Jeanne Di1rc Au Bucher a Collaboration Between Arthur Honegger and Paul Claudel

Home , Antigone (Honegger), Arthur Honegger

· ...... JEANNE DI1RC AU BUCHER A COLLABORATION BETWEEN ARTHUR HONEGGER AND PAUL CLAUDEL

by Stephanie Henry

This article coincides with the Her stunning beauty, one of her most Scheherazade (1910), Debussy's Le 100th anniversary of Honegger's valuable assets, was legendary among Martyre de St. Sebastien (1911), birth, March 19, 1892. those who knew her; in 1909 Serge Ravefs Bolero and La Valse (1928, Diaghilev was so taken by her 1929), Milhaud's Les Choephores HAT! ... ANOTHER engaging stage presence and (1935), and Honegger's Jeanne d'Arc Joan of Arc? No, I won't breathtaking beauty that he au Bucher (1935). do it! With this immediately signed her on with his It was Rubinstein who, after seeing unequivocal reply, Ballet Russe. (The fact that she a spectacular mystery play production Paul Claudel at the Sorbonne directed by musi dismissed Ida cologist and friend Gustave Rubinstein~s Cohen, came up with the idea commission for a for a feu populaire (popular play) play about Saint Joan and about Joan of Arc. She convened hastily boarded his train to a meeting between herself, Brussels. l And so began one of Cohen, and Honegger in order to the most intriguing musical formulate ideas about a collaborations in the history of production along similar lines the oratorio. Jeanne d'Arc au that would meet all her specifica Bucher (Joan of Arc at the tions, one of which was a priori: Stake) - commission by Ida she would play the title role. This Rubinstein, book by Paul had many ramifications. For Claudel, and music by Arthur instance, the principal role in Honegger - is a true Jeanne au Bucher is, notably, a collaboration in every sense of spoken one. This is because the word. Rubinstein could not only not The history of this oratorio dance, she could not sing either. (" dramatic oratorio" in the (Even in Scene 10, where Joan collected works) begins with Ida sings short phrases of the Rubinstein (1885-1960) prior to Trimazo song, a provision is the encounter described above. made for the actress to mouth the The Russian-born actress was words if necessary while a chorus destined to playa major role in member sings.) Additionally, her the Parisian cultural scene mediocre acting skills led to the during the early decades of the creation of a scenario in which twentieth century. She was the character Joan remains bound intelligent, talented, and to her stake at center stage for extremely wealthy, using her couldn't dance didn't seem to the duration of the work. Here is a considerable iDfluence and status as a matter.) Self-confident, extremely classic case of a work conceived from patroness of the arts to showcase persuasive, and highly articulate, its earliest stages in accordance with many of her own creative fantasies. Rubinstein was the sole inspiration the artistic capacities (in this case, behind some of the twentieth limitations) of one for whom it is Henry teaches choral music at the century's best-known stage collabora written. University of California at Los Angeles. tions, among them Rimsky-Korsakov's However, during the initial plan-

