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Download Booklet 559136 Hughes bk 17/06/2003 4:03 pm Page 1 de Hughes, le travail de l’auteur commença à attirer encore Hughes était fier de ces collaborations bien que ses davantage de musiciens dont les compositeurs noirs-américains préférences musicales continuèrent à se porter sur le blues et le Margaret Bonds et William Grant Still. On citera, pour mémoire, jazz et, dans les dernières années de sa vie, sur le gospel. Il inventa la mise en musique par Bonds de plusieurs poèmes de Hughes, d’ailleurs le théâtre musical gospel où une intrigue simple relie AMERICAN CLASSICS dont son fameux The Negro Speaks of River (Le Noir parle des entre-eux des gospels émouvants interprétés par d’éminents fleuves) de 1921. William Grant Still collabora avec lui à l’opéra chanteurs. Il connut tant le succès critique que commercial avec Troubled Island, d’après la pièce de Hughes sur la révolution qui des œuvres comme The Prodigal Son et, notamment, Black fut à l’origine de l’avènement de la république noire de Haïti. Nativity. Cette dernière fut peut-être volontairement conçue par L’opéra fut créé en 1949 à New York et reçut des critiques Hughes en réaction au classique de Noël de Gian Carlo Menotti, DREAMER mitigées. Ahmal and the Night Visitors. Les musiciens blancs furent également captivés par les Qu’il s’agisse de formes populaires ou plus exigeantes, tels œuvres de Hughes. La relation la plus étroite qu’entretint Hughes que le jazz ou le répertoire classique, Langston Hughes trouva A Portrait of Langston Hughes en tant que librettiste fut sans doute avec le compositeur immigré l’inspiration dans les œuvres des musiciens. Il s’efforça d’origine allemande, Jan Meyerowitz. Ils conçurent ensemble The d’apprendre et de travailler auprès d’eux dès que l’occasion se Songs by W.G. Still, F. Price, K. Weill and Others Barrier, d’après la pièce de Hughes créée à Broadway en 1935, présentait. Lui-même n’avait qu’une connaissance limitée des Mulatto (Mûlatre), une tragédie qui traite du métissage dans les aspects techniques de la musique : il ne pouvait ni la lire, ni jouer Etats du sud. The Barrier, qui avait d’abord reçut d’excellentes d’un instrument, ni chanter de façon harmonieuse. Cependant, il Darryl Taylor, Tenor • William Warfield, Narrator critiques, connut cependant un échec retentissant à Broadway en adorait la musique et s’enorgueillissait de ce que ses poèmes et 1950. Parmi les autres collaborations entre les deux hommes, il y pièces aient pu inspirer les compositeurs et les interprètes. eut Esther, un opéra inspiré de la Bible qui fut monté à Boston en 1958. Plus tard, Hughes travailla avec David Amram à la cantate Arnold Rampersad Let Us Remember. Commandée pour une convention du Judaïsme Réformé, cette pièce fut créée en 1965 par un chœur de 150 voix Version française : Pierre-Martin Juban accompagné par l’Orchestre Symphonique d’Oakland. From THE COLLECTED POEMS OF LANGSTON HUGHES by Langston Hughes. Copyright h 1994 by The Estate of Langston Hughes. Used by permission of Alfred A. Knopf, a division of Random House, Inc. 8.559136 8 559136 Hughes bk 17/06/2003 4:03 pm Page 3 Langston Hughes and Music The composer Elie Siegmeister once declared of Langston African-American composers such as Margaret Bonds and Musikkritik erfolgreich. Das Musical Black Nativity, in dem Musik Bescheid, er konnte keine Noten lesen, spielte kein Hughes (1902-1967) that he was the “most musical poet of the William Grant Still. Bonds set to music several of Hughes’s Christus als Schwarzer geboren wird, war möglicherweise von Instrument und konnte auch nicht besonders gut singen. Aber er twentieth century”. True or false, this judgement underscores the poems, including his signature piece from 1921, The Negro Hughes bewusst als Gegenstück zu Gian Carlo Menottis liebte die Musik über alles, und er war sehr stolz auf die unquestionable facts that much of Hughes’s poetry lends itself Speaks of Rivers. William Grant Still collaborated with him on Weihnachts-Klassiker Amahl and the Night Visitors konzipiert Faszination, die seine Gedichte und Theaterstücke auf Musiker fairly readily to musical setting, and that, for Hughes, music was the opera Troubled Island, based on a play by Hughes about the worden. und Interpreten ausübten. perhaps the primary inspiration, other than the history and culture revolution that led to the foundation of the black republic of Ob Unterhaltungsmusik oder anspruchsvollere Formen des of African-Americans in general, for his writing. Haiti. The opera had its première, to mixed reviews, in 1949 in Jazz und der klassischen Musik - Langston Hughes wurde von Arnold Rampersad In the early 1920s, before the blossoming of the Harlem New York City. Musikern und ihrer Arbeit inspiriert, ihm lag viel daran, von Renaissance, the young poet turned away from traditional verse White musicians also found Hughes’s