Orpheus Chamber Orchestra with Benita Valente, Soprano Department of Music, University of Richmond

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3-17-1998 Orpheus Chamber Orchestra with Benita Valente, soprano Department of Music, University of Richmond

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This Program is brought to you for free and open access by the Music at UR Scholarship Repository. It has been accepted for inclusion in Music Department Concert Programs by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. March 17, 1998 at 8pm Modlin Center for the Arts Camp Concert Hall Booker Hall of Music

Orpheus Chamber Orchestra

with Benita Valente, soprano

This concert was made possible, in part, by public funds from the National Endowment for the Arts and the New York State Council on the Arts.

Benita Valente is represented by Janice Mayer and Associates, Inc.

Benita Valente records for ARS Nova, BMG, Dandide, Centaur, Columbia, concerto Digital Classics/Grabacion, CRI, ERATO, Etcetera, Harmonia Mundi, INSYLNC, MusicMasters, MCA Classics, Pantheon, Pro Arte, RCA, SONY Classical, Telarc and Virgin Classics Records.

Orpheus records for Deutsche Grammophon and Nonesuch.

Orpheus is represented by Frank Salomon Associates. Orpheus Chamber Orchestra with Benita Valente, soprano

VIOLIN CELLO Ronnie Bauch Annabelle Hoffman Nicolas Danielson Zvi Plesser Liang Ping How Jonathan Spitz Joanna Jenner ReneeJolles BASS Felicia Moye Gail Kruvand Richard Rood [ Eriko Sato HARPSICHORD Mitchell Stern Dongsok Shin Ad VIOLA Din David Cerutti Din Sarah Clarke Mat Jenny Douglass Ted Nardo Poy Op€ Arti Hm: Piar Orpheus Chamber Orchestra, Inc. Stuc

Stuci Julian Fifer, Founder and President Jonathan Ankney, Director of Finance Stuc Norma Hurlburt, Executive Vice President Valerie Guy, Director of Operations Harvey Seitzer, Director of Development Lori Harnes, Operations Assistant Erika Rauer, Development Assistant Marina Siniscalco, Special Projects Mgr. Stud Michael Schulman, Development Assistant Kyler Brown, Subscription Manager

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Chai Board of Directors Chai Chai Th Edmund H. Sutton, Chairman Barbara A Katzander George Braun Jane Kitselman PleasE John Brim Jay Langner tors eJ Gonzalo de Las Heras Mary K. Villa witho Daniel Gersen Zena Wiener ited. l Jerry Gladstein Jack Yamauchi Werner Kramarsky, Emeritus Late< --

Tonight's Program

ORPHEUS with Benita Valente, soprano

TELEMANN Suite from Don Quixote Overture The Awakening of Quixote His Attack on the Windmills Sighs of love for the Princess Alcine Sancho Panza Being Swindled Rosinante Galloping The Gallop of Sancho Panza's Mule Don Quixote at Rest

BRITTEN "Les Illuminations" for soprano and orchestra, Op. 18 Fanfare: Maestoso Villes: Allegro energico Phrase: Lento ed estatico Antique: Allegretto, un poco mosso Royaute: Allegro maestoso Marine: Allegro con brio Interlude: Moderato ma comodo Being Beauteous: Lento ma comodo Parade: Alla marcia Depart: Largo mesto Benita Valente, soprano

INTERMISSION

PIAZZOLLA Four for Tango

BARTOK Divertimento Allegro non troppo MoltoAdagio Allegro assai I"'

Tonight's Program

ORPHEUS with Benita Valente, soprano

INTERMISSION

PIAZZOLLA Four for Tango

BARTOK Divertimento Allegro non troppo Molto Adagio Allegro assai About the Artists