March 1992 Page 7 ning stages, after Honegger finally historical integrity. These qualities unacceptable to the poet. As he saw agreed to write the music, the main would playa seminal role in the it, history had already documented concern was to find a suitable success of the collaboration, which the evidence surrounding her arrest, librettist. Darius Milhaud, a friend ultimately took place. conviction, and posthumous and associate of Rubinstein, had By the time Rubinstein approached acquittal, thereby precluding any recommended Paul Claudel with Claudel, he was convinced that need for fictionalizing. He shared a whom both had previously collab nothing new could possibly be added similar view during the writing of Le orated. Rubinstein, however, was to the already well-documented Livre de Christophe Colomb in 1928 reluctant to ask Claudel on this legacy of St. Joan. There was a (music by Darius Milhaud), and in a occasion, due to what she thought plethora of literary works published letter to friend Arthur Hoeree we was lack of interest in a work she had find further clarification: proposed to him a month earlier. Instead, she engaged the services of Joan of Arc is an official heroine an unnamed but distinguished who spoke, and whose words, woman of letters. This anonymous [Claudel] was reading [the remembered by all, cannot be librettist suggested replacing poem he wrote about subject to too free a Honegger when irreconcilable transcription. It's difficult to differences between the two loan] to us and I felt one establish an historical personage threatened to undermine the project. in a fictional frame. 5 At this point Rubinstein sent Milhaud of the great emotions of in search of Claudel, whose negative my career, because I That ClaudeI's fidelity to historic reply to the commission seemed to perspective took precedence over his confirm her reservations. His brusque beUeve that rarely has a creative tendencies is difficult to response (quoted at the beginning of musician received so rich a believe (although his deep-seated this article), was not prompted, religious convictions were highly however, by any aesthetic differences support in the realization influential). But in view of the fact between him and Rubinstein, but of a score. that this commission would rather by his keen sense of artistic ultimately stand in the shadow of the propriety and his total reverence for rest of his monumental oeuvre, ClaudeI's concerns appear to be slightly exaggerated. 6 on the life and martyrdom of the The fact that Claudel the poet felt celebrated saint, some dating from as very strongly about the arguments he far back as the 15th century.2 Indeed, raised in defense of his position a translation of the original accounts cannot be denied. Having reached from Joan's 1431 trial and 1456 the apex of his career, he could afford rehabilitation sat on the public to be selective and self-indulgent. But shelves of the Bibliotheque Nationale in the final analysis, it was Claudel for all to read.3 Claudel, too, had the Christian who reversed his contributed to this vast catalog with position and accepted the task which two plays of his own that dealt suddenly took on a decidedly personal peripherally with the heroic maid - aspect. According to his own account, L'Annonce faite a Marie and L'Otage after making his intentions known in ( 1911). From an artistic perspective, response to Rubinstein's commission, Joan's universal popularity, especially he had a vision of such impact that among French Catholics, was also he instantly changed his mind and troubling to Claudel for reasons he immediately set to work on the THE TALE OF THE outlined in his memoires: libretto. RINGS OF POWER I have never liked the idea of I saw clasped hands making the Text by J. R. R. Tolkien Music by Thomas Peterson taking a great person as the sign of the cross and, imme Thomas Peterson's SO-minute musical subject for a piece, becauSe the diately after, the complete saga based on Tolkien's Lord of the Rings author feels restricted by a libretto of Jeanne au BUcher and The Silmarillion. For narrator, boy situation too well-known to give was, so to speak, thrust upon sopranos, soloists, chorus and orchestra. him sufficient freedom of me. On the whole I write pretty 4 Info., scores, and rentals: movement. slowly, whereas the libretto of Jeanne au BUcher was written Cynthian II!!I The long-awaited canonization of in a few days.7 Publications lfJ Joan of Arc in 1920 definitely placed 1301 No. 4th St. Fargo, ND 5S102 her in this "great person" category It was important to understand that (701) 2S0-2009 and automatically rendered any in writing the poem for the subjective enhancement of her story Rubinstein commission, Claudel was

