sortilèges and Prokofiev’s War and Peace at the Opéra Bastille. Laurent Naouri gives frequent recitals and oratorio Nahandove ! Nahandove, O beautiful Nahandove? performances, and performances abroad include L’enfant et les sortilèges with the Berlin Philharmonic under Simon Le lit de feuilles est préparé; je l’ai parsemé de The bed of leaves is ready, I have strewn it with Rattle. His recordings range from Lully and Rameau to Offenbach and Poulenc. fleurs et d’herbes odoriférantes; il est digne de tes perfumed flowers and herbs, it is worthy of your charmes. Nahandove, ô belle Nahandove ! charms, Nahandove, O beautiful Nahandove! 8.554176-77 24 5 8.554176-77 554176-77bk Ravel US 19/09/2003 1:44 pm Page 6

David Abramovitz Ils se concertent, graves et pâles, They come together, serious and pale, Born in New York in 1949, David Abramovitz began piano studies at the age of five. He took a bachelor’s degree Sur les places, et leurs sandales On the squares, and their sandals in musicology at Princeton and a master’s degree in piano at the Manhattan School of Music, studying with Robert Ensablent le marbre des dalles. Bring sand on the marble paving-stones. Helps. In 1970 a Fulbright scholarship took him to Rome to work with Bruno Canino. Settling in Europe in 1976, first in Zürich as coach at the Opera Studio and soloist with the orchestra, then in 1977, recipient of two successive Comme de crosses à leurs mains fortes, As if with rifle-butts in their strong hands, scholarships (American and French) in Paris to work with Nadia Boulanger, he gave his first concerts in Europe with Ils heurtent l’auvent et la porte They beat against the porch roof and the door Cathy Berberian in Germany, then in Bulgaria, Poland, France and Switzerland. He has accompanied many Derrière qui l’horloge est morte. Behind which the clock has died. renowned singers, including Régine Crespin, Hans Hotter, Hugues Cuenod, Gérard Souzay, Rita Gorr, Mady Mesplé, Bernard Kruysen, Frederica Von Stade, Lucy Shelton, Edita Gruberova, Felicity Lott, David Pittman- Et les adolescents amers And the bitter young men Jennings, as well as others from a younger generation including Natalie Dessay, Jean-Paul Fouchécourt and others, S’en vont avec eux vers la mer. Go away with them towards the sea. and accompanied numerous master-classes. He has collaborated on productions at the Paris and Montpellier Operas, and has taught at the Paris Opera School, the CNIPAL in Marseille and the Conservatory in Poitiers. As a recital # Sainte (French) # Saint soloist he has performed all over the world, and has also collaborated on a theatre and music endeavour based on Stéphane Mallarmé (1842-1898) Stéphane Mallarmé (1842-1898) the correspondence of George Sand, performing Chopin to the George Sand of Leslie Caron (in Chichester in 1997 A la fenêtre recélant At the window harbouring and Melbourne in 1999). A passionate chamber musician, he founded and co-directed the Musiciens Amoureux in Le santal vieux qui se dédore The old sandalwood, its gilt flaking off, Paris from 1984 to 1988, and has performed with numerous instrumentalists, among them Maurice Gendron and De la viole étincelant Of the viol that once sparkled Gérard Caussé. His recordings include Fauré songs with Laurent Naouri and Claire Brua, songs by Henri Sauguet, Jadis selon flûte ou mandore With flute or mandora an album of French cabaret songs of the Belle Epoque with Denise Bahous, and a recording of Poulenc songs with Laurent Naouri. Est la sainte pâle étalant Is the pale saint showing Le livre vieux qui se déplie The old book that unfolds Du Magnificat ruisselant Of the Magnificat that once flowed Xavier Gagnepain Jadis selon vêpre ou complie For Vespers or Compline Following success in international competitions, including those of Munich and São Paulo, the cellist Xavier Gagnepain embarked on a career as a soloist and chamber-music player, appearing in the former capacity with major A ce vitrage d’ostensoir At this monstrance glass orchestras in France and throughout Europe. In chamber music he collaborates with Hortense Cartier-Bresson and Que frôle une harpe par l’Ange That the Angel’s harp brushes Abdel Rahman El Bacha and is the cellist of the Rosamonde Quartet. He has a particular interest in less usual Formée avec son vol du soir Formed with his evening flight repertoire, particularly of the last and present century and in 1996 was the first to perform the twelve pieces on the Pour la délicate phalange For the delicate tip name of Paul Sacher, an achievement previously unattained in contemporary solo cello repertoire. His recordings include concertos and chamber music ranging from duos to sextets. He is an enthusiastic teacher, serving at the Du doigt que sans le vieux santal Of the finger that without the old sandalwood Boulogne-Billancourt Conservatoire and in numerous master-classes. His Du musicien en général…au violoncelliste Ni le vieux livre elle balance Or the old book she balances en particulier has been particularly well received. Sur le plumage instrumental, On the plumage of the instrument, Musicienne du silence. Musician of silence.

Vicenç Prats $ Sur l’herbe (French) $ On the grass Vicenç Prats was born in Catalonia and lives in Paris, where he is principal flautist in the Orchestre de Paris. He has Paul Verlaine (1844-1896) Paul Verlaine (1844-1896) appeared as a soloist with a number of orchestras in France and elsewhere, and has won awards in major L’abbé divague. - Et toi, marquis, The abbé digresses: And you, Marquis, international competitions in Japan and Barcelona, and first prizes in flute and chamber music at the Paris Tu mets de travers ta perruque. You are putting your wig on crooked. Conservatoire, where he studied with Michel Debost, Alain Marion, Jean-Pierre Rampal and Christian Lardé. - Ce vieux vin de Chypre est exquis; This old Cyprus wine is exquisite; Moins, [Camargo], que votre nuque. Less, Camargo, than the nape of your neck.

