La Vie Bp Iiib

Home , La statue, Robert Caby, Sophie Wyss

bo IlIa. Phrase (1:06) Cedille Records is a trademark of The Chicago La vie bp IIIb. Antique (1:55) Classical Recording Foundation, a not-for-profit foundation devoted to promoting the finest musicians bq IV. Royauté (1:44) est une and ensembles in the Chicago area. The Chicago br V. Marine (1:02) Classical Recording Foundation’s activities are sup- ported in part by contributions and grants from indi- bs VI. Interlude (2:14) viduals, foundations, corporations, and government bt VII. Being Beauteous (3:48) agencies including the Alphawood Foundation, the parade Chicago Department of Cultural Affairs (CityArts III Patrice Michaels, soprano ck VIII. Parade (2:56) Grant), and the Illinois Arts Council, a state agency. *The Chicago Chamber Musicians cl IX. Départ (1:44) **Czech National Symphony Orchestra / Paul Freeman, conductor Producer: James Ginsburg Germaine Tailleferre* Engineer: Bill Maylone from Chansons du Folklore de France Recorded: Erik Satie (1866–1925) / Easley Blackwood (b. 1933)* cm La pernette se lève (3:21) November 5, 11 & 12, 2000 (with CNSO) 1 La Diva de l’Empire (1904) (2:50) cn Suzon va dire à sa mère (1:13) March 25 & 26, 2002 (with CCM) 2 Je te veux (1901) (5:00) co L’autre jour en m’y promenant (2:22) Photos of Patrice Michaels: cp A Genn’villiers (1:47) McArthur Photography cq Erik Satie / Robert Caby (1905–1992)** Jean de la Réole (1:27) Design: Melanie Germond and Pete Goldlust 3 Le chapelier (from Trois Mélodies de 1916) (0:35) 4 Les anges (from Trois Mélodies de 1886) (1:53) Erik Satie / Robert Caby** Translations: 5 Les fleurs (from Trois Mélodies de 1886) (1:30) cr Tendrement (1902) (3:34) Valeria Sapiain, Shahzore Shah, Jane Ginsburg, and Patrice Michaels 6 Daphénéo (from Trois Mélodies de 1916) (1:08) cs Elégie (1887) (2:33) 7 ct La statue de bronze (from Trois Mélodies de 1916) (1:40) Chanson médiévale (1906) (1:02) P & C 2003 Cedille Records dk Sylvie (from Trois Mélodies de 1886) (2:21) trademark of The Chicago Classical Germaine Tailleferre (1892–1983)* Recording Foundation All Rights Reserved from Chansons du Folklore de France (1952–1955) Darius Milhaud (1892–1974)** 8 En revenant de Nantes (2:24) Quatre Chansons de Ronsard, Op. 223 (1941) 9 Oh, revenez-y toutes (1:10) (10:00) Publishers: bk Mon père toujours me crie (1:30) dl A une fontaine (2:04) Satie/Blackwood: Blackwood Enterprises, Chicago bl Mon père m’a mariée (1:32) dm A Cupidon (3:55) dn Tais-toi, babillarde (1:16) Satie/Caby: Editions Salabert, Paris do Benjamin Britten (1913–1976)** Dieu vous gard’ (2:33) Tailleferre: Gérard Billaudot, Paris Les Illuminations, Op. 18 (1939) (21:30) Britten: Boosey & Hawkes bm I. Fanfare (2:21) Milhaud: Boosey & Hawkes bn II. Villes (2:24) TT: (73:37) fell in love with Milhaud’s music early in my singing life, and was Diva de l’Empire could easily become a privileged to perform these songs with the Montreal Symphony vehicle for a fin du siècle grisette. In the during my first international competition. The Britten setting of La vie latter, however, Satie’s uncompromising compositional integrity helps his listener IRimbaud poems has also challenged and sustained me for some est une focus vividly on the “leetle girl” with the years now. I came to the world of song literature through my pas- mocking smile. In the two waltzes, a pre- sion for theater and my fascination with folk music. The Tailleferre dictable lilt never obscures Satie’s erotic intention and appreciation for his poets’ songs use deceptively simple material the way a master baker ability to surprise. For this recording, makes a baguette: the result appears inevitably natural and tastes parade Notes by Erik Eriksson arrangements of La Diva and Je te veux irresistible. Satie’s songs are an amazing collection of dramatic wit were commissioned from composer Easley Blackwood. and warmth that tie the whole program together the way wine and Satie’s art songs have a bracing directness; spices unify a meal. We might well have titled this disc “La vie Erik Satie (1866–1925): Songs they never dissemble. When the text ends, est un repas,” except that the project really was a parade across Perpetually stimulating for artists of all so does the music. Elegie is an unblinking, continents, involving a legion of artists: we began performing and types, France’s blend of fresh thought sad look backward, not without a certain recording with the Czech National Symphony in Prague and ended and strong tradition is exemplified by Erik theatricality. By contrast, Sylvie is a shy, in Chicago, assisted by the extensive vocal/instrumental archives Satie. Throughout his creative life, Satie adoring paean to a beloved, set over a sought to avoid the inauthentic, the falsely modulating accompaniment moving in cir- of Editions Salabert in Paris. It was a sweet surprise to receive emotional, the unobservant glance at the cular patterns. The art songs were arranged among the Tailleferre scores from Salabert four songs that were commonplace. In artistic circles, Satie was by Robert Caby (1905–1992), a composer (to my knowledge) previously unrecorded. These, of course, joined a peripatetic disturber of the peace. He and ardent admirer of Satie’s music. A is owed a great debt by countless others former classmate of Jean-Paul Sartre, Caby the procession along with the newly made Satie arrangements from (including the group of subsequent French knew Satie for little more than a year, Easley Blackwood, all of which were a thrill for me to premiere with composers known as “Les Six”) who emu- but became a close friend who devotedly The Chicago Chamber Musicians. lated and developed his ideas of harmony, visited the elder composer at Paris’s Saint- melodic line, and musical architecture. Joseph Hospital until Satie’s death on July Performing this wealth of literature with so many great musicians has 1, 1925. For the remainder of his own life, Satie’s music does not order itself into one Caby kept fresh his devotion through the been a wonderful sojourn for me. I hope listening to it will prove equally style. The songs presented here include editing and orchestration of Satie’s works rewarding for you. Bon appetit, and enjoy the parade! three parlor tunes alongside several minia- and by contributing numerous articles to ture art songs. Tendrement and the forth- music journals. Caby employed winds and — Patrice Michaels right, heady Je te veux would be perfectly strings (as does Blackwood) to expand at home in a popular music hall, and La 4 5 upon, yet respect, the brisk simplicity of gem stone. According to soprano Patrice born soprano Sophie Wyss recalled that Long Island), finished the work: the date of the original piano accompaniments. A sub- Michaels, “the simple melodies are under- Britten had shared with her his excitement completion was October 25, 1939. On the tle use of accent instruments (such as the scored, overlaid, and reworked with wonder- in having read Rimbaud’s Les Illuminations following January 30th, Sophie Wyss sang clock-like percussion blocks in Daphénéo fully complex harmonies, neatly and sparely for the first time, declaring “I must put the premiere of the entire work in London, and the harp figures in Les Anges) keeps orchestrated with an ensemble that seems them to music.” accompanied by the Boyd Neel Orchestra. the music buoyant. at times transparent and at times surpris- Almost alone among British critics, Edward Wyss was the work’s dedicatee. She did ingly rich.” These songs offer no oppor- Sackville-West recognized the work’s qual- not possess a particularly sensuous voice tunities for technical display, but rather ity, describing each piece as, “perfectly fin- Germaine Tailleferre (1892–1983): or extraordinary interpretive skills, but was test the singer’s narrative gifts. Variety of ished and original in character.” Critiques Chansons du Folklore de France nonetheless appreciated by many twenti- vocal color is required in songs such as La from other prominent reviewers betrayed eth-century composers as a resolute advo- Groves Dictionary of Music and Musicians, Pernette se lève, where a dialogue between both mistrust of Britten’s musical aims and cate of their music (Rawsthorne, Milhaud, fifth edition, published in 1954, ques- daughter and mother is in play. In these resentment over his accelerating celebrity. Berkeley, and Frank Martin among them). tioned the efficacy of Germaine Tailleferre’s nine songs, life is often hard; pleasures are Britten admired her singing when he heard gifts, describing her talent as “slender.” simple and to be taken whenever opportuni- Britten’s scoring calls for first and second her in a London performance of Milhaud’s Since then, opinions of her work have ty knocks (L’autre jour en m’y promenant). violins, violas, cellos, and double basses. Pan et Syrinx and got to know her when become more favorable, although her Tailleferre’s knowing way of scoring for Solo passages for violin occur throughout she asked him to accompany her in a 1936 music remains too little heard. For one woodwinds is everywhere evident. Whether the work; viola solos are heard in IV, VII, recital of Mahler, Walton, and Britten’s own thing, the composer, a member of “Les plodding, marching, waltzing, or tripping and VIII and a solo cello passage informs song, “The Birds.” Wyss was impressed with Six” (together with Georges Auric, Louis along in 6/8 meter, the instruments propel VI. In IIIb, Britten specifies the balance he Britten’s instinctive approach to music, his Durey, Arthur Honegger, Darius Milhaud, in rhythmic figures as readily as they color wishes, calling for four first violins, three ease in accompanying, and his gift for and Francis Poulenc) completed many the more sustained cadences. violas, three cellos, and two double basses significant works after 1954. For example, extracting a wide range of colors from each (second violins are silent). her 1981 Concerto de la fidélité pour voix orchestral instrument. When Britten, a élevée et orchestre won the 1982 Prix de Benjamin Britten (1913–1976): resolute pacifist, decided to follow Auden Fanfare opens with upper strings sounding la Ville de Paris. She also remained a force Les Illuminations, Op. 18 to America, he left England in May of flurries of arpeggiated fanfares to herald in pedagogy into her eighties. 1939, carrying with him the uncompleted the singer’s imperious announcement: “I Through the friendship and influence of score to Les Illuminations. Wyss introduced alone have the key to this parade.” Next, Tailleferre’s arrangements of popular French W.H. Auden, Benjamin Britten was intro- two of the songs before the full work was over rushing, rustling cadences in the songs transcend the usual genre but never duced to the poetry of Arthur Rimbaud finished. In Birmingham and again at the orchestra, the singer cries, “These are overburden the melodies with orchestra- (1854–1891). Britten described Auden Proms on August 17, 1939, the soprano towns!” Disturbing towns, indeed. Phrase tions or harmonizations that detract from as “a powerful, revolutionary person,” and sang Being Beauteous and Marine. Soon holds some of the blanched, unearthly their vitality. The composer’s work here was deeply affected by the opinions and thereafter, Britten, residing with his partner orchestral timbres Britten was unique in sparkles with the clarity of a perfectly cut attitudes of this writer six years his senior. Peter Pears in the home of Dr. and Mrs. conjuring. The singer rises sinuously to a In 1977 (during a radio broadcast), Swiss- William Mayer in Amityville, New York (on very soft high B-flat, sliding quietly down