PageS CHORAL JOURNAL also embarking upon a mission to stressed, suggesting musical which only words could convey preserve and strengthen his own enhancement to the sensitive ear. the fierce exaltation of the faith. The poem took him 14 days to Further evidence of the value characters. 13 complete, at which time he posted a associated with this unique aspect of letter to Darius Milhaud: "My dear ClaudeI's artistry is supplied in Paul ClaudeI's literary output was Milhaud, would you tell Ida remarks made by the composer about prolific and included a variety of Rubinstein that I am coming to see the oratorio Dans la mort (1938): idioms - theater, lyric poetry, and her on the 16th at three. I will bring prose - his theater works being the her Jeanne au Bucher completely I urged him [Claudel] to read best known. In the collected works, finished."8 and to reread the poem to me, Jeanne au Bucher is classified as to give me all the necessary poetry, but it was conceived as a Jeanne au Bucher was the first of indications, so that I might fully staged musical theatre piece many successful collaborations more closely realize his thought. with costumes and scenery.14 His between Claudel, the French poet That had been so precious to theatrical world was all laureate, and Honegger, the Swiss me in Joan oj Arc that I didn't encompassing, combining his interest born composer, and many of the want to neglect this in speech and expression with such features that would become contribution. 12 aspects of production as scenic design, hallmarks of their collaborative style staging, acting technique, dancing, emerged in this work. Characteristic Milhaud recalled the following in and film. He frequently took of this style was the influence Claudel conjunction with the Les Choephores initiative in designing his own mise exerted over musical considerations. (1915): en scene, and regularly attended There are few precedents in Western rehearsals of his works in progress. music for the symbiotic-like exchange He [Claudel] talked of "Les He was conversant in all media, that occurred during the creation of Choephores," on which he was incorporating into his scripts dance, this opera-oratorio, as it was referred then engaged and concerning cinematic technique, and of course, to in its initial stages. which he held very decided musicY In ClaudeI's vision of total In his book I am a Composer, opinions about the kind of theater, music played a significant Honegger discredited the widely-held musical accompaniment role, functioning strictly as a vehicle notion that Jeanne au Bucher was his required. He described scenes to for textual expression. In this sense, it own: "ClaudeI's contribution was so me in which the text became so played a dominant role, supporting great that I hardly see myself as the intensely lyrical that it called the text, imposing rhythm upon it, or real author, but as a humble collab for musical expression; others in sometimes helping speech along into orator."9 "All the musical atmosphere stems from the text. Its score is established and the composer in fact has only to let himself be guided in order to get on with the job."lO In the commemorative Hommage a Paul Claudel, Honegger reminisced about working with Claudel, whose sensitivity to the lyric qualities of the text was not only a great source of inspiration but, judging from the following observation, rather out of the ordinary:

Two weeks later, [Claudel] was * A camp entirely dedicated to the art of Choral Singingl reading [the poem he wrote * A camp staffed by the finest Choral Educatorsl about Joan] to us and I felt one * A camp that offers a wide range of choral activities: of the great emotions of my festival chorus, small ensembles, theory, accompanying career, because I believe that rarely has a musician received classes, conducting, jazz groups, talent show and more .. so rich a support in the * A camp with outstanding recreational facilities: realizatiori'of a score. Moreover, pool, golf, tennis, gym, free weights and ice skating the indications that Claudel was giving me orally made the work For more Information contact clear and I would almost say Jim Ankney, Shattuck-SI. Mary's School easy. 11 P.O. Box 218,1000 Shumway Avenue Faribault, MN 55021 These "oral indications" manifested 507-334-6466 themselves during recitation, where the lyrical content of the words was

March 1992 Page9 song. To his way of thinking, the Prologue [I] ideal integration would be for music so#o VOCI! to spring" . . . from poetry as poetry " springs from prose, and prose from Ten.~ 11_" "' ...... _. • _.-.....p silence and the formless mutterings of Te-ne - bres Te- ne - bres the mind."16 This metamorphosis " Gn:atdark ness Great dark ness so#o VOCI! - - from speech into song, intangible on . the page, is precisely the phenomenon B~. ~ - .-." described by Honegger and Milhaud Te- ne - bres Te-ne - bres in their sessions with Claudel. Great dark - ness! Great dark - ness! The organic theory of the "evolution" of words into music is Prologue [IV]