- Ma flamme . . . Do, mi, sol, la, si. My dear . . . do, mi, sol, la si. - L’abbé, ta noirceur se dévoile. Abbé, your baseness is shown up. - Que je meure, mesdames, si May I die, ladies, if 8.554176-77 6 23 8.554176-77 554176-77bk Ravel US 19/09/2003 1:44 pm Page 22

follettes, lémures, gnomides, succubes, gorgones, Spirits, lemurs, gnomes, succubi, gorgons, Abbey of Fontevraud and the Centre Culturel de l’Ouest gobelines... goblins. Founded in 1101 by Robert d’Arbrissel and ruled over for centuries by the most powerful of abbesses, the Abbey Ah! N’irons plus au bois d’Ormonde, Ah! We will never go again to the Ormonde woods, of Fontevraud was, before the Revolution, the richest and most important monastery in France. In the year 2001 Hélas! plus jamais n’irons au bois. Alas! We shall never go the woods. Fontevraud celebrated its 900th Anniversary. Il n’y a plus de satyres, plus de nymphes There are no more satyrs, no more nymphs nor Heir to a prestigious past, Fontevraud also served as a prison from 1804 to 1965. Fontevraud is now home to ni de males fées. wicked fairies. the Cultural Centre for the West of France. The Centre Culturel de l’Ouest was set up in 1975. This project was Plus de farfadets, plus d’incubes, No more hobgoblins, no more incubi, planned by the Ministry of Culture, and the offices of the Région de Pays de la Loire. Its sole aim is to promote the Plus d’ogres, de lutins No more ogres, no more sprites Abbey’s exceptional heritage and with the aid of new technologies, to bring together the worlds of art and history, De faunes, de follets, de lamies, Fauns, spirits, monsters, to link architecture with virtual reality, to advance research in the field of heritage. This is Fontevraud’s vocation. Diables, diablots, diablotins, Devils, imps, little imps, To be not only the Villa Medici of culturally orientated multimedia, but also an important domain for music and De chèvre-pieds, de gnomes, de démons, Goat-footed creatures, gnomes, demons symposia. Fontevraud aims to strive towards excellence. The events for the 900th anniversary were marked by a De loups-garous, ni d’elfes, de mymidons, Were-wolves, nor elves, myrmidons, number of seminars and the inauguration of the multimedia project, linking heritage and modern technology. The Plus d’enchanteurs ni de mages, de stryges, No more enchanters nor magi, vampires, inauguration included the film by Alain Escalle, L’âme et la Pierre (The Soul and the Rock) which is continuously de sylphes, de moines bourrus, sylphs, curmudgeonly monks, broadcast in the refectory and the interactive consoles present both the history and the architecture of Fontevraud. De cyclopes, de djinns, de diabloteaux, d’éfrits, Cyclopes, djinns, little devils, efrits, The following Easter festival themed upon churches from the East, was attended by representatives from some of d’aegypans, de sylvains, Pans, woodland spirits, the most prestigious venues in Armenia, Russia, Greece and Lebanon. This coincided with an important stage in the Gobelins, korrigans, nécromans, Goblins, wicked spirits, necromancers, embellishment of the abbey; the completion of works in the gardens of the Cloister of the Great Minster to the heart kobolds... Ah! kobolds . . . Ah! of the abbey, which had been absent for many years. The summer brought concerts of Gregorian chants and the Les malavisé(e)s vieilles/vieux les ont The ill-advised old women/men have frightened voices of the Rencontres Imaginaires. effarouchés... Ah! them away . . . Ah!

! Ronsard à son âme (French) ! Ronsard to His Soul Pierre de Ronsard (1524-1585) Pierre de Ronsard (1524-1585) Amelette Ronsardelette, Little soul, little Ronsard, Mignonnelette, doucelette, Little darling, sweet little one, Très chère hostesse de mon corps, Dearest guest of my body, Tu descens là-bas, faiblelette, You come down there, weak little one, Pasle, maigrelette, seulette, Pale, thin, alone, Dans le froid royaume des mors; Into the cold realm of the dead; Toutesfois simple, sans remors Always simple, without remorse De meurtre, poison, et rancune, For murder, poison, bitterness, Méprisant faveurs et trésors, Despising favours and treasures, Tant enviez par la commune. So envied by all. Passant, j’ay dit: suy ta fortune, Passing, I said: follow your fortune, Ne trouble mon repos, je dors. Do not trouble my rest, I am sleeping.

@ Les grands vents venus d’outremer (French) @ The great winds from beyond the sea Henri de Régnier (1864-1936) Henri de Régnier (1864-1936) Les grands vents venus d’outremer The great winds that come from beyond the sea Passent par la ville, l’hiver, Pass though the town, in winter, Comme des étrangers amers. Like bitter strangers.