6 7 to the B-flat an octave below. In Antique, Darius Milhaud (1892–1974): France. These paled in comparison to the sensual text is limned over the small Quatre Chansons de Ronsard, Op. 223 1941, however, by which time Milhaud had orchestra thrumming in 6/8 time (the fled Nazi-held France to settle in Oakland, Composed in 1941, the Quatre Chansons score indicates “staccatissimo”). Royauté California as a visiting professor at Mills marked Milhaud’s second time setting catches exquisitely the expansive mock College. a group of poems by Pierre de Ronsard solemnity surrounding the couple who (1524–1585). Milhaud wrote the set for One can only marvel at the composer’s would be royalty, wreathing it in swirl- and dedicated it to soprano Lily Pons, ability to set aside personal turmoil and ing vocal figures. In Marine, the sea is the diminutive fellow French artist who, a enter the world of a master poet of the invoked through a suggestive ostinato in decade earlier, captured the hearts of New French Renaissance. Ronsard was a mem- the orchestra and a vocal line sharply York audiences with her sensational debut ber of the Pléiade, convened to replicate accented (marked by eighth-note rests) at the Metropolitan Opera (the first major the purpose and accomplishment of clas- and broken by more flights of ascending house in which Pons sang). As Donizetti’s sical writers. Many composers have been and descending scales. The Interlude that Lucia in that January 3, 1931 debut, attracted to his verse including, from the follows calls to mind the interludes Britten Pons’s gamin charm, crystalline voice, poet’s own lifetime, Anthoine de Bertrand, would compose for Peter Grimes a half and extraordinary vitality instantly won the Orlando de Lassus, Jean de Castro, and decade later. The singer enters at the end hearts of opera enthusiasts. She became François Regnard; from the nineteenth to once more assert, “I alone have the a celebrity from coast to coast, charging century, Georges Bizet, Pauline Viardot, key to this parade, this savage parade.” fees among the highest of her time. At the Jules Massenet, Richard Wagner, Cécile The text of Being Beauteous is graphically Metropolitan Opera, her presence assured Chaminade, and Camille Saint-Saëns; and realized in the music: quivering and moan- large audiences, making her central to that in the twentieth century, Francis Poulenc, ing in the 12/8 sostenuto of the orchestra financially challenged institution’s survival Albert Roussel, Jacques Leguerny, Jacques under a restless vocal line in 4/4 meter. during the decade following the crash of Ibert, Arthur Honegger, Frank Martin, and For the contemptuous lines of Parade, 1929. Pons premiered the Chansons de Ned Rorem. Britten provided a dark accompaniment Ronsard on December 8, 1941 at New in 2/2 meter, under a vocal part that For this group of four songs, Milhaud York’s Waldorf-Astoria Hotel. is near speech in several low-lying pas- designated an orchestra of strings, winds, sages. At the end, “I alone have the key” Milhaud’s first response to Ronsard’s brass, and percussion with the unusual is heard yet again, as the singer finishes verse, Les Amours de Ronsard from 1934, requirement that the second clarinetist with a defiant, sustained “savage parade!” was scored for vocal quartet or chorus also play saxophone in the second and Départ concludes the work as singer and accompanied by small orchestra. With fourth songs. The singer’s tessitura is con- orchestra often move together, sounding the National Socialists developing their sistently, demandingly high. The first song, satiated, spent: “Enough seen — Enough agenda in neighboring Germany, the mid- A une fontaine, is a waltz of champagne had — Enough known.” 1930s were an uncomfortable time in lightness in which the singer evokes the