SOPRANO SOLO ~ ~.SU$O~J fJ J J ~J j J. The relationship between Du fond de I'englou- tis- sement j'ai e - le- ve mon a- me vers roi Seigneur Ah __ the sound and meaning of From out thl! Jeep fIJ thee I cry. fIJ Thee I lift my souL 0 Lord Sa~ viour Ah- the words and their ultimate melodic and each word rather than the familiar thoroughly outlined in the preface to structural elements of rhythm and his opera Antigone (1927) and rhythmic configuration is rhyme. This sonic emphasis had its became the focus of subsequent roots in the fin de siecle works of inquiry: an organic one. Mallarme and the French Symbolists, who cultivated a high regard for the I sought a rhythmical scheme as power of music and tried to exploit closely as possible akin to the the musicality of the spoken word in melodic plasticity of the French implicit in Claudel's unconventional their writings. word; hence my declamation poetic style, the essence of which is The enthusiasm with which has physiognomy very different derived from its substance rather than Honegger embraced Claudel's from all that has heretofore its form. Claudel dispensed with the philosophy merely reflected his own been done in dramatic music. I7 standard poetic format of Alexandrine sensitivity for what he termed the meter (twelve syllables of six iambics "plasticity" of the word. By the time In other words, Honegger allowed or short/long combinations, with a the composer met Claudel, he had the lyric or plastic qualities of the pause after the third iambic) and long since established his own criteria words to suggest a melodic shape to favored instead a freer, more for setting text to music: Cantique de him, not the other way around. expressive style, known as vers Paques (1918), Le Roi David (1923), By working backwards and Claudelien. The style exploited the Judith (1926), and Oris du monde examining some of the musical phonic and syntactical potential of (1931). These criteria were settings from Jeanne au Bucher, we see first-hand how Honegger constructed the lines based on this theory of inherent lyricism. As these examples help illustrate, the Kodaly Center of America relationship between the sound and 15 Denton Road, Wellesley, MA 02181-9614 meaning of the words and their (617) 235-8784 or 332-2680 ultimate melodic and rhythmic configuration is an organic one. A CHORAL MATERIALS second look at the excerpts reveals of outstanding quality & proven effectiveness another concern of no small for children's, college and church choirs importance to conductors: language. It does not take much experi New and Recent Titles in the KCA Choral Series mentation to discover that, although • The Snowflakes Fall SSAA - high school the translation provided is excellent, • Five Songs on Haiku Texts SA & Piano - middle school the English does not declaim in the • I Heard the Bells SA & SATE w/4-hand, organ or orch. acc. same way Honegger intended. The music is indisputably wedded to its Visit the KCA Booth. Attend our Choral Reading Session at French text. the OAKE Convention, Norman, OK, April 2-5. From the standpoint of melodic call or write for the 1992 catalogue and rhythmic construction, then, it is clear what the nature of some of Claudel's musical contributions to

Page 10 CHORAL JOURNAL Prologue [VII] II y eut une fille appelee Scene 7 finds Joan lost in childhood Jeanne! memories from the days when she In France thtml Wtu a girl whose name wtu Joan! first heard her infamous voices calling 1\ I ~ L ~ r.-. her to battle. It is clear from the text - that this is a flashback. Joan recollects fI.I ~ain des u- ni- cor - nes Sau-v~us E:ii F~is Is- chy- ros_ aloud the sounds of the voices singing power of the u - nicoms Save us an E-ti For- tis Is- chy - ros_ to her, as well as the chiming of bells