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CD 1 A perte d’haleine, s’enfuit Nicolette, Out of breath Nicolette ran away, Laissant là cornette et socques blancs. Leaving there her mob-cap and white clogs. 1 Chanson espagnole (Trad. Spanish) 1 Spanish song Adios, men homino, adios, Farewell, my man, farewell, Rencontra page joli, Met a pretty young page, Ja qui te marchas pr’aguerra: Since you are going to the war; Chausses bleues et pourpoint gris, Blue breeches and grey doublet, Non t’olvides d’aprendina Do not forget to send « Hé là! ma Nicolette, ‘Hey there, Nicolette, Quiche qued’ a can’a terra. To those left in this country. veux tu pas d’un doux ami ? would you like a gentle friend?’ La la la la ... La la la la . . . Sage, s’en retourna, très lentement, Wisely she turned away, very slowly, le cœur bien marri. her heart grieved. Castellanos de Castilla, Castilians from Castille Tratade ben os gallegos: Treat the Galicians well. Rencontra seigneur chenu, She met a grey-haired old lord, Cando van, van como rosas, They go, they go like roses, Tors, laid, puant et ventru Bandy, ugly, sweating and fat-bellied. Cando ven, ven como negros. They come back, come back like blacks. « Hé là! ma Nicolette veux tu pas tous ces écus ? » ‘Hey there, Nicolette, do you want all this money?’ La la la la ... La la la la . . . Vite fut en ses bras, bonne Nicolette Quickly she was in his arms, good Nicolette, Jamais au pré n’est plus revenue. Never came back again to the field. 2 Chanson française (Limousin French) French Limousin Folk-Song (Chant populaire limousin) 0 3. Ronde 0 3. Roundelay Janeta ount anirem gardar, Jeanneton, where shall we go to guard the flock, N’allez pas au bois d’Ormonde Do not go to the Ormonde woods, Qu’ajam boun tems un’oura? Lan la! To have a good time for an hour? Lan la! Jeunes filles, n’allez pas au bois: Young girls, Aval, aval, al prat barrat; There, there in the fenced meadow; Il y a plein de satyres, de centaures, they are full of satyrs, centaurs, la de tan belas oumbras! Lan la! There are such fine shadows there! Lan la! de malins sorciers, wicked sorcerers, Lou pastour quita soun mantel, The shepherd take his coat off, Des farfadets et des incubes, Hobgoblins and incubi, Per far siere Janetan. Lan la! To make somewhere for Jeanneton to sit. Lan la! Des ogres, des lutins, Ogres, sprites, Janeta a talamen jougat, Jeanneton sported so much Des faunes, des follets, des lamies, Fauns, spirits, monsters. Que se ies oublidada, Lan la! That she forgot herself there. Lan la! Diables, diablots, diablotins, Devils, imps, little imps, Des chèvre-pieds, des gnomes, des démons Goat-footed creatures, gnomes, demons, 3 Chanson écossaise (Trad. English) Des loups-garous, des elfes, des myrmidons, Were-wolves, elves, myrmidons, Robert Burns (1759-1796) Des enchanteurs et des mages, des stryges, des Enchanters and magi, vampires, sylphes, des moines bourrus, sylphs, curmudgeonly monks, Ye banks and braes o’ bonnie Doon, Des cyclopes, des djinns, gobelins, korrigans, Cyclopes, djinns, goblins, wicked fairies, How can ye bloom sae fresh and fair? cromans, kobolds... necromancers, kobolds, How can ye chaunt, ye little birds, And I’m sae weary fu’ o’ care? Ah! N’allez pas au bois d’Ormonde, Do not go to the Ormonde woods, Ye’ll break my heart, ye warbling bird, Jeunes garçons, n’allez pas au bois: Young boys, That warbles on the flowry thorn, Il y a plein de faunesses, de bacchantes they are full of she-fauns, bacchantes Ye mind me o’ departed joys. et de males fées, and wicked fairies Departed never to return. Des satyresses, des ogresses, et des babaïagas, She-satyrs, ogresses and babyagas, Des centauresses et des diablesses, She-centaurs and devils, Oft hae I rov’d by bonnie Doon, Goules sortant du sabbat, Ghouls coming from their Sabbath, By morning and by evening shine Des farfadettes et des démones, She-hobgoblins and demons, To hear the birds sing o’ their loves Des larves, des nymphes, des myrmidones, Worm-creatures, nymphs, she-myrmidons, As fondly once I sang o’ mine. Hamadryades, dryades, naïades, ménades, thyades, Hamadryads, dryads, naiads, maenads, thyads,

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Poss dhen ineya zoi. How can it be that she will not live? Wi’ lightsome heart I stretch’d my hand Tralilila lalalala lililili la. Tralili lalalalala lililili la. And pu’d a rosebud from the tree. But my fause lover stole the rose, Trois chansons (French) Three Songs And left the thorn wi’ me. Maurice Ravel Maurice Ravel 4 Canzone italiana (Trad. Italian) 4 Italian Song 8 1. Trois beaux oiseaux du Paradis 8 1. Three Beautiful Birds from Paradise M’affaccio la finestra e vedo l’onde, I look from the window and see the waves, Trois beaux oiseaux du Paradis Three beautiful birds from Paradise, Vedo le mie miserie che sò granne! I see my troubles that are so great! Mon ami z-il est à la guerre My friend is at the war, Chiamo l’amore mio, nun m’arrisponde! I call my love, no-one answers! Trois beaux oiseaux du Paradis Three beautiful birds from Paradise Chiamo l’amore mio, nun m’arrisponde! I call my love, no-one answers! Ont passé par ici. Passed this way. 5 Chanson hébraïque (Trad. Hebrew) 5 Hebrew Song Le premier était plus bleu que le ciel, The first was bluer than the sky, Mejerke, main Suhn, Mayerke my son, Mon ami z-il est à la guerre My friend is at the war, oi Mejerke, main Suhn, O Mayerke, my son, Le second était couleur de neige The second was the colour of snow, Zi weiss tu, var wemen du steihest? Do you know before whom you stand? Le troisième rouge vermeil. The third vermilion red. “Lifnei Melech Malchei hamlochim”, Tatunju. “Before the King of Kings,” my father.

« Beaux oiselets du Paradis ‘Beautiful little birds from Paradise, Mejerke, main Suhn, Mayerke my son, Mon ami z-il est à la guerre My friend is at the war, oi Mejerke, main Suhn, O Mayerke, my son, Qu’apportez par ici ? » What are you bringing here?’ Wos ze westu bai Ihm bet’n? What do you ask of him? « J’apporte un regard couleur d’azur ‘I bring an azure-coloured look, “Bonei, chajei, M’sunei,” Tatunju. “Sons, life, food,” my father. Ton ami z-il est à la guerre Your friend is at the war, Moi, sur beau front couleur de neige, I, on your fair brow, the colour of snow, Mejerke, main Suhn, Mayerke my son, Un baiser dois mettre, encore plus pur ». Must place a kiss, still purer.’ oi Mejerke, main Suhn, O Mayerke, my son, Oif was darfs tu Bonei? Why do you want sons? Oiseau vermeil du Paradis, ‘Vermilion bird from Paradise, “Bonim eiskim batoiroh,” Tatunju. “Sons to study the Torah”, my father. Mon ami z-il est à la guerre My friend is at the war, Que portez vous ainsi ? What are you bringing here?’ Mejerke, main Suhn, Mayerke my son, « Un joli coeur tout cramoisi » ‘A pretty heart all crimson’, oi Mejerke, main Suhn, O Mayerke, my son, Ton ami z-il est à la guerre Your friend is at the war, Oif wos darfs tu Chajei? Why do you want life? « Ha! je sens mon coeur qui froidit... ‘Ah! I feel my heart grow cold, “Kol chai joiducho,” Tatunju. “Everything living shall give thanks”, my father. Emportez-le aussi ». Take it away too!’ Mejerke, main Suhn, Mayerke my son, 9 2. Nicolette 9 2. Nicolette oi Mejerke, main Suhn, O Mayerke, my son, Nicolette, à la vesprée, Nicolette, in the evening, Oif wos darfs tu M’sunei? Why do you want food? S’allait promener au pré, Went for a walk in the field, “W’ochalto w’sowoto uweirachto”, “You shall eat, be satisfied, and bless God,” Cueillir la pâquerette, la jonquille et la muguet, To pick daisy, jonquil and lily of the valley, Tatunju. my father. Toute sautillante, toute guillerette, Skipping, cheerful, Lorgnant ci, là de tous les côtés, Looking here and there, on all sides, 6 Chanson du rouet (French) 6 Song of the Spinning-Wheel Rencontra vieux loup grognant, Met a peevish old wolf, Charles-Marie René Leconte de Lisle (1818-1894) Charles-Marie René Leconte de Lisle (1818-1894) Tout hérissé, l’oeil brillant; All bristling, its eyes shining; Ô mon cher rouet, ma blanche bobine, O my dear spinning-wheel, my white bobbin, « Hé là! ma Nicolette, viens tu pas chez ‘Hey there, Nicolette, aren’t you coming to Je vous aime mieux que l’or et l’argent! I love you better than gold and silver! Mère Grand ? » Grandma’s?’ Vous me donnez tout, lait, beurre et farine, You give me everything, milk, butter and flour, 8.554176-77 20 9 8.554176-77 554176-77bk Ravel US 19/09/2003 1:44 pm Page 10