Orpheus Chamber Orchestra

Orpheus, one of the world's proach to the study and performance foremost chamber orchestras, per of this repertoire by bringing to the forms without a conductor. Central orchestral setting the chamber music to the annual musical season of the principles of personal involvement 26-member orchestra is the series of and mutual respect. Orpheus is a concerts at home in New York at self-governing organization; the Carnegie Hall, several recordings players demand of one another a and national and international tours high level of personal and musical that have by now included perfor responsibility, and they rotate the mances in nearly 300 cities in 39 seating positions to give each player countries. the opportunity to lead a section. Orpheus was founded in New Together they make the interpretive York City in 1972 by cellist Julian decisions that are ordinarily the work Fifer and a group of fellow musicians of a conductor. They also choose the who aspired to perform chamber repertoire and create the programs, orchestral repertoire as chamber and they continually study and re music-through their own close col fine their rehearsal techniques. laborative efforts, and without a con Central to the distinctive person ductor. Orpheus developed its ap- ality of Orpheus is their unusual process of sharing and rotating leader Prokofiev, Copland and Stravinsky. ship roles. For every work, the mem During the 1997-98 season bers of the orchestra determine the Orpheus's international touring in concertmaster and the principal cludes appearances in Paris, London, players for each section. These play Rome, Prague, Venice, Amsterdam, ers constitute the core group, whose Frankfurt and Vienna. Highlights of role is to form the initial concept of U.S. touring include Boston, New the piece and to shape the rehearsal York, Washington, D.C., Chicago, process. In the final rehearsals, all Atlanta and San Francisco. Recent members of the orchestra participate recording releases include a new in refining the interpretation and ex French disc, Pavane, featuring works ecution, with members taking turns of Ravel, Satie, and Faure, Mozart listening from the auditorium for Symphonies Nos. 29, 33 and 40, and balance, blend, articulation, dynamic the complete Concerti Grossi, Op. 6 range and clarity of expression. And of Handel. in recording sessions, everyone crowds into the production booth to listen to the initial playbacks. Mem bers of Orpheus, who have received recognition for solo, chamber music and orchestral performances, bring a diversity of musical experience to the orchestra, which constantly en riches and nurtures the musical growth of the ensemble. Of the 17 string and nine wind players who compose the basic membership of Orpheus, many also hold teaching positions at prominent conservato ries and universities in the New York and New England areas, including The Juilliard School, Manhattan School of Music, Mannes College of Music, Columbia University and Yale University. Benita Valente Orpheus has recorded exten sively for Deutsche Grammophon. The distinguished American so Included in the catalogue of over 40 prano Benita Valente is one of this recordings are several Haydn sym era's most cherished musical artists. phonies and Mozart serenades, the An internationally celebrated inter complete Mozart wind concertos preter of lieder, chamber music and with Orpheus members as soloists, oratorio, she is equally acclaimed for romantic works by Dvorak, Grieg her performances on the operatic and Tchaikovsky and a number of stage. Her keen musicianship en twentieth-century classics by Bart6k, compasses an astounding array of styles, from the Baroque of Bach and with The Juilliard String Quartet. Handel to the varied idioms of Her celebrated collaboration with today's leading composers. mezzo Tatiana Troyanos is recorded As a participant in the presti on the MusicMasters recording, gious Marlboro Festival, her perfor Handel and Mozart Arias and Duets. mances and recor9-ings with the leg The soprano may also be heard on endary pianist Rudolf Serkin won the Virgin Classics recording Love great renown. Other major instru Songs and Lullabies with baritone Tho mental collaborators have included mas Allen and guitarist Sharon Isbin. the Guarneri and Juilliard String Her most recent recordings include Quartets, cellist Yo-Yo Ma, clarinet Vaughan Williams' A Sea Symphony ist Richard Stoltzman and pianists with Thomas Allen and Leonard Emanuel Ax, Leon Fleisher, David Slatkin conducting the Philharmonia Golub, Richard Goode, Lee Luvisi, Orchestra (BMC), the Pergolesi Stabat Cynthia Rann and Peter Serkin. mater as arranged by Bach with the Benita Valente has been sought American Bach Soloists, Jeffrey Tho as an orchestral soloist by every great mas, conductor (Koch) and a record conductor of the last two decades, ing of Faure and Debussy songs with including Abbado, Barenboim, pianist Lydia Artymiw (Centaur/ Bernardi, Bernstein, Comissiona, Harmonia Mund). Conlon, de Waart, Eschenbach, Harnoncourt, Kubelik, Leinsdorf, Leppard, Levine, Masur, McGegan, Muti, Ozawa, Rudel, Shaw and Tennstedt. With these conductors she has appeared with every great symphony in the United States, Canada and Europe. Jl:tl.CUSTOM The operatic stage has figured prominently in Ms. Valente's career. vrgCATERING Her Metropolitan Opera debut as and SPECIAL EVENTS Pamina in Die Zauberflote was fol lowed by numerous other produc tions, and she has since performed a number of other roles with the com CYNTHIA F. ROSE Director of Catering pany, recently appearing as the Countess in Le nozze di Figaro. Ms. Valente has been recorded Home of by no fewer than 17 recording com MATHEW' s CAF-ELI panies. She received a Grammy 2129 STAPLES MILL ROAD Award for her Columbia recording of Schoenberg's Quartet No. 2 and a RICHMOND, VIRGINIA 23230 804/358-177 4 804/358-1320 Grammy nomination for her SONY Classical recording of Haydn's Seven FAX 804/358-0311 Last Words of Christ, both performed