1\ I to.. r.-. from the church tower near her - - home. She remembers mounting her fI.I ~ain des u- ni- cor - nes Sau- v;;:'ous ill Fo:ris Is- chy- ros_ horse, riding to the King, and power of the u- nicoms Save us an E-Ii For- tis Is- chy - ros_ escorting him back in triumph to his 1\ I ~ r.-. coronation at Rheims. Underneath - - the scene, in which Joan speaks, are ~~ ~ain des u- ni- cor - nes Sau~us E:'n F~is Is- chy- ros_ the shouts of her recollections - the power of the u - nicoms Save us ali E-ti For-tis Is- chy - ros_ din and clatter of a military procession grows louder and louder, lib)) fIL fIL • ~fIL;' f:. .~ q~~ ~- ~~~ r.-. coupled with the wild pealing of bells and the voices of her saints, the main des u- ni- cor - nes Sau- ve- nous E-n For-tis Is- chy- ros_ whole gradually increasing in volume power of the u - nicoms Save us ali E-ti For-tis Is - chy - ros_ and intensity to a huge climax as the procession enters the cathedral. The Scene 11 [92] effect is stunning. And except for p semprt! Joan's monologue, there is no visible ~ evidence - sets or scene changes - ~ (Tr-Ur r J I k(( qr r=j f r I brBe ~ r to show the listener what is happening. There is only the score. Lou - e_ soit no- tre fre - re Ie feu_ qui est sa - ge fort The music is analogous to a scenic Now praue_ be to our bra - ther the fire- that has wis - dam, strength, backdrop, a cinematic flashback, or a radio drama. It literally floods the stage with light, painting with sound Jeanne d'Arc au Bucher were, and the word, music is at the same time a that which is not available for the how they were implemented by the byproduct of the drama. In the case eyes to see. It was no accident that composer. A change in focus brings of Jeanne au Bucher, evidence of this Honegger was highly sensitized to this us to another level of understanding principle can be found in every scene. type of composition; throughout his in the genesis of this work - A description of one scene in career he composed regularly for both Claudefs philosophic orientation to particular will suffice. film and radio. the role of music in drama. Claudel was acutely aware that mere speech, no matter how well-modulated, Some of the courses you might take to camp lete the couldn't always render his poetry 4-Summer Master's Degree adequately effective. Something more was needed to enhance in Music Education communication. In the following -Technology for Music Educators, Peter Webster excerpt from his talk on Jeanne d'Arc ·Psychology of Music Teaching and Learning, Peter Webster au Bucher given at its 1938 Basle ·Choral Methods for Secondary School premiere, Claudel addressed this Performance Classes, Mary Alice Stollak issue: ·Paradigms and Processes of Research. Donald Casey The voices [Le., music] under -Seminar in Instrumental Music ...... illtlllition the story, under the action, are important to hear. Music creates the atmosphere, it is the music that intensifies the rhythm, it is the music which opens the heart, it is the music that impregnates the speech with feeling and thought, it is music that speaks and music also that listens. is The rhetoric may be lofty but the point is clear. Just as music enhances the drama through its application to