words compelling. ihnen zu lernen und mit ihnen zusammenzuarbeiten, wann immer Deutsche Fassung: Tilo Kittel and boldly linked his literary art to jazz and the blues. His first Perhaps Hughes’s closest relationship as a librettist was with the er konnte. Er selbst wusste wenig über die theoretische Seite der volume of verse, appropriately enough, was The Weary Blues German-born immigrant composer Jan Meyerowitz. Together (1926). The result of this fusion was a new kind of poetry that they worked on The Barrier, based on Hughes’s 1935 Broadway formed the foundation of Hughes’s later literary career and play Mulatto, a tragedy on the theme of miscegenation in the inspired eventually a new approach to writing by African- South. The Barrier enjoyed excellent reviews but then failed Americans. However, also starting in the 1920s, Hughes lovingly miserably on Broadway in 1950. Other collaborations between created a body of lyrical poems that appealed consistently to the two men include the opera Esther, inspired by the Bible, musicians both white and black, and led to the composition of art which was first performed in 1958 in Boston. Later, Hughes songs, cantatas, and even operas. This breadth of interest and joined David Amram to produce their cantata Let Us Remember. Langston Hughes et la Musique appeal was typical of Langston Hughes. Commissioned for a convention of Reformed Judaism, the piece Born in 1902 in Joplin, Missouri, Hughes grew up in was first performed in 1965 by a 150-voice chorus and the Oakland Le compositeur Elie Siegmeister déclara un jour que Langston entre 1916 et 1920, il publia des poèmes et des nouvelles. Au Lawrence, Kansas. He spent a year in Lincoln, Illinois, and then Symphony Orchestra. Hughes (1902-1967) était « le poète le plus musical du vingtième cours des années vingt, il se rendit au Mexique, à New York (où il attended high school in Cleveland, Ohio. In high school, between Hughes was proud of these collaborations even though his siècle ». Quelque soit la valeur de cette affirmation, celle-ci traduit étudia brièvement à l’Université de Columbia), en Afrique, en 1916 and 1920, he published verse and short stories. In the 1920s main interest in music remained tied to the blues and jazz and, in le fait qu’une grande partie de la poésie de Hughes se prête France et en Italie. A New York, il devint l’un des chefs de file de he lived in or travelled to Mexico, New York City (where he the last years of his life, gospel. He virtually invented the gospel volontiers à une mise en musique et que, pour l’écrivain, la la Renaissance de Harlem grâce à deux recueils de poésies, un briefly attended Columbia University), Africa, France, and Italy. musical play, in which a limited story-line links performances of musique était sans doute sa première source d’inspiration en roman (Not Without Laughter [Non sans rire], 1930) et un essai, In New York, he helped to lead the Harlem Renaissance with two stirring gospel songs by accomplished singers. He enjoyed dehors de la culture et de l’histoire afro-américaines. The Negro Artist and the Racial Mountain (1926), qui devint le books of verse, a novel, Not Without Laughter (1930), and an critical as well as commercial success with works such as The Dès le début des années vingt, avant que ne se développe le manifeste des jeunes écrivains noirs. essay, The Negro Artist and the Racial Mountain (1926), that Prodigal Son and, especially, Black Nativity. The latter was mouvement de la Renaissance de Harlem, le jeune auteur se Durant les années trente, s’engageant politiquement à became the manifesto of the younger black writers. perhaps conceived by Hughes as a deliberate counterpart to Gian détourna de la poésie traditionnelle pour rattacher son art au jazz l’extrême gauche, il passa une année en Union Soviétique au In the 1930s, swinging far to the left politically, he spent a Carlo Menotti’s own Christmas classic, Amahl and the Night et au blues. Son premier recueil de poésie s’intitula d’ailleurs The moment où sa poésie abandonna le lyrisme au profit d’une year in the Soviet Union as his poetry shifted away from lyricism Visitors. Weary Blues (Le Blues du désespoir) (1926). Cette fusion aboutit à propagande incitant au réveil de la conscience de classe et à la to propagandistic forms urging class consciousness and From popular forms to the more demanding jazz and une nouvelle forme de poésie qui posa les fondations de la future révolution. Toutefois, lors de la Seconde Guerre mondiale, Hughes revolution. With the onset of World War II, however, Hughes classical repertoires, Langston Hughes found inspiration in the carrière littéraire de Hughes puis inspira aux noirs-américains une soutint avec patriotisme l’effort de guerre et revint à ses thèmes de patriotically supported the war effort and his poetry returned to work of musicians.
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