I Notes on the Program

by Carl Cunningham, 1998

Georg Phillip Telemann (1671-1767) reared. It opens with a standard Suite from Don Quixote French baroque overture, descended from the operatic overtures fostered Regrettably, Georg Philipp by Jean Baptiste Lully at the close of Telemann is the least known or appre the 17th-century. The starchy ciated among the great masters of the rhythms of its opening Adagio give High Baroque. His life span exceeded way to a jocular fugue, interspersed those of his better known contempo with many charming duets in the raries, J. S. Bach, Handel, Domenico segments between its fugal state Scarlatti, Rameau and Vivaldi, and the ments. Like the French-style over volume, variety and general quality of tures in numerous stage works and his musical output merits far greater suites by Handel, this one is ex attention than it is accorded by the panded from its basic slow-fast two musical community today. part form to a three-part design that Telemann touched upon the tale includes a return of the angular mu of Cervantes' addled old knight twice sic heard in the opening section. The during his long career as a composer. descriptive dances and airs that fol His first setting resulted in the present low give evidence of Telemann's wit suite, estimated to have been composed and skill at portraying a character or about 1715-1720. His second setting episode from Cervantes' tale. The was a one-act comic opera, Don Quixote soft air titled The Awakening ofQuixote at the Wedding of Camacho, done at the is characterized by an unusual, jerky ripe (and, we hope, not quixotic) age rhythm suggesting the stiff old of 80 when the composer collaborated knight may have hobbled out of bed with a librettist 60 years his junior to in the morning. His Attack on the produce a stage piece that allegedly Windmills is marked by short run gained quick popularity. There is no ning figures, while Sighs of love for the relationship between the two works, Princess Alcine makes use of the though the suite does have a fine over drooping two-note sighing figures so ture and many charming dance pieces, common to descriptive music of the which might have filled out the string Baroque and early Classical eras. of arias and duets that make up the little Snapping rhythms and little running opera (or "serenata," as it is precisely flourishes depict Quixote's squire, classified). Sancho Panza being Swindled. The The lighthearted Don Quixote dances associated with their two Suite reminds us that the mature steeds are most humorous Telemann was, above all, a modern Quixote's swaybacked horse, ist, whose esthetic leanings em Rosinante, is set forth in a cantering braced the newer, simpler Italianate 6/8 galop, while Sancho Panza's pre-classical style of, say, Pergolesi, bucking, kicking mule seems to as much as the Germanic baroque bounce in a tight, stubborn circle. tradition in which he had been The suite concludes with Don Quixote pitching his tent for the night teous," the most famous song in the out on the Spanish plain. cycle, brought a dedication to Pears. Britten's unerring compositional Benjamin Britten (1913-1976) talent reveals itself in every song of Les Illuminations, Op. 18 this cycle, even at his youthful age of 26. Word, tone and rhythm come While the bulk of Benjamin together gracefully and with impec Britten's song cycles are set to English cable taste. And if Britten was indeed poetry, his setting of nine poems trying to free himself from British from Arthur Rimbaud's Les Illumina vocal traditions, some of these songs tions was the first of four cycles em suggest an affinity for the manner ploying other languages. Britten isms of continental European song scholar Peter Evans suggests this composers. The breathless pace of might have been a conscious effort the hard-edged "Villes" and the gaily to free himself from a dependence marching "Royaute" bring to mind upon native poets, especially since the patter-song pace of a Poulenc much of the cycle was composed song, while the quiet resignation of during the time Britten contem the closing "Depart" echoes the sad, plated and actually began his three reflective quality of a typical apo year trip abroad, traveling with his theosis by Richard Strauss. In his companion, tenor Peter Pears, in the preface to the vocal score, commen United States and Canada. Britten tator Edward Sackville West notes encountered Rimbaud's symbolist that Rimbaud's verbal images are so poems in 1938 and completed them elusive as to defy meaningful defi in October, 1939, about six months nition. Given that inherent condi after he arrived in America. The tion, the expressive tone of Britten's entire cycle was dedicated to soprano music provides as much interpreta Sophie Wyss, who sang many of tion as the listener might hope to Britten's early song cycles, including glean from these poems. the premiere of Les Illuminations in On the instrumental side of the Janumy 1940. Individual poems in ledger, Britten's choice of a pure the cycle are dedicated to others string sound cushions the vocal line close to Britten; the plaintive "Inter with a gleaming orchestral texture, lude" dividing the cycle bears the paralleling the verbal imagery of the initials of Elizabeth Mayer, an emi title. And the string orchestra is de grant from Munich who provided ployed with real variety and virtu lodging for Britten and Pears during osity, from its trumpet-like accompa their stay in Long Island, N.Y. The niment in the opening "Fanfare" to beguiling, seductive "Antique" is the galloping, accompaniment of dedicated to Wolfgang ("Wulff") "Villes," the diaphanous harmonics Scherchen, son of the famed German in "Phrase," the duetting voice of a conductor, with whom Britten solo violin in"Antiques" and the thin formed a bond five years earlier at bass-line accompaniment that is an ISCM festival in Florence. The eventually