March 1992 Page11 ! Much of ClaudeI's thinking about the dramatic idioms of Noh and thunder. This single hollow numerous aspects of theater, Kabuki; and in one of his sound repeated . . . louder and particularly the role played by music, commentaries on the theater, he oftener until the moment when was shaped and influenced by what made this observation: the terrible apparition for which he saw in Japan. Described by many we have been waiting comes to as an incurable mystic, Claudel The Japanese theatre has solved freeze our blood, is enough, immersed himself in the exotic perfectly the problem of music without orchestra or score, to mysticism of the Orient during his in the theatre. It must never put us in the right frame of stay there from 1921-27. Living in compete with the action or mind.21 Tokyo on diplomatic assignment, he alternate with it, like an item in became intimately acquainted with a concert, but act as This, of course, is precisely what intermediary between play and Honegger succeeded in accomplishing audience. There are a few notes in Jeanne au Bucher. on the shamisen to attract or What, exactly, led to the mutual relax the attention . . . . There understanding between composer and are a few sudden strokes of the poet in the process of determining the gong to herald violent episodes, nature and degree of musical or else solemn ones . . . or a great thundering when called for. Sometimes there is a plaintive flute, and the whole is MUSIC OF carried out freely and almost Music creates the ROBERT A. HARRIS instinctively. 19 atmosphere, it is the music All for SATB unaccompanied Contrary to 20th-century Western that intensifies the rhythm, chorus unless otherwise tradition, music in the theater of the specified. Noh and Kabuki was used by the it is the music which opens dramatist solely for the purpose of the heart, it is the music GO DOWN MOSES enhancing the drama, not the other (385799-5) $1.50 way around. Music was conceived that impregnates the Soprano and tenor soloists organically as part of the story speech with feeling and THE LAMB development. This was the ideal 385797-9) $1.00 Claudel tried to preserve in his own thought, it is music that SSAA unaccompanied choir productions. In his searing polemic speaks and music also that against Richard Wagner, "Le Poison OH, HOW CAN I KEEP FROM Wagnerien," Claudel used the listens. SINGING German's Gesamtkunstwerk approach (385793-6) $.80 to the music drama as a basis for hostile comparison, accusing him of REJOICE, YE PURE IN HEART dramatic exploitation at the hands of (385798-7) $1.00 over-indulgent musical artistry.20 application is not known. However, New! In a broader sense then, music, like there is evidence to suggest that TOW ELIZABETHAN LYRICS costuming, scenery, and physical Claudel dictated instructions to (385856-8) $5.00 gesture, had to playa reinforcing or Honegger for each of the oratorid s 11 SATB chorus and chamber suggestive role, functioning on behalf scenes. (The Prologue was appended orchestra or piano of the drama rather than as an entity to the score in 1944 as a gesture of 1. The Passionate Shepherd in itself. One gets a real sense of this hope for national unity in France.) to his Love musical application principle from ClaudeI's instructions for Scene 1, 2. The Nymph's Reply ClaudeI's description of a scene from recalled numerous times by the to the Shepherd a Kabuki play: composer in interviews and articles, went as follows: Music is available at all fine music stores. Special Ofter! Good through The atmosphere is heavy with April 30, 1992. We will send three foreboding. Someone is coming. The voices of the sky: one hears titles from the above list with our Something is going to happen. a dog howling in the night. compliments. Send this It is a situation which in Europe Once, twice. The second time advertisement to Dept. CHL would provide work for the the orchestra joins in with a whole orchestra. In Japan there kind of sob or sinister laugh. __...... rtII' Music Department is simply a little yellow man The third time, the choirs. perched on a platform . . . and Then silence. Then the voices of OXFORD UNIVERSITY PRESS, INC. in front of him a large drum the night in the forest to which 200 MADISON AVENUE, NEW YORK, NY 10016 which his job is to bang. He is is added, perhaps, very feebly, the man in charge of the Trimazo's song and a clear