8 9 1 La Diva de L’Empire The Diva of “The Empire” J’aspire à l’instant précieux I look forward to that precious instant Text: Dominique Bonnaud & Numa Blès Où nous serons heureux; When we will be gripped by joy; Je te veux. I want you. Sous le grand chapeau Greenaway Under the great big Greenaway hat Mettant l’éclat d’un sourire, As she flashes her winning smile, Je n’ai pas de regrets I have no regrets D’un rire charmant et frais Her laugh is charming and fresh Et je n’ai qu’une envie: And only one desire: De baby étonné qui soupire Like a baby who sighs with surprise. Près de toi, là, tout près, To be close to you, there, so close Little girl aux yeux veloutés This little girl with velvety eyes Vivre toute ma vie. For all of my life. C’est la Diva de “l’Empire.” It’s the diva of “The Empire.” Que mon coeur soit le tien Let my heart be thine C’est la rein’ dont s’éprenn’nt les gentlemen She’s the queen who entrances the gentlemen Et ta lèvre la mienne, And your lips mine, Et tous les dandys de Piccadilly. And all the fops of Piccadilly. Que ton corps soit le mien Let your body be mine Et que toute ma chair soit tienne. And all my flesh thine. Dans un seul “yes” elle met tant de douceur She has such a sweet way with a single yes Que tous les snobs en gilets à Coeur That the snobs in their finery, J’ai compris ta détresse, etc… L’accueillant de hourras frénétiques, Welcoming her with frantic hurrahs, Sur la scène lancent des gerbes de fleurs Throw showers of flowers Oui, je vois dans tes yeux Yes, I see in your eyes Sans remarquer le rire narquois Without noticing the mocking smile La divine promesse, The divine promise. De son joli minois. On her pretty little face. Que ton coeur amoureux Let your loving heart Vient chercher ma caresse. Come search out my caresses. Sous le grand chapeau etc… Enlacés pour toujours, Entwined forever Brûlés des mêmes flammes, Burning with identical flames Elle danse, presque automatiquement, She dances, almost automatically, Dans des rêves d’amours In dreams of love Et soulève, aoh! très piordiquement, And lifts — ah! — so coyly, Nous échangerons nos deux âmes. We will exchange our two souls. Ses jolis dessous de fanfreluches; The pretty edges of her undies; De ses jambes montrant le frétillement The quivering of her leg J’ai compris ta détresse, etc… C’est à la fois très très innocent It is at once very, very innocent Et très très excitant. And very, very exciting. 3 Le chapelier The Hatter Sous le grand chapeau etc… Text: René Chalupt

Le chapelier s’étonne de constater The hatter is stunned to notice 2 Je te veux I Want You Que sa montre retarde de trois jours, that his watch is three days slow, Text: Henry Pacory Bien qu’il ait eu soin de la graisser Even though he took care to oil it Toujours avec du beurre de première qualité, Every day with butter of the highest quality, J’ai compris ta détresse, I have understood your distress, Mais il a laissé tomber des miettes But he let bread crumbs Cher amoureux, Dear love, De pain dans les rouages, Fall in the gears, Et je cède à tes voeux, And I give in to your wishes — Et il a beau plonger sa montre dans le thé, And though he might plunge it into the tea, Fais de moi ta maîtresse. Make me your mistress. Ça ne la fera pas avancer davantage. That will not make it work any better. Loin de nous la sagesse, Let us abandon reason, Plus de tristesse, No more sadness, 10 11 4 Les anges The Angels 6 Daphénéo Daphénéo Text: J.P. Contamine de Latour Text: Mimi Godebska

Vêtus de blanc, dans l’azur clair, Clothed in white, in the clear blue sky Dis-moi, Daphénéo, quel est donc cet arbre Tell me Daphénéo, what then, is this tree Laissant déployer leurs longs voiles, Leaving their long veils trailing, Dont les fruits sont des oiseaux qui pleurent? whose fruits are weeping birds? Les anges planent dans l’éther, The angels glide in the ether, Lys flottants parmi les étoiles. Lilies floating among the stars, Cet arbre, Chrysaline, est un oisetier. This tree, Chrysaline, is a bird tree.

Les luths frissonnent sous leurs doigts, The lutes tremble under their fingers Ah! Je croyais que les noisetiers Ah! I thought that hazelnut trees Luths à la divine harmonie. Lutes of the divine harmony Donnaient des noisettes, Daphénéo. bore hazelnuts, Daphénéo. Comme un encens montent leurs voix, Raise their voices like incense Calmes, sous la voûte infinie. Calm, under the infinite heavens. Oui, Chrysaline, les noisetiers donnent des Yes, Chrysaline, hazelnut trees bear hazel- noisettes, nuts, En bas, gronde le flot amer; Below roars the bitter flood; Mais les oisetiers donnent des oiseaux qui but bird trees bear weeping birds. La nuit partout étent ses voiles, The night stretches out its veils everywhere, pleurent. Les anges planent dans l’éther, The angels glide in the ether, Lys flottants parmi les étoiles. Lilies floating among the stars. Ah! . . . Ah! . . .