distilled from the texture l passionate imagery of "Being Beau- of "Parade." j Astor Piazzolla (1921-1992) From this point onward, Four, For Tango Piazzolla seems to have enjoyed his greatest successes composing for While it only takes two to chamber-sized ensembles from five tango, Argentinian composer Astor to nine performers- always in Piazzolla decided it would take four cluding the bandone6n, of course. for the tango on tonight's program. While Four, For Tango has only the This work, published in 1989, was pure sound of strings, it reflects the originally composed as a string dry, unsentimental distillation quartet and can be heard on the Piazzolla achieved in his later tan Kronos Quartet album, Winter was gos. Indeed, the special effects Hard. Orpheus performs it in a called for in the musical score make string-orchestra version. it look and sound like a typical Known as the man who revived Bart6k string quartet. interest in the tango and trans Piazzolla calls for three types of formed it in the second half of the glissandi (sliding effects) on the 20th century, Piazzolla was born in strings, all performed with whip Argentina but lived most of his like intensity and evaporating in a early life in the Bronx, according to silvery string harmonic. The very biographer Shawn Koppenhoefer. first glissando, heard in the fourth During his childhood, he mastered measure of the piece, involves a the difficult fingering system in four-note chord divided between volved in playing the bandone6n, the two violin parts, sliding upward a melancholy-sounding Argentin over an entire measure. Toward the ian version of an accordion devel end of the piece, this is transformed oped in Germany during the 19th into a longer slide, done while the century. bow executes a trembling tremolo Piazzolla's career began in the on the upward-bound chord. A mid-1930s as a performer in tango much shorter, whipping glissando is orchestras headed by leading Ar employed numerous times gentinian musicians Carlos Gardel throughout the piece. and Anibal Tr6ilos. In the mid- The composer also calls for 1940s, he formed his own band, en drumming effects, achieved by larging his tango arrangements to plucking the strings, playing symphonic proportions and adding scratchy-sounding noises behind new percussion colors. Following the bridge in an effect aptly called studies in Paris with Nadia "sand paper," and tapping the Boulanger in 1954, he returned to thumb on the underside of the in Buenos Aires to instill the tango strument to simulate the sound of with new influences from modern a conga or bongo drum. classical music and jazz, sometimes The harmonic idiom in Four, For arousing violent reactions from fans Tango is also quite Bart6kian and, of the traditional tango against while the rhythm is quite synco these transformations of their be pated, its sophistication is a far cry loved dance form. from what a couple would expect to hear from the middle of a dance and nine beats to the bar. It is a be floor. guiling melody, whose tonality of F is tinted with inflections of two Bela Bart6k (1881-1945) different modal scales. A lightly Divertimento for Strings (1939) mincing second theme in A major leads to a dramatic closing section Three of Bela Bart6k's mature marked by repeated octaves and an works owe their existence to con echo of the opening theme at the ductor Paul Sacher, who founded very end of the exposition. the Basel Chamber Orchestra. Six short episodes in the devel Bart6k first met Sacher at a 1929 opment section call up Bart6k's con meeting of the International Society trapuntal skills at contriving nu for Contemporary Music in Basel merous canonic and other imitative and their friendship resulted in devices. The themes return in var Sacher's commissions for the Mu ied shapes and tonalities during the sic for Strings Percussion and Ce recapitulation, with the key of F re lesta (1936), the Sonata for Two Pi established only toward the end. anos and Percussion (1938) and the The funereal slow movement is in Divertimento for Strings (1939). sharp contrast to the mood of the Sacher invited Bart6k to visit Swit outer movements. Its gnarled open zerland, where he composed the ing theme entwines itself in narrow Divertimento in a burst of creative chromatic steps and the central sec activity between August 2-17, dur tion cries out in a climax of pierc ing the last month before World War ing trills and sharp, jagged rhythms. II destroyed peace in Europe. Humor returns in a more brusque Sacher had requested a simpler manner during the rustic chain of piece for this occasion, and Bart6k dance tunes that make up the finale. rewarded him with one of his sun The center of the movement is in nier compositions but one that syn terrupted by an imposing series of thesized his bitterest experiments in fugal episodes, followed by a grace dissonant harmony with a broadly ful cadenza for solo violin. When triadic, tonal style. the dancing resumes, it builds to Though the title, Divertimento, ward dramatic changes of pace suggests a light entertainment, mu mostly faster-at the end of the sic of a dance-like character is con movement. Apart from a few mod fined to the two outer movements, est glissando and pizzicato passages, especially the finale. The instru the Divertimento has none of the mental layout of the piece is that of wild sliding, strumming or string a baroque concerto grosso, alternat snapping effects so prominent in ing solo and full ensemble group the Fourth and Fifth string quartets ings of the string choir. The form and the Music for Strings Percus of the first movement is a sonata sion and Celesta. In all, it is a gentle allegro, whose long opening theme but masterly summation of his col spins itself out in the first violins, orful, lifelong adventures in string over gently alternating meters of six ensemble writing Text and Translations