Et le gai logis, et le vêtement. And a cheerful home, and clothes. Cette poseuse l’agaçait. Ainsi, la tête bleuie, ses centre of a turkey’s spread-out tail. This affected Je vous aime mieux que l’or et l’argent! I love you better than gold and silver! barbillons à vif, cocardière, elle rage du matin au bird annoyed her. Thus, her head blue, her wattles Ô mon cher rouet, ma blanche bobine! O my dear spinning-wheel, my white bobbin. soir. Elle se bat sans motif, peut-être parce qu’elle raised, militant, she rages from morning to s’imagine toujours qu’on se moque de sa taille, de evening. She fights for no reason, perhaps because Ô mon cher rouet, ma blanche bobine, O my dear spinning-wheel, my white bobbin, son crâne chauve et de sa queue basse. Et elle ne she always thinks they are making fun of her Vous chantez dès l’aube avec les oiseaux; You sing from dawn with the birds; cesse de jeter un cri discordant qui perce l’air height, of her bald head and of her low tail. And Eté comme hiver, chanvre ou laine fine, Summer like winter, hemp or fine wool, comme une pointe. Parfois elle quitte la cour et she never stops letting out a discordant cry that Par vous, jusqu’au soir, charge les fuseaux. Until evening the spindles are loaded by you. disparaît. Elle laisse aux volailles pacifiques un pierces the air like a knife. Sometimes she leaves Vous chantez dès l’aube avec les oiseaux; You sing from dawn with the birds; moment de répit. Mais elle revient plus turbulente et the yard and disappears. She leaves the peaceful Ô mon cher rouet, ma blanche bobine! O my dear spinning-wheel, my white bobbin. plus criarde. Et, frénétique, elle se vautre par terre. hens a moment’s respite. But she comes back more Qu’a-t’elle donc? La sournoise fait une farce. Elle turbulent and more shrill. And, frenetically, she Ô mon cher rouet, ma blanche bobine, O my dear spinning-wheel, my white bobbin, est allée pondre son oeuf à la campagne. Je peux le wallows on the ground. What is wrong with her, Vous me filerez mon suaire étroit, You will spin for me my narrow shroud, chercher si ça m’amuse. Et elle se roule dans la then? The cunning bird is playing a trick. She has Quand, près de mourir, et courbant l’échine, When, near death, and my back bent, poussière comme une bossue. gone to lay her egg in the countryside. I can look Je ferai mon lit éternel et froid. I shall make my eternal cold bed. . for it, if that amuses me. And she rolls in the dust Vous me filerez mon suaire étroit, You will spin for me my narrow shroud, like a hunchback. Ô mon cher rouet, ma blanche bobine! O my dear spinning-wheel, my white bobbin. 6 Ballade de la reine morte d’aimer (French) 6 Ballad of the Queen who died for love 7 Noël des jouets (French) 7 The Toys’ Christmas Roland de Marès (1874-1955) Roland de Marès (1874-1955) Maurice Ravel Maurice Ravel En Bohême était une Reine, In Bohemia was a Queen Le troupeau verni des moutons The varnished flock of sheep Douce sœur du Roi de Thulé, Gentle sister of the King of Thule, Roule en tumulte vers la crêche. Rolls tumultuously towards the manger. Belle entre toutes les Reines, Fair among all Queens, Les lapins tambours, brefs et rêches, The rabbit drummers, short and rough, Reine par sa toute Beauté. Queen through her utter beauty. Couvrent leurs aigres mirlitons. Cover their shrill toy reed-pipes. Vierge Marie, en crinoline, The Virgin Mary, in crinoline, Le grand Trouvère de Bohême The great Troubadour of Bohemia Ses yeux d’émail sans cesse ouverts, Enamel eyes always open, Un soir triste d’automne roux One sad evening of russet autumn En attendant Bonhomme hiver While waiting for Father Christmas, Lui murmura le vieux : « Je t’aime! » Murmured to her, the old man: “I love you!” Veille Jésus qui se dodine Watches over Jesus, who rocks, Âmes folles et cœurs si fous!... Mad souls and hearts so mad! . . . Car, près de là, sous un sapin, For near, under a pine-tree, Furtif, emmitoufflé dans l’ombre Furtive, muffled up in the shadow Et la Très Belle toute blanche And the Very Fair One, all white, Du bois, Belzébuth, le chien sombre, Of the wood, Beelzebub, the dark dog, Le doux Poète tant aima The gentle Poet loved so much Guette l’Enfant de sucre peint. Looks at the Child of painted sugar. Que sur l’heure son âme blanche That on the hour her white soul Mais les beaux anges incassables But the beautiful angels, unbreakable, Vers les étoiles s’exhala... Breathed out towards the stars . . . Suspendus par des fils d’archal Hung on brass wires Du haut de l’arbuste hiémal From the top of the winter tree Les grosses cloches de Bohême The great bells of Bohemia Assurent la paix des étables. Promise peace to the stables. Et les clochettes de Thulé And the little bells of Thule Et leur vol de clinquant vermeil And their flight of shiny silver-gilt Chantèrent l’Hosanna suprême Sang the supreme Hosanna Qui cliquette en bruits symétriques That clicks in symmetric sounds De la Reine morte d’aimer. Of the Queen dead for love. S’accorde au bétail mécanique Fits with the mechanical animals Dont la voix grêle bêle: Whose voices bleat thinly: 7 Tripatos (Greek) 7 Tripatos “Noël! Noël! Noël!” “Noël! Noël! Noël!” Kherya pou dhen idhen ilyos Hands that the sun did not see Poss ta pya noun ivatri. As the doctors take them Keenas me ton alo leyi One says to the other: 8.554176-77 10 19 8.554176-77 554176-77bk Ravel US 19/09/2003 1:44 pm Page 18