7 La statue de bronze The Bronze Statue 5 Les fleurs The Flowers Text: Léon-Paul Fargue Text: J.P. Contamine de Latour La grenouille du jeu de tonneau The frog of the barrel game Que j’aime à vous voir, belles fleurs How I love to see you, beautiful flowers, S’ennuie le soir sous la tonelle Is bored in the evening under the arch A l’aube entr’ouvrir vos corollas At dawn opening your flares, Elle en a assez d’être la statue She has had enough of being the statue Quand Iris vous fait de ses pleurs When Iris makes for you from her tears Qui va prononcer un grand mot, le Mot. . . . Who is going to pronounce a great word, De transparentes auréoles Transparent haloes. The Word. . . . Vous savez seules dans nos coeurs Only you know how to evoke Elle aimerait mieux être avec les autres Evoquer une tendre image A tender image in our hearts. She would rather be with the others Qui font des bulles de musique Et par vos suaves couleurs And through your suave colors Who blow bubbles of music Avec le savon de la lune Vous nous parlez un doux langage You speak to us a sweet language. With the soap of the moon Au bord du lavoir mordoré Aussi messagères d’amour Also messengers of love On the bank of the golden brown bath Qu’on voit là-bas luire entre les branches Je vous demande avec tristesse I ask you with sadness That one sees glowing over there between the Pourquoi le sort en un seul jour Why must it be that in one single day branches Vous arrache à notre tendresse Fate tears you from our affection? On lui lance à coeur de journée, une pâture One throws to her in the heart of the day, a de pistols pasture of pistols Qui la traversent sans lui profiter Which cross her without doing her any good Et s’en vont sonner dans les cabinets And go sounding in the cabinets De son pièdestal numéroté Of her numbered pedestal Et le soir les insects couchent dans sa And in the evening, the insects lie in her bouche. mouth. 12 13 8 En revenant de Nantes Returning from Nantes Oh, revenez-y toutes les belles jolies filles Oh, come again all you lovely girls Mondre dedans mon moulin — digueding Grind your grain in my mill — dagadang! En revenant de Nantes Returning from Nantes Car il est en train de mondre. Because the mill is going strong. Il passait par Glisson He passed by Glisson. Diguedon ma dondaine. . . . Digedon my dondan. . . . Elle apporte trois coupes, elle en retourne cinq She brings three cups, returns with five Digueding! La belle y s’endort Dagadang! The darling falls asleep Je m’en fus sur la place I went to the square Au tictac du moulin — digueding! To the ticking of the mill — dagadang! Y avait des marchands And found the merchants. Diguedon. . . . Digedon. . . . Oh, revenez-y toutes. . . . Oh, come again. . . . Ça répondit sa mere, ça revenge donc bien That, her mother says, works out fine. Ne vendaient pas grand chose There wasn’t a lot for sale — Digueding! Le Meunier lui fait dire Dagadang! The miller has sent word that Vendaient des porillons They were selling daffodils. C’est de la bonne en grain — digueding! It’s very good grain — dagadang! Diguedon. . . . Digedon. . . . Oh, revenez-y toutes. . . . Oh, come again. . . . J’en ach’ ta un’ douzaine I bought a dozen Y en eut un quarton There were fourteen in the bunch. bk Diguedon. . . . Digedon. . . . Mon père toujours me crie My Father Always Tells Me Mon père toujours me crie My father always tells me J’savais point où les mettre I didn’t know where to put them — Fille, ne te marie pas. Daughter, don’t ever marry. Je les mis dans mes fonds I put them in my pockets. Tu vivras à l’aise, You will live at leisure, Diguedon. . . . Digedon. . . . Nulle part tu n’feras mieux Nowhere will you fare better Qu’au foyer de ton père. Than at the hearth of your father. Je m’en fus à la danse I went to the dance. Les porillons sautant The daffodils were bouncing. J’nai pas écouté mon père I didn’t listen to my father Diguedon. . . . Digedon. . . . Et je me suis mariée. And I got myself married, Pauvre malheureuse! Woe is me, Je relève les feuilles I pull out the leaves Avec un vieillard jaloux To a jealous old thing De c’qu’il y a dans mes fonds Of the those things in my pockets. Qui toute la nuit ronfle. Who snores all night long. Diguedon. . . . Digedon. . . . Il me mord et il me pince, He bites me and he pinches me, C’étaient point des bêtises It was not nonsense, Et me donn’ des coups de pied, And he kicks me with his feet, C’étaient des porillons It was daffodils. Ce vieux turelure. This old idiot. Diguedon. . . . Digedon. . . . Je l’prendrai pas les cheveux I should take him by the hair Et l’jett’rai par la porte. And throw him out the door.

9 Oh, revenez-y toutes Oh, Come Again Le soir je vais sur la place At night I go to the square Voir danser mes compagnons. To watch my buddies dance. La-bas dans la prairie j’ai fait bater moulin Down by the meadow I start my mill Mon mari y veut, My husband is resentful — Digueding! La première qui vient mondre And the first one to come grind her grain Jaloux de ma joie. Jealous of my pleasure. C’est la fille à Martin — digueding! Is Martin’s girl — dagadang! S’il doit mourrir de ce mal, He should die from this misery, Que c’la ne tarde guère. Not a moment too soon. 14 15 Assemblons nous donc les femmes Lets all of us women unite Les Illuminations Qui avons des maris jaloux; Who have jealous husbands; Text: Arthur Rimbaud Nous les mettrons dans un puits, We’ll throw them down a well, Ces vieill’ barbes grises, Those old greybeards, bm I. Fanfare I. Fanfare Ell’ ne s’aviseront plus So they’ll know better J’ai seul la clef de cette parade sauvage. I alone hold the key to this savage parade. De caresser le filles. Than to touch young girls. bn II. Villes Ce sont des villes! C’est un peuple pour qui se sont montés ces Alleghanys et ces Libans de bl Mon père m’a mariée My Father Has Married Me Off rêve! Des chalets de cristal et de bois se meuvent sur des rails et des poulies invisibles. Les Mon père m’a mariée My father has married me off vieux cratères ceints de colosses et de palmiers de cuivre rugissent mélodieusement dans les A la nouvelle façon In the new fashion feux. . . . Des cortèges de Mabs en robes rousses, opalines, montent des ravines. Là-haut, Le Douaire qu’il me donne The dowry he gives me les pieds dans la cascade et les ronces, les cerfs tettent Diane. Les Bacchantes des banli- Une robe, un cotillon. Is a dress — a petticoat. eues sanglotent et la lune brûle et hurle. Vénus entre dans les cavernes des forgerons et des Boi lan la landre rettola Boi lan la. . . . ermites. Des groupes de beffrois chantent les idées des peuples. Des châteaux bâtis en os Boi lan la de reto. sort la musique inconnue. . . . Le paradis des orages s’effondre. Les sauvages dansent sans cesse la fête de la nuit. . . . Le Douaire qu’il me donne The dowry he gives me Quels bons bras, quelle belle heure me rendront cette région d’où viennent mes sommeils Une robe, un cotillon. Is a dress — a petticoat. et mes moindres mouvements? Et les bas en peau de chévre And the stockings are of goatskin Les son {nouvelle façon.} In this new fashion. II. Towns Boi lan la. . . . Boi lan la. . . . These are towns! It is for the inhabitants of towns that these dream Alleghanies and Lebanons have been raised. Castles of crystal and wood move on rails and invisible pulleys. Old cra- Et les bas en peau de chévre And the stockings are of goatskin ters, encircled with colossal statues and palms of copper, roar melodiously in their fires. . . . Les son {nouvelle facon.} In this new fashion. Corteges of Queen Mabs in robes red and opaline climb the ravines. Up there, their hoofs in Le tablier est de merluche The apron is of catfish the cascades and the briars, the stags give Diana suck. Bacchantes of the suburbs sob, and Et le liens en clematit! And the apron strings of vines! the moon burns and howls. Venus enters the caves of the blacksmiths and hermits. Groups of Boi lan la. . . . Boi lan la. . . . bell-towers sing aloud the ideas of the people. From castles built of bones proceeds unknown music. . . . The paradise of storms collapses. Savages dance unceasingly the Festival of the Le tablier est de merluche The apron is of catfish Night. . . . Et les liens en clematit! And the apron strings of vines! What strong arms, what good hour will restore to me that region from which comes my Le tablier est de merluche The apron is of catfish slumbers and the least of my movements ? Et les liens en clematit! And the apron strings of vines! Boi lan la. . . . Boi lan la. . . . bo IlIa. Phrase Les aiguill’ de la mariée The brides knitting needles J’ai tendu des cordes de clocher à clocher; des guirlandes de fenêtre à fenêtre; des chaînes Un cent de clous à ferrer. Are one hundred horseshoe nails. d’or d’étoile à étoile, et je danse. Les aiguill’ de la mariee The brides knitting needles Un cent de clous à ferrer. Are one hundred horseshoe nails. IIIa. Phrase Boi lan la. . . . Boi lan la. . . . I have hung ropes from bell-tower to bell-tower; garlands from window to window; golden chains from star to star — and I dance.