Les Illuminations

Fanfare r ai seul la clef de cette parade, I alone have the key to this parade, de cette parade sauvage. to this savage parade.

Villes ("Towns")

Ce sont des villes! These are the towns! C'est un peuple pour qui se sont mantes This is a people for whom these illusory ces Alleghanys et ces Libans de revel Alleghenies and Lebanons reared themselves up!

Ce sont des villes ! These are the towns! Des chalets de cristal et de bois se meuvent Chalets of wood and glass move on sur des rails et des poulies invisibles invisible rails and pulleys.The ancient Les viex crateres, ceints de co/asses craters, encircles by colossi et de plamiers de cuivre rugissent and by vats of cooper, melodieusement dans les feux. roar melodiously in the flames.

Ce sont des m1les! There are the towns! Des corteges de Mabs en robes rousses, Processions of Mabs in russet, opalines, montent des ravines. opaline dresses rise from the ravines. I.a-haut, les pieds dans la cascade et les ranees, Up there, Diana suckles the harts whose les ceifs tettent Diane. feet are in the waterfalls and the Les Bacchantes des banlieues sanglotent brambles. et la lune brule et hurle. Suburban Bacchantes sob, Venus entre dans les cavernes des forgerons and the moon burns and howls. et des eimites. Venus enters the caves of the blacksmiths and hermits.

Ce sont des ... These are the... Des groupes de beffrois chantent Groups of belfries give tongue les idees des peuples. to the thoughts of the peoples. Des chateaux batis en as sort From castles fashioned in bone la musique inconnue. comes unknown music.

Ce sont des villes ! These are the towns! Ce sont des villes ! These are the towns! Le paradis des orages s'effrondre. The paradise of the storms collapses. Les sauvages dansent sans cesse, dansent, The savages dance ceaselessly; dance, dansent, dansent sans cesse la Fete de la dance ceaselessly in the Festival of Nuit. Night. Ce sont des villes! These are the towns!

Quels bans bras, quelle belle heure me What kind arms and what lovely hour rendront cette region d' au viennent will give me back that place whence mes sommeils et mes moindres comes my slumbers and my slightest mouvenments? movements?

Phrase ("Strophe") f'ai tendu des cordes de clocher aclocher; I have hung strands from steeple to steeple; des guirlandes de fenetre afenetre; garlands from window to window; des chaines d'or d'etm1e aetm1e, et je danse. chains of gold from star to star; and now I dance.

Antique (" Antiquity")

Gracieux fils de Pan! Graceful son of Pan! Autour de ton front couronne de fieurettes Under your brow crowned with little et de baies, tes yeux, flowers and berries, your eyes, des boules precieuses, remuent, precious globes, are looking around. Tachees de lie brune, tes joues se creusent. Stained with brown dregs, your cheeks grow hollow.