Page 12 CHORAL JOURNAL impression of a nightingale. In conclusion, there appears to be stances surrounding its poetic origins,· Then silence and a few bars of considerable evidence to support the its unusual collaborative aspects, and painful meditation. Then again, idea that, although Honegger did its conception as a fully staged, the choir humming. Crescendo. indeed compose the score to Jeanne costumed opera-oratorio, it becomes Diminuendo. Then the distinct d'Arc au Bucher, the responsibility again the dynamic, inspirational, and voices: "Joan, Joan, Joanl"22 for many of its aspects - decla rewarding work of art it was always mation, voicing, format, melodic meant to be. The brevity of this single example, configuration, and even orchestration unfortunate in that it is the only one - was shared by Claudel. In light of to have been recorded, does not in the poet's totalitarian concept of any way diminish its validity relative theater and his fascination with the Bibliography to a study of Honegger's principles of the Japanese dramatic 23 Aprahamian, Felix. "Honegger's Joan." compositional process. Other idiom, it is not surprising that his Music and Musiciam 19 (February documentation supports the notion creative instincts extended into the 1971): 20-21. that Claudefs descriptions provided a realm of music. He moved in artistic Bancroft, David. "Claudel on Wagner." very real framework for Honegger as circles that included writers, actors, Music and Letters 50 (1969): 439-52. he approached composition of the and musicians; he not only Claudel, Paul. "Sur Jeanne au Bucher." score. understood the power of "abstract" Cahier de Poesie. Les Cahiers du Of central importance to music over the human psyche, he was Rhone II. Neufchatel: Eds. de la Honegger's constructional keenly aware of its dramatic potential Baconniere, 1942. methodology was the concept of as well. His musical contributions to __. "Modern Drama and Music." Yale edifice or scaffolding - a scenario of Jeanne au Bucher, conceptual and Review 20 (September 1930): 94-106. DeCossart, Michael. Ida Rubimtein. sorts. This was a significant factor in specific alike, remain as much a part Great Britain: Liverpool University determining the ultimate shape and of this oratorio's history and genesis as Press, 1987. character of a piece, and according to does Honegger's score. In the ongoing Honegger, Arthur. I am a Composer. Honegger, a fact that lent cohesion. search for truth in the arts, the study London: Faber & Faber, Ltd., 1966. In discussing his approach to of indigenous forces that helped shape __. "Collaboration avec Paul Claudel." symphonic composition, he stated: art and give it relevance outside the Nouvelle Revue Fran<;ais (September purview of its medium is essential to 1955): 556-559. I experience great difficulty in an understanding and evaluation of __. "Quand j'ecrivais Jeanne au determining the frame for my its subsequent application. On a Bucher." L'Opera de Paris (hiver work ... one must give the superficial level Jeanne d'Arc au 1950-51). Laverty, Moya. "'Jeanne d'Arc au impression of a composition in Bucher appears anachronistic, Bucher' and its place in the work of which all is linked, the image of cliched, and perhaps altogether Claudel." Claudel: A Reappraisal, a predetermined structure. 24 irrelevant to today's audiences. But Richard Griffiths ed. London: Rapp put in the context of the circum- and Whiting, 1968. Collaborative works, such as works done in conjunction with a text, or film, for example, provided him with SOME VERY SPECIAL WORKSHOPS sufficient framework and scaffolding for musical cohesion: • Medical Problems of Musicians Alice Brandfonbrener, M.D. As far as I am concerned, symphonic works give me much June 23 - July 10, 1992 trouble . . . they demand an effort at sustained reflection. On e Workshop in Choral Studies the contrary, as soon as I can refer to a literary or visual Robert A. Harris pretext, my work becomes June 23 - July much easier . . . . When the scenario of a ballet or a film is submitted to me . . . I very quickly imagine the appropr~ate music for such and such a passage.25

Clearly, Claudefs expressively wrought recitations and colorful musical descriptions were of incalculable assistance to Honegger during the composition of this oratorio.

