Arr. David Jackson Paul Verlaine
Total Page：16
File Type：pdf, Size：1020Kb
22 Mélodies sur les poèmes de Paul Verlaine (1900-1910) 1. L’heure exquise [2:26] Irène Régine Wieniawska (1879-1932) arr. David Jackson 2. Impression fausse [2:34] Paul Verlaine (1844-1896) 3. Le faune [1:19] 4. Circonspection [3:06] 5. Fantoches [1:17] 6. En sourdine [2:21] Ensemble 1904 7. Brume [1:57] David Jackson director 8. L’attente [2:18] 9. Bruxelles [1:41] David Jackson piano & arrangements 10. Dimanches d’avril [2:57] Jazmin Black-Grollemund soprano 11. Dansons la gigue ! [1:41] Angélique Charlopain violin 12. Andante Languido [6:38] Jérémie Decottignies double bass (extrait de la Sonate pour Violon et Piano) 13. Colombine [2:00] 14. Crépuscule du soir mystique [2:38] 15. Cortège [1:22] 16. Cythère [1:02] 17. Mandoline [1:44] 18. Effet de neige [2:53] 19. Sur l’herbe [2:06] 20. À Clymène [2:07] 21. A poor young Shepherd [2:53] 22. Spleen [2:27] 23. Nous Deux [2:24] About Ensemble 1904: (Donc, ce sera par un clair jour d’été) ‘The complete musician, Jackson is attentive to all the Total playing time [54:05] dimensions of playing [...] Strongly supported by the strings who are equally distributed, Jazmin Black-Grollemund, operatic, uses her superb timbre to support a clear diction and a vast range of nuances.’ La Lettre du Musicien Introduction from her selection of twenty-two poems, ten have only ever been set to music by Poldowski. During their itinerant and cosmopolitan lives, A handful of Poldowski’s mélodies are Poldowski and Verlaine explored and occasionally performed, but never has the celebrated the culture of the European entire catalogue of twenty-two songs been continent. Verlaine’s international exploits recorded, nor has it been possible until now. are well chronicled; less well known are the The handwritten manuscript of Nous Deux travels of our composer, Irène Régine escaped the pillage and destruction of the Wieniawska. Born in Belgium to Polish and apartment of the Jewish pianist (and life-long English parents, she was to study in France, friend of Poldowski) Lazare-Lévy during the and eventually die in London, a British occupation and was only discovered in 2004 subject. Though neither were to meet, the by the musicologist Frédéric Gaussin. collaboration of a poet and composer united by a passion for the musicality of language The question no doubt arises, if her guarantees, in Verlaine’s own words, ‘de la compositions stand out as such fine examples musique avant toute chose’ (music before of French mélodie, why should I feel the everything). need to reimagine them? In rescoring Poldowski’s songs, I am paying homage to a The combination of poverty, wealth, passion, practice Poldowski herself engaged in: she is and grief which both endured didn’t inhibit known to have rescored her songs for small either from becoming celebrated masters of chamber ensembles, though none of these their chosen art forms; a factor perhaps in arrangements survive. My reimagining isn’t part responsible for their early deaths at the intended to offer a superior version of these ages of 52 and 53. However, like so many forgotten songs, but by going above and female composers before and after her, beyond Poldowski’s musical premise, I offer Poldowski would suffer the fate of falling a new perspective. The arrangements take into obscurity. No justification can be given. inspiration from Poldowski’s Sonata for Violin Musicologists acknowledge that Poldowski’s and Piano (the first movement of which Verlaine songs stand as equals to even the features on this disc arranged for trio), yet most celebrated settings of her male at times they are free flights of fancy. The contemporaries. It should not be forgotten diverse instrumentation offers rich extremities that her Verlaine settings outnumber those of tessitura, varieties of colour, overtones of of Fauré, Debussy, and Ravel. Furthermore, jazz, waves of orchestral lyricism, and percussive violence contrasted with moments early age and her first songs were published perform her works at the Proms in the composition, her works can be broadly divided of steady calm. in the 1890s by Schott in Belgium. She moved Queen’s Hall) and Sir Thomas Beecham, who into pre-war and post-war styles. Clearly to London sometime around 1896 and began it is asserted, was interested in producing one influenced by her French contemporaries, We delve more profoundly into her emotions to establish herself as a pianist and composer. of her short operas. She enjoyed a hectic she relishes Ravel’s miniaturist structure, whilst remaining faithful to the intimacy of Her first published works in London, two social life mixing with performers and artists Fauré’s modal harmonic language and her original compositions, so that today songs with piano accompaniment, appeared rather than other composers. However, she Debussy’s genius for word-painting and effects. Poldowski can continue her travels, in 1900, published