des doigts en l’air et désignent la lune. air and point to the moon. Deux mélodies Hébraïques (Trad. Hebrew) Two Hebrew Songs

3 3. Le cygne 3 3. The Swan 8 1. Kaddisch 8 1. Kaddish Il glisse sur le bassin, comme un traîneau blanc, du He glides on the pond, like a white sleigh, from Yithgaddal weyithkaddash scheméh rabba He shall be magnified, sanctified, His name great nuage en nuage. Car il n’a faim que des nuages cloud to cloud. For he only hungers for the fleecy be’olmâ diverâ ‘khire’ outhé throughout the world that He floconneux qu’il voit naître, bouger, et se perdre clouds that he sees come into being, move, and created according to His will, dans l’eau. C’est l’un d’eux qu’il désire. Il le vise du disappear in the water. It is one of them that he veyamli’kh mal’khouté behhayyékhôn, and He shall set up His kingdom in your lifetime, bec, et il plonge tout à coup son col vêtu de neige. desires. He aims at it with his beak, and he ouveyome’khôn ouve’hayyé de’khol beth yisraël in your days and in the life of the whole house of Israel, Puis, tel un bras de femme sort d’une manche, il le suddenly plunges his snow-clad neck. Then, as a ba’agalâ ouvizman qariw weimrou. Amen. quickly and soon, in the time at hand. Let us say Amen. retire. Il n’a rien. Il regarde: les nuages effarouchés woman’s arm comes out of her sleeve, he pulls it Yithbara’kh. Weyischtaba’h weyith paër May His holy name be blessed, ont disparu. Il ne reste qu’un instant désabusé, car back. He has nothing. He looks: the startled clouds weyithromam weyithnassé weithhaddar praised and glorified, adored, honoured. les nuages tardent peu à revenir, et, là-bas, où have disappeared. He stays only a moment, weyith’allé weyithhallal scheméh deqoudschâ May He be blessed above all blessings meurent les ondulations de l’eau, en voici un qui se disillusioned, for the clouds delay only a little beri’kh hou, le’elà min kol bir’khayha and hymns and words of comfort that are ever spoken, reforme. Doucement, sur son léger coussin de before they return, and, down there, where the weschiratha touschbehatha wene’hamathâ daa mirân Ah! In the world. Ah! Let us say Amen. plumes, le cygne rame et s’approche . . . Il s’épuise ripples of the water die, there is one taking shape ah! be’olma ah! weïmrou Amen. à pêcher de vains reflets, et peut-être qu’il mourra, again. Gently, on his light cushion of feathers, the victime de cette illusion, avant d’attraper un seul swan paddles and draws near . . . He is exhausted 9 2. L’énigme éternelle 9 2. The Eternal Riddle morceau de nuage. Mais qu’est-ce que je dis? with fishing for vain reflections, and perhaps he Frägt die Welt The world asks Chaque fois qu’il plonge, il fouille du bec la vase will die, a victim of this illusion, before catching a die alte Casche the old question: nourrissante et ramène un ver. Il engraisse comme single piece of cloud. But what do I say? Every Tra la la. Tra la la. une oie. time that he plunges, he digs with his beak into the Entfernt men One answers: nourishing mud and brings out a worm. He is Tra la la Tra la la. growing as fat as a goose. Un as men will If one wants ken men sagen one can say: 4 4. Le martin-pêcheur 4 4. The Kingfisher Tra la la. Tra la la. Ça n’a pas mordu, ce soir, mais je rapporte une rare Not a bite, this evening, but I had a rare feeling. As émotion. Comme je tenais ma perche de ligne I was holding my fishing-rod stretched out, a Deux épigrammes de Clément Marot (French) Deux épigrammes de Clément Marot tendue, un martin-pêcheur est venu s’y poser. Nous kingfisher came and perched on it. We have no Clément Marot (1496-1544) Clément Marot (1496-1544) n’avons pas d’oiseau plus éclatant. Il semblait une more brilliant a bird. He seemed like a great blue grosse fleur bleue au bout d’une longue tige. La flower on the end of a long stem. The rod bent 0 1. D’Anne qui me jecta de la neige 0 1. Of Anne who threw some snow at me perche pliait sous le poids. Je ne respirais plus, tout under the weight. I did not breathe, proud to have Anne par jeu me jecta de la neige Anne in sport threw some snow at me fier d’être pris pour un arbre par un martin-pêcheur. been taken for a tree by a kingfisher. And I am sure Que je cuidoys froide certainement: That I certainly found cold: Et je suis sûr qu’il ne s’est pas envolé de peur, mais that he did not fly away for fear, but because he Mais c’estoit feu, l’expérience en ay-je But it was fire, the experience that I had, qu’il a cru qu’il ne faisait que passer d’une branche thought he was only passing from one branch to Car embrasé je fuz soubdainement For I was suddenly aflame à une autre. another. Puisque le feu loge secretement Since the fire dwells secretly Dedans la neige, où trouveray-je place In the snow, where shall I find a place 5 5. La pintade 5 5. The Guinea Fowl Pour n’ardre point? Anne, ta seule grâce Where I shall not burn? Anne, your grace alone C’est la bossue de ma cour. Elle ne rêve que plaies She is the hunchback of my yard. She only wants Estaindre peut le feu que je sens bien Can put out the fire that I feel, à cause de sa bosse. Les poules ne lui disent rien: to fight because of her hump. The hens say nothing Non point par eau, par neige, ne par glace, Not water, not snow, not ice, Brusquement, elle se précipite et les harcèle. Puis to her: suddenly she dashes forward and harasses Mais par sentir ung feu pareil au mien. But by feeling a fire like mine. elle baisse sa tête, penche le corps, et, de toute la them. Then she lowers her head, bends her body, vitesse de ses pattes maigres, elle court frapper, de and, with all the speed her thin legs can manage, ! 2. D’Anne jouant de l’espinette ! 2. Of Anne playing the spinet son bec dur, juste au centre de la roue d’une dinde. she runs to strike, with her hard beak, right at the Lorsque je voy en ordre la brunette When I see rightly the brunette, 8.554176-77 18 11 8.554176-77 554176-77bk Ravel US 19/09/2003 1:44 pm Page 12

