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

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