16 17 bp IIIb. Antique Filent circulairement vers l’est, Towards the pillars of the forest, Gracieux fils de Pan! Autour de ton front couronné de fleurettes et de baies, tes yeux, des Vers les piliers de la forêt, Towards the piles of the jetty, boules précieuses, remuent. Tachées de lie brune, tes joues se creusent. Tes crocs luisent. Vers les fûts de la jetée, Whose angles are jostled by Ta poitrine ressemble à une cithare, des tintements circulent dans tes bras blonds. Ton coeur Dont l’angle est heurté par des whirlpools of light. bat dans ce ventre où dort le double sexe. Promène-toi, la nuit, en mouvant doucement cette tourbillons de lumière. cuisse, cette seconde cuisse et cette jambe de gauche. VI. Interlude IIIb. Antique bs VI. Interlude I alone hold the key to this savage parade. Oh, graceful son of Pan! Thine eyes — those precious globes — glance slowly; thy brow is J’ai seul la clef de cette parade sauvage. crowned with little flowers and berries. Thy hollow cheeks are spotted with brown lees; thy fangs shine. Thy breast resembles a cithara; tinkling sounds run through thy blond arms. Thy heart beats in that womb where sleeps Hermaphrodite. Walk at night, softly moving this thigh, bt VII. Being Beauteous this other thigh, this left leg. Devant une neige, un Etre de Beauté de haute taille. Des sifflements de mort et des cercles de musique sourde font monter, s’élargir et trembler comme un spectre ce corps adoré; des bq IV. Royauté blessures écarlates et noires éclatent dans les chairs superbes. Les couleurs propres de la Un beau matin, chez un peuple fort doux, un homme et une femme superbes criaient sur vie se foncent, dansent, et se dégagent autour de la Vision, sur le chantier. Et les frissons la place publique: “Mes amis, je veux qu’elle soit reine! Je veux être reine!” Elle riait et s’élèvent et grondent, et la saveur forcenée de ces effets se chargeant avec les sifflements tremblait. Il parlait aux amis de révélation, d’épreuve terminée. Ils se pâmaient l’un contre mortels et les rauques musiques que le monde, loin derrière nous, lance sur notre mère de l’autre. beauté, — elle recule, elle se dresse. Oh! nos os sont revêtus d’un nouveau corps amoureux. En effet, ils furent rois toute une matinée, où les tentures carminées se relevèrent sur les maisons, et tout l’après-midi, où ils s’avancèrent du côté des jardins de palmes. O la face cendrée, l’écusson de crin, les bras de cristal! Le canon sur lequel je dois m’abattre à travers la mêlée des arbres et de l’air léger! IV. Royalty On a beautiful morning, in a country inhabited by a mild and gentle people, a splendid man VII. Being Beauteous and woman stood in the public square and cried aloud: “My friends, I want her to be queen! Against a background of snow is a Beautiful Being of majestic stature. Death is all round her, I want to be queen!” She laughed and trembled. He spoke to his friends of a revelation, of a and whistling, dying breaths, and circles of hollow music cause this adored body to rise, to test concluded. Swooningly they leaned one against the other. swell, and to tremble like a spectre. Scarlet and black wounds break out on the superb flesh. Life’s regular colors deepen, dance, and separate themselves around the vision, on the work And during one whole morning, whilst the crimson hangings were displayed on the houses, yard. Shudders rise and mutter, and the mad savour of all these things, heavy with dying and during the whole afternoon, while they advanced towards the palm gardens, they were groans and raucous music, is hurled at our Mother of Beauty by the world far behind us. She indeed royalty. recoils, she stands erect. Oh rapture! Our bones are covered anew with a body of love. V. Marine Ah! The pale ashen face, the mane-like hair, the arms of crystal. And there is the cannon br V. Marine Chariots of silver and of copper upon which I must cast myself through the tangle of trees and light winds. Les chars d’argent et de cuivre, Prows of steel and of silver Les proues d’acier et d’argent, Beat the foam, Battent l’écume, Raise the roots of the brambles. ck VIII. Parade Soulèvent les souches des ronces. The streams of the barren parts Des drôles très solides. Plusieurs ont exploité vos mondes. Sans besoins, et peu pressés de Les courants de la lande, And the immense tracks of the ebb mettre en oeuvre leurs brillantes facultés et leur expérience de vos consciences. Quels hom- Et les ornières immenses du reflux, Flow circularly towards the east, mes mûrs! Des yeux hébétés à la façon de la nuit d’été, rouges et noirs, tricolores, d’acier

18 19 piqué d’étoiles d’or; des facies déformés, plombés, blêmis, incendiés; des enrouements cm La Pernette se lève Pernette Gets Up folâtres! La démarche cruelle des oripeaux! Il y a quelques jeunes! . . . La Pernette se lève Pernette gets up O le plus violent Paradis de la grimace enragée! . . . Chinois, Hottentots, bohémiens, niais, Tra la la la Landerina! Tra la la la Landerina! hyènes, Molochs, vieilles démences, démons sinistres, ils mêlent les tours populaires, mater- La Pernette se lève Pernette gets up nels, avec les poses et les tendresses bestiales. Ils interpréteraient des pièces nouvelles et Deux heures d’avant jour. Two hours before sunrise. des chansons “bonnes filles.” Maîtres jongleurs, ils transforment le lieu et les personnes, et usent de la comédie magnétique. Y prend la quenouillette She takes her little bunch of flax J’ai seul la clef de cette parade sauvage! Son joli petit tour — And her pretty spindle — Tra la la la Landirida! Tra la la Landirida! VIII. Parade A chaqu’ tour qu’elle file With every turn she spins These are very sturdy rogues. Many of them have made use of you and your like. Without Fait un soupir d’amour. She heaves a sigh of love. wants, they are in no hurry to put into action their brilliant faculties and their experience of your consciences. What mature men! Here are sottish eyes out of a midsummer night’s Sa mère lui vient dire Her mother comes to her saying dream—red, black, tricoloured; eyes of steel spotted with golden stars; deformed faces, Pernette qu’avez vous? Pernette, what’s with you? leaden-hued, livid, enflamed; wanton hoarseness. They have the ungainly bearing of rag dolls. Tra la la la Landerina! Tra la la Landerina! There are youths among them. . . . Non pas le mal de tête Not a headache Mais bien le mal d’amour. But surely a heartache. O the most violent Paradise of enraged grimaces. . . . Chinese, Hottentots, gypsies, simple- tons, hyaenas, Molochs, old insanities, sinister demons; they alternate popular or maternal Ne pleurez pas, Pernette, Don’t cry, Pernette, tricks with bestial poses and caresses. They would perform modern plays and songs of a simple Nous vous mariderons. We’ll find you someone to marry. naivety at will. Master jugglers, they transform places and people, and make use of magnetic Vous donnerons un prince We’ll get you a prince comedy. Ou le fils de baron. Or the son of a baron. I alone hold the key to this savage parade! Tra la la la Landerira. Tra la la la Landerira. Je ne veux pas un prince I don’t want a prince Ni le fils d’un baron. Nor the son of a baron. cl IX. Départ Je veux mon ami Pierre I want my dear Pierre Assez vu. La vision s’est rencontrée à tous les airs. Qu’est dedans la prison. Who’s in prison now. Assez eu. Rumeurs des villes, le soir, et au soleil, et toujours. Tu n’auras pas ton Pierre — You won’t have your Pierre — Assez connu. Les arrêts de la vie. — O Rumeurs et Visions! Nous le pendolerons. We will hang him. Départ dans l’affection et le bruit neufs! Tra la la la Landerina. Tra la la la Landerina. IX. Departure Si vous pendolez Pierre If you hang Pierre Enough seen. The vision has been met in all guises. Pendolez nous tous deux Hang us both together Enough heard. Rumours of the town at night, in the sunlight, at all times. Au chemin de Saint-Jacques. On the route to Saint-Jacques. Enough known. Life’s decrees. — Oh Rumours and Visions! Couvrez Pierre de roses Cover Pierre in roses Departure in the midst of new love and new noise! Et moi de mille fleurs. And me with a thousand flowers.