by Chappell. In 1901 she was friendly with some of her contemporaries Her evolving style is most successfully transporting both musicians and audiences married an aristocrat, Sir Aubrey Dean Paul, such as Roger Quilter, Peter Warlock, and personalised by her uncanny gift for producing to new horizons. Bart. and gave birth to her first son, Aubrey Maude Valerie White. sensitive structural and harmonic responses Donald in 1902. He died in 1904, the same to the poetry she sets. © 2017 David Jackson year the second son Brian was born, and a Poldowski did not have much luck in her life: daughter, Brenda, followed in 1907. During the death of her eldest son, the break-up of Her post-war works, of which only a few are Poldowski this period, it is known that she travelled to her marriage and her disastrous financial songs, reveal a departure from an Paris to study with the composers André situation, combined with poor health, meant ‘impressionistic’ sound world, favouring a more The renaissance of the songs of Poldowski Gédalge and Vincent d’Indy, though no that she had to be resourceful in order to pared-back, neo-classical aesthetic, not unlike brings us closer to this intriguing composer details of the actual study are known. From survive. Like many other women composers, the work of Stravinsky and ‘Les Six’. Her who was a well-known figure in the early 1911 onwards, Roeder and Durand in Paris her name is not particularly well known increasing experimentation with polytonality 1900s in London, Brussels and New York. and subsequently, Chester in London, began today, but in London between 1900 and her and discord discloses a restlessness of sorts, publishing her French songs, mostly settings death in 1932, Poldowski was a very well- a voice in search of direction. While she Poldowski was the pseudonym of Lady Dean of the poetry of Verlaine, with whom she had known personality and was considered to remained forever conservative in terms of Paul, born Irène Régine Wieniawska, a great affinity. In the 1920s Chester published be a successful composer, despite her own her use of rhythm, her melodic style follows youngest daughter of the celebrated violinist some solo piano works, works for violin and misgivings. She expressed disappointment the path of Debussy, particularly in the use and composer, Henryk Wieniawski. She was piano, and clarinet and piano together with in a letter to her publisher, Chester, in 1924 of ‘parlando’ devices. Her harmonic schemes, born in Brussels in 1879 but never knew her some more French songs. It would appear that more of her large-scale works were not though not ground-breaking, often show a famous father due to his early death in 1880. that most of the songs, despite their dates of accepted for publication. Indeed, many of deliberate avoidance of the tonic key and a She was the only sibling to pursue a career publication, were written between 1900 and her works remain unpublished and the daring modulatory design which is dependent in music. As a composer she was largely 1910; they often appeared on concert original scores are missing. However, in on pivot notes. self-taught and she enjoyed a successful programmes and Poldowski was privileged 2003 her Sonata for Violin and Piano was career as a pianist. Some biographical to be personally acquainted with some of finally published in the US; the score had As a talented pianist herself, it is no surprise sources suggest that she studied piano and the leading performers of the day, including lain in the National Library of Poland for that the piano writing is always well-constructed. composition at the Brussels Conservatoire the tenor Gervase Elwes etc. She was also many years. The vocal lines remain mostly within quite a but there are no records to substantiate this. closely associated with Sir Malcolm Sargent, small range, possibly because she liked to She is known to have begun composing at an Sir Henry Wood (who twice invited her to Despite uncertainties about dates of perform her songs herself and according to one music critic of the time, it was not the recordings. The restoration of an article in the appeared in the last ten years and both the graduated from the Conservatoire Supérieur most beautiful of voices! latest edition of the New Grove Dictionary violin music and songs are making their way de Lyon with unanimous first class honours. (having been omitted from the previous into recital programmes. Finally, music She frequently performs with many prestigious These Verlaine settings reveal Poldowski at edition like so many other women composers), history is acknowledging forgotten talents, French orchestras, and is a previous winner her best. A clear affinity for the poetry of this has prompted interest in this fascinating lady, and the work of this remarkable woman is of the Royaume de la Musique Competition, great symbolist, replete with music, colour who sought to combine family life with delighting audiences once again.