Jeune, en bon point, de la ligne des Dieux, Young, comely, descended from the Gods, CD 2 Et que sa voix, ses doits et l’espinette And as her voice, her fingers and the spinet Meinent ung bruyct doulx et melodieux, Make a sound that is sweet and tuneful, Histoires naturelles (French) Histoires naturelles J’ay du plaisir, et d’oreilles et d’yeulx I have pleasure, both from ears and from eyes, Jules Renard (1864-1910) Jules Renard (1864-1910) Plus que les sainctz en leur gloire immortelle More than the saints in their immortal glory Et autant qu’eulx je devien glorieux And I become as glorious as them 1 1. Le paon 1 1. The Peacock Dès que je pense estre ung peu ayme d’elle. When I think I am a little loved by her. Il va sûrement se marier aujourd’hui. Ce devait être He is certainly going to marry today. It should have pour hier. En habit de gala, il était prêt. Il n’attendait been yesterday. Dressed up, he was ready. He was Cinq mélodies populaires grecques (Trad. Greek) Five Greek Folk-Songs que sa fiancée. Elle n’est pas venue. Elle ne peut only waiting for his fiancée. She did not come. She tarder. Glorieux, il se promène avec une allure de cannot be late. Glorious, he walks with the mien of @ 1. Xypnise pe @ 1. Bride’s Song prince indien et porte sur lui les riches présents an Indian prince and carries with him the rich Xypnise pe, xypnise petro perdika Wake up, wake up, little partridge, d’usage. L’amour avive l’éclat de ses couleurs et customary presents. Love gives brightness to his Tinaxe ta phtera sou Open your wings to the morning. son aigrette tremble comme une lyre. La fiancée colours and his crest trembles like a lyre. His Tris elies ke mia vameni Three beauty spots, and my heart is afire! n’arrive pas. Il monte au haut du toit et regarde du fiancée does not come. He climbs onto the roof and Tin kardia mou œchis kameni. See the gold ribbon I bring you, côté du soleil. Il jette son cri diabolique: Léon! looks towards the sun. He cries out: Léon! Léon!. Chrysi korde, chrysi kordela souphera, To tie around your hair. Léon! C’est ainsi qu’il appelle sa fiancée. Il ne voit That is how he calls his fiancée. He sees nothing Na plexis ta mallia sou ta chrysa. If you want, my fair one, rien venir et personne ne répond. Les volailles coming and no one answers. The birds are used to Vrelana yinou me teri come and let us marry! habituées ne lèvent même point la tête. Elles sont it and do not even raise their heads. They are tired Ki yony mas stibe theri. In our two families all are joined togethr! lasses de l’admirer. Il redescend dans la cour, si sûr of admiring him. He comes down again into the d’être beau qu’il est incapable de rancune. Son yard, so certain that he is handsome that he is # 2. An pas pera kato # 2. There, by the church mariage sera pour demain. Et, ne sachant que faire incapable of bitterness. His marriage will be An pas pera kato, There, by the church, du reste de la journée, il se dirige vers le perron. Il tomorrow. And, not knowing what to do with the kato s’ton Ayo Sidero, By the church of St Sidero, gravit les marches, comme des marches de temple, rest of the day, he goes towards the steps. He goes S’ten Aya Parthena, The church, O Holy Virgin, d’un pas officiel. Il relève sa robe à queue toute up them, as if they were the steps of a temple, s’ten Ayo Kostantino, The church of St Constantine, lourde des yeux qui n’ont pu se détacher d’elle. Il ceremonially. He lowers his tail plumage, heavy Eki tha vris phos mou, They are gathered together, répète encore une fois la cérémonie. with eyes that cannot part from it. He repeats the phos mou ta mistikomou Assembled in infinite numbers, ceremony once more. S’ten Aya Parthena, From the world, O Holy Virgin, s’ten Aya phila ka tou kosmou! From the world all the best! 2 2. Le grillon 2 2. The Cricket C’est l’heure où, las d’errer, l’insecte nègre revient It is the hour when, tired of wandering, the black $ 3. Pios allos $ 3. What gallant is to be compared with me de promenade et répare avec soin le désordre de son insect comes back from his walk and carefully puts Pios allos o san emena xeri What gallant is to be compared with me domaine. D’abord il ratisse ses étroites allées de his home in order. First he rakes its narrow alleys Tin agape na kerna, Among those that we see passing by? sable. Il fait du bran de scie qu’il écarte au seuil de of sand. He makes sawdust, which he spreads on Pes esi Vassiliki? Tell me, Royal Lady? sa retraite. Il lime la racine de cette grande herbe the doorstep of his retreat. He files the root of this Pios allos s’ten zonito mas cheri, See, hanging from my belt, propre à le harceler. Il se repose. Puis il remonte sa great weed, to harass it. He rests. Then he winds Xeri na phora na phori pistols and a sharp sabre . . . minuscule montre. A-t-il fini? Est-elle cassée? Il se his tiny watch. Has he finished? Is it broken? He Ketrella na s’agapa! And it is you that I love! repose encore un peu. Il rentre chez lui et ferme sa rests again a little. He goes back into his house and porte. Longtemps il tourne sa clef dans la serrure shuts the door. For a long time he turns the key in % 4 O! gli kia chara mou % 4. Song of the girls picking mastic délicate. Et il écoute: Point d’alarme dehors. Mais il the delicate lock. And he listens: no alarm outside. O! gli kia chara mou O joy of my soul, ne se trouve pas en sûreté. Et comme par une But he does not think he is safe. And as if by a little O! tis kardia parigoria mou, Joy of my heart, chaînette dont la poulie grince, il descend jusqu’au chain with a creaking pulley, he goes down right Tis psychis thisavre, Treasure so dear to me; fond de la terre. On n’entend plus rien. Dans la into the earth. Nothing more is heard. 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™ 3. Chanson à boire ™ 3. Drinking Song Mia zis kali, You that I love ardently, Foin du bâtard, illustre Dame, A fig for the bastard, illustrious Lady, san Aggieloudi. You are more handsome than an angel. Qui pour me perdre à vos doux yeux who to lose me in your sweet eyes O! thisavre mou essi, O when you appear, Dit que l’amour et le vin vieux says that love and old wine san louloudi. Angel so sweet Mettent en deuil mon cœur, mon âme! put my heart in mourning, my soul! Pos s’agapo se la chtaro Before our eyes, Ah! ah! ah! Ah! Ah! Ah! Ise san Aggielos, Like a fair handsome angel, ise san asteri Under the bright sunshine, Je bois I drink Phtochi kordia min pote to chasis. Alas! All our poor hearts sigh! A la joie! to joy. La joie est le seul but Joy is the sole aim ^ 5. Yaroumbi, yaroumbi! ^ 5. All gay! Où je vais droit … lorsque j’ai bu! that I go straight to . . . when I have drunk! Yaroumbi, yaroumbi, roumbi! All gay! Gay, ha, all gay! Ah! ah! ah! la joie! Ah! Ah! Ah! Joy! Echis gamba tik, etik e spasta, Fair legs, tireli, that dance; La … la … la La … la … la Echis gamba ta patiria spasta, Fair legs, the dishes dance, Je bois I drink Vaÿ, vaÿ n’aman! Tra la la la la … A la joie! To joy! Larala … Aman, aman! Foin du jaloux, A fig for the jealous fellow, With thanks to Alexandra Papadjiakou brune maitresse, brown-haired mistress, Qui geind, qui pleure et fait serment who moans, who weeps and swears & Un grand sommeil noir (French) & A great black sleep D’être toujours ce pâle amant always to be this pale lover Paul Verlaine (1844-1896) Paul Verlaine (1844-1896) Qui met de l’eau dans son ivresse! who puts water in his drunkenness! Un grand sommeil noir A great black sleep Ah! ah! ah! Ah! Ah! Ah! Tombe sur ma vie: Falls on my life: Dormez, tout espoir, Sleep, all hope, Je bois I drink Dormez, toute envie! Sleep, all desire! A la joie! to joy! La joie est le seul but Joy is the sole aim Je ne vois plus rien, I see nothing now, Où je vais droit … lorsque j’ai bu! that I go straight to . . . when I have drunk! Je perds la mémoire I lose the memory Ah! ah! ah! la joie! Ah! Ah! Ah! Joy! Du mal et du bien... Of bad and of good . . . La … la … la La … la … la O la triste histoire! O what a sad story! Je bois I drink A la joie! To joy! Je suis un berceau I am a cradle Qu’une main balance Rocked by a hand Au creux d’un caveau: In the hollow of a vault: Silence, silence! Silence, silence!