Les pèlerins qui passent The pilgrims who pass En prendont quelque peu When they take a few Diront que Dieu est l’âme Will say that God is the soul Des pauvres amoureux. Of poor lovers. 20 21 cn Suzon va dire à sa mère Suzanne Goes to Say to her Mother N’avons qu’un p’tit bois à passer We must only cross a little wood, Je vous dirai mes volontés. I’ll tell you what I want. Suzon va dire à sa mère Suzanne goes to say to her mother, Quel remède a l’amour? What remedy is there for love? Ils n’en fur’ pas dehors du bois As soon as they came out of the wood Pauvre innocente, (Poor innocent dear) La bell’ se mit à rire. The beauty began to laugh. Maudit soit le mal d’amour Damned be love sickness Qu’avez vous bell’quand vous riez, What makes you laugh, Beauty, Qui tant me tourmente. Which tortures me so. La belle, qui vous fait rire? Beauty, who is it that makes you laugh? Je ris de toi qu’es si amoureux. I’m laughing at you who are so in love. Mais lui rèpondit sa mère So her mother responds D’avoir passé le bois tous les deux Going together through the wood “Le remède a l’amour? “The remedy for love? Tenant ta mie à ton côte With your love at your side, Le remède a l’amour, être vaillante The remedy for love is to be brave. Sans lui avoir rien demandé. You asked nothing of her. Se lever au point du jour To rise at daybreak Et être contente.” And be content.” La belle retournons au bois Beauty, let’s go back to the wood La belle je te donnerai cent livres Beauty, I’ll give you a hundred pounds. Tout cela ne fait pas guère All that doesn’t make at all Oh non au bois je n’irai pas Oh no, I won’t go back to the wood, Un remède à l’amour! A remedy for love! Car les chemins sont des appats. For its paths are a lure. Un remède à l’amour — je suis malade! A remedy for love — I am sick Quand tu tenais la caille au blé When you had the bird in hand, C’est le triste mal d’amour It’s the misery of love Galant, tu devais la plumer. Sir, you should have plucked her. Qui tant me tourmente. Which tortures me so. cp A Genn’villiers In Genn’villiers Ell’ va d’mander à sa tante She goes to ask her aunt, Quel remède a l’amour? What remedy is there for love? A Genn’villiers y a d’si tant belles filles In Genn’villiers there are so many beautiful girls Un galant ferait pour toi A beau will do for you, Y en a t’une si parfaite en beauté But there is one so perfectly beautiful Pauvre innocente Poor innocent dear, Qu’elle a seduit tambours et grenadiers That she has seduced drummers and grena- Oh tu as deviné le mal Oh you have fathomed the misery Qu’elle a seduit… diers Qui tant me tourmente. Which tortures me so. Beau grenadier monte dedans ma chamber Handsome grenadier, come up to my room Nous parlerons d’amour en liberté We will talk about love at leisure co L’autre jour en m’y promenant The Other Day While Strolling Et n’aurons pas besoin de nous cacher. We will not need to hide from others Et n’aurons pas… L’autre jour en m’y promenant The other day while strolling Le long de ce rivage Along the riverbank, Le grenadier monte dedans sa chamber The grenadier went up to her room A mon chemin j’ai rencontré On my path I chanced upon Contre la porte un homme est a pleurer Against the door a man was crying Une bergère aimable A lovely shepherdess. Disant “Mon Dieu, que je suis malheureux.” Saying, “My God, I am so unhappy.” Je lui ai dit: Belle en passant I said to her: passing Beauty, Disant “Mon Dieu…” Causerez vous à votre amant Will you chat with your lover? Ah! J’ai’z aimé une tant belle fille Ah! I have loved a girl of such beauty Si vous l’aimez si tendrement If you love him very tenderly J’ai dépensé mon or et mon argent I have spent my gold and my silver Je vous ferai des compliments. I will shower you with compliments. Sans en avoir en-z-aucun-z ágrement. Without having gotten anything in return

Oh! Oui oh! Oui mon beau monsieur entrez Oh yes, oh my dear sir, welcome, Il dit Bon Dieu, que ma douleur est grande He said Good God, my pain is so great Entrez dans mon rivage Welcome to my riverbank. Et son epée au ventr’ s’y est passée. And pressed his sword against his stomach Entrez y tant que vous voudrez You’re welcome to come as often as you like. Si bien passée qu’il en est trepassé. Pressed so hard that it killed him. 22 23 cq Jean d’la Réole Jean d’la Réole Une douce prière A sweet prayer, Païenne si légère Pagan so light Jean d’la Réole, mon ami, Jean d’la Réole, my friend, C’est votre nom charmant. Is your charming name. Tu as ta femme mal coiffée. Your wife’s hair is a mess. Si je l’avais je la coiffrai If she were mine, I’d do her hair Des roses sont écloses Roses have bloomed Tant la nuit comme le jour Night and day Au jardin de mon cœur, In the garden of my heart, Tant le soir que le matin. Morning and evening. Ces roses d’amour sont moins roses These roses of love are less pink Que vos adorables lèvres en fleur. Than your adorable flowery lips. Jean d’la Réole, mon ami Jean d’la Réole, my friend, De vos mains si cruelles Of your hands so cruel Tu as ta femme mal peignée. Your wife is badly combed. Et dont je suis jaloux, And of which I am jealous, Si je l’avais je la peign’rais If she were mine, I’d comb her Effeuillez les plus belles, Pull off the most beautiful petals, Tant la nuit comme le jour. Night and day. Vous pouvez les cueillir, You can gather them, Si je l’avais je la peign’rais If she were mine, I’d comb her Le jardin est à vous. The garden is yours. Tant le soir que le matin. Morning and evening.