March 1992 Page13 Milhaud, Darius. Notes Without Music. 5Felix Aprahamian, "Honegger's Joan," Translated by Donald Evans and Music and Musicians 19 (February 1971): Arthur Ogden, Edited by Rollo H. 20-21. Mayers and Hubbert Weinstock. New "To the best of my knowledge, the only York: Alfred A. Knopf, 1953. critical analysis of Claudel's Jeanne au Bucher poem is Moya Laverty's" 'Jeanne d'Arc au Petit, Jacques, and Kempf, Jean-Pierre, Bucher' and its place in the work of Claudel," eds. Claudel on the Theatre. published in Claudel: A Reappraisal, ed. by Translated by Christina Trollope. Richard Griffiths (London: Rapp and Whiting Coral Gables: University of Miami 1968). ' Press, 1972. 7Michael DeCossart, Ida Rubinstein, Spratt, Geoffrey. The Music of Arthur Liverpool Historic Studies, no. 2 (Great Honegger. Cork: Cork University Britain: Liverpool University Press, 1987), Press, 1987. pp. 189-90. Here the complete description of this vision can be found. Notes BAprahamian, "Honegger's Joan," p. 20. • SUPERB SOUND REPRODUCTION IDarius Milhaud, Notes Without Music, "Arthur Honegger, I am a Composer • NO MINIMUM QUANTITIES (London: Faber & Faber, LTD, 1966), p. 110. trans. by Donald Evans and Arthur Ogden, ed. • PERSONALIZED SERVICE 10 Marcel Landowski, Honegger, cited in by Rollo H. Myers and Hubbert Weinstock • FAST, ON TIME DELIVERY Geoffrey Spratt, The Music of Arthur (New York: Alfred A. Knopf, 1953), p. 251. AT COMPETITIVE PRICES Honegger (Cork: Cork University Press, 1987), Milhaud acted as Rubinstein's emissary in this p.255. Bauer Audio offers a complete service in cas mission. sette duplication, from mastering to labeling. 11 Arthur Honegger, "Collaboration avec 2In her 1971 book Joan of Arc in History, Utilizing state-of-the-art equipment, Bauer pro Paul Claudel," Nouvelle revue jranrais du.ces audiophile quality that is unmatched at any Legend, and Literature (Oslo: Universitets price. Request FREE SAMPLE TAPE and experi (Numero special, September 1955): 557. forlaget), Ingvald Raknem has compiled an 12 Ibid., p. 558. ence the difference. exhaustive list of literary works on Joan of Arc 13 Milhaud, Notes Without Music, p. 44. dating from 1581. 14 The original set designs and costume 3Claudel freely availed himself of these sketches for the Paris premiere in 1950 are by accounts out of personal interest, but they are Yves Bonnat, and are housed in the collection also the source of many of the names and of the Paris Bibliotheque de 1'0pera. events found in the oratorio. 15 For his production of Christophe Colomb, 'Published in Memoires improvises de Paul 8840 Valiean Ave./Sepulveda, CA 91343 cinematic images were actually projected on a Claudel, cited in Michael deCossart, Ida Visitors by appointment only screen visible to the audience throughout the Rubinstein, Liverpool Historic Studies, no. 2 For information call performance. (Great Britain: Liverpool University Press, 1 627-7277 10 Jacques Petit and Jean-Pierre Kempf, 1987), p. 189. Claudel on the Theatre, trans. Christine Trollope (Coral Gables: University of Miami Press, 1972), p. xvii. 17 Honegger, I am a Composer, p. 96. 18 Paul Claudel, "Sur Jeanne d'Arc," Cahier de Poesie (Neufchatel: Eds. de la Baconniere 1942), p. 36. (My translation) , I" Petit and Kempf, Claudel on the Theatre, p.60. 2" David Bancroft, "Claudel on Wagner" Music and Letters 50 (1969): 439-52. ' 21 Paul Claudel, "Modern Drama and Music," cited by Petit and Kempf, Claudelon the Theatre, p. 83-84. 22 Honegger, quoted in Spratt, Music of Arthur Honegger, pp. 255. 23 P~cale Honegger confirmed the follOwing to me III a letter: " ... you will find, sadly, nothing special in the correspondence between Claudel and Honegger. Everything was decided in conversation between the two men who lived in the same city." - July 1989 2' Honegger, I am a Composer, pp. 78-79. • Perfonn abroad at unique locations. 25 Ibid., p. 81. IiIJ • 35 years of international experience. • Careful attention to detail. Need Choral Director with knowledge • Custom itineraries, festivals, of sacred musical repertoire to competitions, exchanges, and home stays. prepare and conduct adult and children choir, provide vocal and technical training to cantors, plan A superior value! INTERNATIONAL music for liturgical seasons and CONCERT make musical arrangements to 'adapt Call today for more TOURS sacred music to modern concepts. infonnation A WORLD OF MUSIC Master of Music, 40 hours & $477.00 per week, 9:00 a.m. - 4:00 p.m., SEND 1·800·227 ·2966 RESUME TO: Job Service of Florida 701 SW 27th Avenue, Room 15' Miami, Florida 33135. Ref.: Job Orde; Fax 1-215-861-7791 ·528 North New Street, Bethleheql, Pennsylvania N°: FL0539516.

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