* Manteau de fleurs (French) * Mantle of Flowers Paul Gravollet (1863-1936) Paul Gravollet (1863-1936) Toutes les fleurs de mon jardin sont roses, All the flowers in my garden are pink, Le rose sied à sa beauté. The rose becomes her beauty. Les primevères sont les premières écloses, The primroses are the first open, Puis viennent les tulipes et les jacinthes roses, Then come the tulips and the pink hyacinths, Les jolis œillets, les si belles roses, The pretty carnations, the roses so fair,

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Toute la variété des fleurs si roses Every kind of flower so pink Don Quichotte à Dulcinée (French) Don Quichotte à Dulcinée Du printemps et de l’été! Of spring and of summer! Paul Morand (1888-1976) Paul Morand (1888-1976) Toutes mes pivoines sont roses, All my peonies are pink, Roses aussi sont mes glaïeuls, Pink too are my gladioli, ) 1. Chanson romanesque ) 1. Romanesque Song Roses mes géraniums; seuls, Pink my geraniums; only, Si vous me disiez que la terre If you told me that the earth Dans tout ce rose un peu troublant, In all this slightly troubling pink, A tant tourner vous offensa, Offended you by turning so much, Les lys ont le droit d’être blancs. The lilies have the right to be white. Je lui dépêcherais Pança: I would despatch Panza there: Vous la verriez fixe et se taire. You would see it fixed and silent. Et quand elle passe au milieu des fleurs And when she passes among the flowers Emperlées de rosée en pleurs, Pearled with tears of dew, Si vous me disiez que l’ennui If you told me that boredom Dans le parfum grisant des roses, In the intoxicating scent of the roses, Vous vient du ciel trop fleuri d’astres, Comes upon you at the sky so flowered with stars, Et sous la caresse des choses And under the caress of things Déchirant les divins cadastres, Tearing apart the divine regions, Toute grâce, amour, pureté! All grace, love, purety! Je faucherais d’un coup la nuit. I would cut down the night in one blow. Les fleurs lui font un manteau rose The flowers make her a pink mantle Dont elle pare sa beauté. With which she adorns her beauty. Si vous me disiez que l’espace If you told me that space Ainsi vidé ne vous plait point, So empty displeased you, ( Si morne! (French) ( So gloomy Chevalier-dieu, la lance au poing, A God-like knight, lance in hand, Emile Verhaeren (1855-1916) Emile Verhaeren (1855-1916) J’étoilerais le vent qui passe. I would fill with stars the passing wind. Se replier sur soi-même, si morne! To withdraw into oneself, so gloomy! Comme un drap lourd, Like a heavy cloth Mais si vous disiez que mon sang But if you said that my blood qu’aucun dessin de fleur n’adorne. that no flower design adorns. Est plus à moi qu’à vous, ma Dame, Was more mine than yours, my Lady, Se replier, s’appesantir et se tasser To withdraw, to grow dull and oppressed Je blémirais dessous le blâme I would grow pale under the reproach Et se toujours, en angles noirs et mats, casser. And always worn out, in black dull corners. Et je mourrais, vous bénissant. And I would die, blessing you. O Dulcinée. O Dulcinea. Si morne! et se toujours interdire l’envie So gloomy! and always to forbid fancy De tailler en drapeaux l’étoffe de sa vie. To trim into flags the stuff of life. ¡ 2. Chanson épique ¡ 2. Epic Song Tapir entre les plis ses mauvaises fureurs To hide among the folds one’s evil rages, Bon Saint Michel qui me donnez loisir Good Saint Michael, who gives me the chance Et ses rancoeurs et ses douleurs et ses erreurs. And bitterness and sorrows and mistakes. De voir ma Dame et de l’entendre, To see my Lady and to hear her, Bon Saint Michel qui me daignez choisir Good Saint Michael who deigns to choose me Ni les frissons soyeux, ni les moires fondantes Neither shimmering silk, nor melting moire Pour lui complaire et la défendre, To please her and defend her, Mais les pointes en soi des épingles ardents. But the pricks of burning pins inside. Bon Saint Michel veuillez descendre Good Saint Michael, come down Oh! le paquet qu’on pousse ou qu’on jette à l’écart, Oh! the load that one pushes or casts to one side, Avec Saint Georges sur l’autel With Saint George to the altar Si morne et lourd, sur un rayon, dans un bazar. So gloomy and heavy, on a stall, in a bazaar. De la Madone au bleu mantel. Of the Madonna in the blue cloak.