Jean d’la Réole, mon ami Jean d’la Réole, my friend, cs Elégie Elegy Tu as ta femme mal lavée. Your wife is poorly bathed. Text: J.P. Contamine de Latour Si je l’avais je la lavrais If she were mine, I’d bathe her Tant le nuit comme le jour. Night and day. J’ai vu décliner comme un songe, I saw decline like a dream, Si je l’avais je la lavrais If she were mine, I’d bathe her Cruel mensonge! — Cruel lie — Tant le soir que le matin. Morning and evening. Tout mon bonheur. All my happiness. Au lieu de la douce espérance, Instead of sweet hope J’ai la souffrance et la douleur. I have suffering and sadness. cr Tendrement Tenderly Text: Vincent Hyspa Autre fois ma folle jeunesse, In the past, my wild youth Chantait sans cesse D’un amour tendre et pure Of a love tender and pure Sang without end L’hymne d’amour. afin qu’il vous souvienne, So that it remembers you The hymn of love. Mais la chimère caressée, Voici mon cœur, mon cœur tremblant, Here is my heart, my trembling heart, But the pipe dream S’est effacée. Mon pauvre cœur d’enfant My poor childish heart Has been erased. En un seul jour. Et voici, pâle fleur que vous fîtes éclore, And here is, pale flower that you made blossom, In one single day. Mon âme qui se meurt de vous My soul that dies for you J’ai dû souffrir mon long martyre, Et de vos yeux si doux. And for your eyes so sweet. I have had to suffer my long martyrdom Sans le maudire, Without speaking ill of it, Sans soupirer. Mon âme est la chapelle, My soul is the chapel, Without sighing. Le seul remède sur la terre, Où la nuit et le jour Where night and day The only remedy on earth A ma misère, Devant votre grâce immortelle, Before your immortal grace, For my misery Est de pleurer. Prie à deux genoux mon fidèle amour. My faithful love prays on two knees. Is to cry. Dans l’ombre et le mystère, In the shade and mystery Chante amoureusement Sings, lovingly,

24 25 ct Chanson médiévale Medieval Song dl A une fontaine To a Fountain Text: Catulle Mendès Text: Pierre de Ronsard

Comme je m’en retournais de la fontaine As I was returning from the fountain with my Ecoute moi, fontaine vive, Listen to me, lively fountain, avec ma servante maid En qui j’ai rebu si souvent You who quench my thirst so often Un chevalier avec son écuyer passa par le A knight with his horseman passed along the Couché tout plat dessus ta rive, Lying all still above the bank, chemin path Oisif à la fraîcheur du vent; Idle in the fresh breeze; Je ne sais si l’écuyer s’inquiéta de ma I don't know if the horseman bothered about servante, my maid Quand l’été ménager moissonne When the summer gently gathers Mais le chevalier s’arrêta pour me regarder But the knight stopped to take a leisurely Le sein de Cérès dévêtu, The bounty of Ceres's breasts à l’aise look at me, Et l’air par compas résonne And the air resounds in every direction Et il me regarda d’une telle ardeur que je And he looked at me with such ardor that I Gémissant sous le blé battu. With the moaning of the threshed wheat. crus dans ses yeux voir briller son coeur. believed I'd seen his heart shining in his eyes. Ainsi toujours puisses-tu être Then always may you remain En religion à tous ceux A religion for all those Qui te boiront ou fairont paître Who will drink from you or will graze their oxen dk Sylvie Sylvie Tes verts rivages à leurs boeufs; On your green banks; Text: J.P. Contamine de Latour Ainsi toujours la lune claire Then always may the clear moon Elle est si belle, ma Sylvie, She is so beautiful, my Sylvie Voie à minuit au fond d’un val See at midnight at the bottom of the valley Que les anges en sont jaloux. That the angels are jealous of her; Les nymphes, près de ton repaire, The nymphs, close to your hideaway, L’amour sur sa lèvre ravie Love left upon her ravished lip, A mille bonds mener le bal! With a thousand leaps leading the dance! Laissa son baiser le plus doux. The most sweet kiss — dm Ses yeux sont de grandes étoiles, Her eyes are great stars. A Cupidon To Cupid Sa bouche est faite de rubis, Her mouth is made of rubies Text: Pierre de Ronsard Son âme est un zénith sans voiles, Her soul is a zenith without veils. Le jour pousse la nuit The day pursues the night Et son coeur est mon paradis. And her heart is my paradise Et la nuit sombre And the dark night Pousse le jour qui luit Pursues the shining day with a Ses cheveux sont noirs comme l’ombre, Her hair is black like the shade D’une obscure ombre. Dark shadow. Sa voix plus douce que le miel, Her voice sweeter than honey Sa tristesse est une pénombre Her sadness is a half-light L’automne suit l’été, Autumn follows summer Et son sourire un arc en ciel. And her smile a rainbow Et l’âpre rage And the bitter rage Des vents n’a point été Of the winds does not remain Elle est si belle, ma Sylvie. . . . She is so beautiful, my Sylvie. . . . Après l’orage. After the storm.

Mais la fièvre d’amours But the fever of love Qui me tourmente That torments me Demeure en moi toujours Resides within me always Et ne s’alente. And will not subside. 26 27 Ce n’était pas moi, Dieu, It was not me, God of Love, do Dieu vous gard’ God Keep You Qu’il fallait poindre. That you should have pierced. Text: Pierre de Ronsard Ta flêche en d’autre lieu Your arrow should have Se devait joindre. landed in another place. Dieu vous gard’, messagers fidèles God keep you, faithful messengers Du printemps, gentes hirondelles, Of spring, kindly swallows, Poursuis les paresseux Pursue the lazy ones Huppes, coucous, rossignolets, Crested ones, cuckoos, nightingales, Et les amuse, And amuse them, Tourtres, et vous oiseaux sauvages Doves, and you wild birds Mais non pas moi, ni ceux But not me, nor anyone Qui de cent sortes de ramages Who with a hundred kinds of song Qu’aime la Muse. Who loves the Muse. Animez les bois verdelets. Animate the verdant trees.

Dieu vous gard’ belles pâquerettes, God keep you, beautiful daisies, Belles roses belles fleurettes, Beautiful roses beautiful little flowers, dn Tais-toi, babillarde Be Quiet, Babbler! Et vous, boutons jadis connus And you, new buds, who once knew Text: Pierre de Ronsard Du sang d’Ajax et de Narcisse; The blood of Ajax and Narcissus; Et vous, thym, anis et mélisse, And you, thyme, anise, and melissum, Tais-toi, babillarde Arondelle, Be quiet, babbling swallow Vous soyez les bien revenus. May you always bloom again. Ou bien je plumerai ton aile Or the feathers of your wing I'll surely Si je t’empongne, ou d’un couteau Pluck if I grasp you, or with a blade Dieu vous gard’ troupe diaprée God keep you, diaphanous company Je te couperai la languette, I'll cut off the little tongue Des papillons, qui par la prée Of butterflies, who in the meadow Qui matin sans repos caquette That cackles without ceasing in the morning Les douces herbes suçotez; Sip from sweet herbs; Et m’estourdit tout le cerveau. And drives me out of my mind. Et vous, nouvel essaim d’abeilles, And you, new swarm of honeybees, Qui les fleurs jaunes et vermeilles Who kiss the yellow and magenta flowers Je te preste ma cheminée I'll give you my chimney De votre bouche baisotez. With your mouth. Pour chanter toute la journée, For singing all the day, De soir, de nuit, quand tu voudras. The evening, the night, anytime you want. Cent mille fois je resalue A hundred times I reacquaint myself with Mais au matin ne me reveille But in the morning don't wake me Votre belle et douce venue. Your beautiful and gentle arrival. Et ne m’oste quand je sommeille And when I’m sleeping don’t take O que j’aime cette saison Oh how I love this season Ma Cassandre d’entre mes bras. My Cassandra away from my embrace. Et ce doux caquet des rivages, And the sweet babble of the waters. Au prix des vents et des orages It's a reward for the winds and the storms Qui m’enfermaient à la maison. Which kept me shut inside at home.

28 29 oprano Patrice Michaels concertizes extensively, appearing with noted ensembles including the St. Louis, Atlanta, Milwaukee, San Antonio, Phoenix, Czech National, Shanghai, and Omaha Symphonies; the Minnesota Orchestra; Chicago’s SGrant Park Orchestra and Music of the Baroque; the Maryland Handel Festival, Dallas Bach Society, and Los Angeles Master Chorale; the Chicago Baroque Ensemble; and Boston Baroque. Conductors with whom she has collaborated include Robert Shaw, Stanislaw Skrowaczewski, Nicolas McGegan, Joseph Silverstein, Anne Manson, Andrew Parrott, Zdenek Macal, Joanne Falletta, Andreas Delfs, and Viktor Yampolsky.

Ms. Michaels has sung with opera companies throughout North America including Lyric Opera of Chicago, Cleveland Opera, Milwaukee’s Florentine Opera, Tacoma Opera, Colorado’s Central City Opera, Chicago Opera Theater, and The Banff Centre, Canada. She has appeared as recitalist in Japan, Cuba, Belize, Mexico, Venezuela, Barbados, and throughout North America.

Patrice Michaels has made twelve recordings for Chicago-based Cedille Records, including A Vivaldi Concert, Divas of Mozart’s Day, and Songs of the Romantic Age. Her recordings for other labels include Bach’s St. Matthew Passion with Sir Georg Solti and the Chicago Symphony for London Records, Mozart’s Requiem on the Amadis label, Mozart’s C Minor Mass with Chicago’s Music of the Baroque, and The Music of Edward Joseph Collins on the Albany label (forthcoming).

Patrice Michaels is Associate Professor of Opera Theater and Studio Voice at Lawrence University’s Conservatory of Music in Appleton, Wisconsin.

30patrice michaels 31 ow in its 17th season, The Chicago Chamber Musicians (CCM) enjoys an out- standing reputation both for its artistic excellence and for its strong commitment to community service. Since its founding in 1986, CCM has assembled a resident Nensemble of twelve world-class artists who collaborate closely to present a broad spectrum of the chamber music repertoire. CCM has toured nationally, including performances at the Ravinia Festival and the Wolf Trap Center for the Performing Arts, and internationally in Tokyo, Salzburg, and Paris, receiving many repeat engagement invitations. More than 27 million listeners have heard CCM through performances broadcast on WFMT, National Public Radio’s Performance Today, and Minnesota Public Radio. A two-time Chamber Music America / ASCAP winner of the Award for Adventurous Programming for both its Music at the Millennium and Composer Perspective series, CCM has commissioned eleven works from John Harbison, William Russo, Bruce Adolphe, and others, and has further collaborated with composers such as Pierre Boulez, Ellen Taaffe Zwilich, John Corigliano, and Bright Sheng. Mr. Boulez is CCM’s Musical Advisor for contemporary programming.

The members of CCM are current and former members of prestigious ensembles such as the Chicago Symphony Orchestra, Los Angeles and Israel Philharmonics, Chicago Lyric Opera and Paris National Opera Orchestras, Music of the Baroque, Cologne Radio Symphony Orchestra, Orchestre National du Capitole de Toulouse, Muir Quartet, and Los Angeles Piano Quartet. The CCM musicians are on the faculties of Northwestern, DePaul, and Roosevelt Universities. The Chicago String Quartet and the CCM BRASS are ensembles-in-residence with CCM; the Chicago String Quartet is also a resident quartet of the Taos School of Music in New Mexico.

CCM reaches more than 50,000 people annually in Chicago through more than 45 dis- Featured on this recording are CCM member artists Michael Henoch, oboe; Larry Combs, tinctive performance and community programs. With its hallmark combination of artistic clarinet; William Buchman, bassoon; Gail Williams, french horn; Joseph Genualdi and drive and social concern, CCM has enriched the city of Chicago and established itself as Jasmine Lin, violins; Rami Solomonow, viola; Christopher Costanza, cello; Bradley Opland, a national leader in musical performance, education, and outreach. double bass; and guest artists Alison Attar, harp and Fred Selvaggio, percussion. the chicago chamber musicians 32 33 ne of America’s leading conductors, Maestro Paul Freeman became the Founding Music Director of the Chicago Sinfonietta in 1987. He was appointed czech national symphony OMusic Director and chief conductor of the Czech National Symphony Orchestra in Prague in January 1996. From 1979 ounded in the early 1990s by Jan Hasenöhrl and a small group of dedicated musi- to 1989, Maestro Freeman served as Music Director of the cians, the Czech National Symphony Orchestra (under the corporate umbrella of Victoria Symphony in Canada. Prior to that post, he served as ICN-Polyart) has established itself as one of the premiere orchestras of the Czech Principal Guest Conductor of the Helsinki Philharmonic and FRepublic. Its first Music Director was Zdeˇnek Kosˇler, a leading Czech conductor and as Associate Conductor of the Dallas and Detroit Symphonies. former Music Director of the Czech Philharmonic. Since Maestro Paul Freeman was He also served for six years as Music Director of the Opera appointed chief conductor of the Czech National Symphony Orchestra (CNSO) in January Theatre of Rochester, New York. 1996, the musical body has continued to develop under his leadership. He has already recorded 20 CDs with the orchestra and arranged a 1997 UK Tour during which Maestro Maestro Freeman has conducted over 100 orchestras in Freeman shared the podium with the distinguished Czech conductor Libor Peˇsek. 28 countries, including the National Symphony, New York Recently, the CNSO entered into a five-year agreement with IMG Artists Management Philharmonic, Cleveland Orchestra, Chicago Symphony, to tour extensively in Europe, Asia, and North and South America. The CNSO has also London Philharmonic, Royal Philharmonic, Orchestre de la Suisse Romande, collaborated with the conductor Gaetano Delogu, with whom it appeared at the Messino St. Petersburg Philharmonic, Moscow Philharmonic, Warsaw Philharmonic, Berlin Festival in September 2000. Symphony, Tonkünstler Orchester (Vienna), National Orchestra of Mexico, and Israel In addition to these activi- Sinfonietta. ties, there are also several Dr. Freeman received his Ph.D. from the Eastman School of Music and studied on a film music projects under U.S. Fulbright Grant at the Hochschule für Musik in Berlin. He also studied with the way with the Rome agency renowned conductor Pierre Monteux and has received numerous awards including a AMIT, giving the CNSO an top prize in the Mitropoulos International Conducting Competition, and, most recently, opportunity to work with the Mahler Award from the European Union of Arts. With over 200 recordings to his such film composers as credit, Maestro Freeman has won widespread acclaim for his interpretations of classical, Ennio Morricone, F. romantic, and modern repertoire. Recently, he was awarded Doctor of Humane Letters Piersanti, and others. This is degrees from both Dominican and Loyola Universities in Chicago. This is Dr. Freeman’s the orchestra’s sixth record- tenth recording for Cedille. ing with Paul Freeman for paul freeman Cedille Records. 34 Also with Patrice Michaels on Cedille Records www.cedillerecords.org •

Divas of Mozart’s Day The Virtuoso Handel Clearings in the Sky CDR 90000 064 CDR 90000 057 CDR 90000 054 773.989.2515 •

Songs of the Classical Age The World of Lully Menotti: The Medium CDR 90000 049 CDR 90000 043 CDR 90000 034

To be Sung Upon the Water A Vivaldi Concert Songs of the Romantic Age CDR 90000 029 CDR 90000 025 CDR 90000 019 Cedille Records 5255 N. Lakewood Ave Chicago IL 60640 USA