Déjà sentir la bouche âcre des moisissures Already to feel the mouth bitter with mustiness D’un rayon du ciel bénissez ma lame With a beam from heaven bless my sword-blade Gluer, et les taches s’étendre en leurs morsures. Sticky, and the marks extending in their bites. Et son égale en pureté And its equal in purety Pourrir, immensément emmaillotté d’ennui; To grow rotten, swathed up in boredom; Et son égale en piété And its equal in piety Être l’ennui qui se replie en de la nuit. To be the boredom that withdraws in the night. Comme en pudeur et chasteté: Ma Dame, As in modesty and chastity, my Lady, (O grand Saint Georges et Saint Michel!) (O great Saint George and Saint Michael!) Tandis que lentement, dans les laines ourdines, While slowly, in the warps of wool, L’ange qui veille sur ma veille, The angel that watches over my vigil, De part en part, mordent les vers des maladies. Through and through bite the verses of illness. Ma douce Dame si pareille My sweet Lady so like A Vous, Madonne au bleu mantel! You, Madonna in the blue cloak!

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des doigts en l’air et désignent la lune. air and point to the moon. Deux mélodies Hébraïques (Trad. Hebrew) Two Hebrew Songs

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! Ronsard à son âme ‡ 2:23 @ Les grands vents venus d’outremer ‡ 2:32 # Sainte ‡ 2:49 $ Sur l’herbe ‡ 2:15 % Rêves † 1:26 ^ Vocalise - étude en forme de habanera † 3:11

Chansons madécasses † 14:08 & Nahandove 5:50 * Aoua! 4:08 ( Il est doux... 4:11 with Vinçen Prat, Flute & Xavier Gagnepain, Cello

Publishers: Durand (tracks 1-5, 8-15 & 17-19); Salabert (tracks 6-7) and Leduc (track 16)

Inva Mula * and Valérie Millot °, Sopranos • Claire Brua †, Mezzo-Soprano Gérard Theruel § and Laurent Naouri ‡ , Baritones • David Abramovitz, Piano 2 CDs 8.554176-77 28 CMYK N

Ravel’s songs effortlessly evoke moods and atmosphere and through his skilled use of AXOS harmony and tone colour create an enchanted world of vivid animal characterisations (Histoires naturelles), sultry eroticism (Chansons madécasses) and child-like wonder (Noël des jouets). This diverse collection, ranging from the early Ballade de la reine morte d’aimer to the three songs of Don Quichotte à Dulcinée (1932-33), encompasses Ravel’s love of natural DDD

8.554176-77 sounds, dance rhythms and folk-song. 8.554176-77 Maurice RAVEL Playing Time RAVEL: (1875-1937) 2:01:57 Songs for Voice and Piano

CD 1 62:13 CD 2 59:43 Voice and Piano Songs for 1 Chanson espagnole 2:26 1-5 Histoires naturelles 18:01 2 Chanson française 2:17 6 Ballade de la reine 3 Chanson écossaise 3:11 morte d’aimer 4:55 4 Chanson italienne 1:16 7 Tripatos 1:43 5 Chanson hébraïque 4:31 8-0 Trois Chansons 6:21 6 Chanson du rouet 5:08 ! Ronsard à son âme 2:23 7 Noël des jouets 3:17 @ Les grands vents venus www.naxos.com Made in Canada or in transliteration with English translations Includes sung texts in the original language Booklet notes in English h 8-9 Deux mélodies hébraïques 6:42 d’outremer 2:32 & 0-! Deux épigrammes de # Sainte 2:49 Clément Marot 4:43 $ Sur l’herbe 2:15 g 2003 HNH International Ltd.

Songs for and Piano Voice @-^ Cinq mélodies % Rêves 1:26 populaires grecques 8:27 ^ Vocalise - étude en forme & Un grand sommeil noir 4:30 de habanera 3:11 * Manteau de fleurs 3:45 &-( Chansons madécasses 14:08 ( Si morne! 4:33 ) ™ RAVEL: - Don Quichotte à Dulcinée 7:29 Inva Mula and Valérie Millot, Sopranos • Claire Brua, Mezzo-Soprano Gérard Theruel and Laurent Naouri, Baritones • David Abramovitz, Piano 8.554176-77 Recorded at L’Abbaye Royale de Fontevraud, France on the 22nd and 31st March and 1st - 2nd April 1997, 3rd April 1998, and 29th May 2000 • Producer: Paul Myers • Engineer / Editor: Roy Emerson A complete track list can be found in the booklet • Booklet Notes: Keith Anderson Cover Picture: Yellow Haystacks - the Harvest by Paul Gauguin (1848-1903)

AXOS (The Art Archive / Musée d'Orsay Paris / Dagli Orti ) N