Tes crocs luisent. Your fans shine. Ta poitrine ressemble aune cithare, your breast is like a zither, des tintements circulent dans tes bras blonds. tinglings run in your fair arms. Ton coeur bat dans ce ventre au dart Your heart beats in that belly where de double sexe. the dual sex sleeps. Promene-toi, la nuit, la nuit, Walk abroad at night, at night, en mouvant doucement cette cuisse, gently moving that thigh, cette seconde cuisse et cette jambe de gauche. that other thigh and that left leg.

Royaute ("Royalty")

Un beau matin, chez un peuple fort doux, One fine morning, amongst a gentle people, un homme et une femme superbes criaient a man and a woman-proud creatures sur la place publique: were crying out in the public square "Mes amis, mes amis, je veux qu'elle soit "My friends, my friends, I want her to be reine, je veux qu'elle soit reine!" Queen, I want her to be Queen!" Elle riait et tremblait. She laughed and trembled. nparlait aux amis de revelation, He spoke to his friends of revelation, depreuve terminee. of final proof. lls se pfimaient l'un contre l'autre. They rivalled each other in their rapture. En effet, ils furent rois toute une matineee Indeed, they became sovereigns for a OU les tentures carminees se releverent whole morning, when the scarlet sur les maisons, et tout l'apres-midi, hangings went up on the house, au ils s'avancerent du cote and for the whole afternoon des jardins de palmes. when they came from the palm gardens. Marine ("Seascape")

Les chars d' argent et de cuivre, The carriages of silver and copper, Les proues d'acier et d'argent, The prows of steel and of silver, Battent l'ecurne, Thrash the foam, Sou/event les souches des ranees. Stir up the bramble roots. Les courantes de la lande, ·, The currents of the wasteland, et les ornieres immenses du reflux, and the immense tracks of the ebb-tide Filent circulair' ment vers l'est, Flow in circles toward the East, Vers les piliers de la Jaret, Toward the columns of the forest, Vers le juts de la jetee, Towards the piers of the jetty, Don /'angle est heurte par des tourbillons ... Whose jutting comers are battered by tourbillons de lumiere. whirlpools ... whirlpools of light.

Interlude ("Intermezzo")

J'ai seul la clef de cette parade, I alone have the key to this parade, de cette parade sauvage. to this savage parade.

Being Beauteous

Devant une neige, un Ertre de beaute de haute Before a background of snow, a tall, taille. beautiful Being. Des sifflements de mart et des cercles Hissings of death and circles de musique sourde font monter, of muffled music cause this adored body to rise,

s' elargir et trembler comrne un spectre to spread and tremble like a spectre; ce corps adore; des blessures "ecarlates scarlet and black wounds break out et noires eclatent dans les chairs superbes. on the glorious flesh. Les couleurs prapres de la vie se foncent, The true colors of life fuse, dansent et se degagent autour de la vision, dance and separate around the vision sur le chantier. of the stocks. Et les frissons s'e1evant et grondent, And tremors arise and growl, et la saveur forcenee de ces effets and the frenzied flavor of these effects se chargeant avec les iffiements mortels charged with the mortal hissing et les rauques musiques que le monde, and the raucous music which the world, loin derriere nous, lance sur notre mere far behind us, casts on our mother de beaute, elle recule, elle se dresse. of beauty, recoils and rears up.

Oh! Nos os sont revetus d'un nouveau Oh! Our bones are re-clad in a new corps amoureux. loving body. 0 la face cendree, lecusson de crin, The ash-grey face, the shield of horsehair, les bras de cristal! le canon sur lequel the crystal arms! the cannon on which je dois rn' abattre atravers la melee I must subside through the tangle des arbres et de l' air leger! of trees and soft air! Parade

Des dr6les tres solides. Downright knaves. Plusiers ant exploite vos mondes. Several have explored your worlds. Sans besoin, et peu presses Having no needs, and seldom required de mettre en oevre leurs brillantes to put into action their brilliant facultes et leur experience faculties and their experience de vos consciences. of your consciences. Quels hommes mu.rs! What mature men! Quels hommes mu.rs! What mature men! Des yeux heuetes ala far;;on de la nuit d' ete, Eyes drugged like a summer night, rouges et noirs, tricolores, d'acierpeique red and black, tricolor, steel dotted d'etoiles d'or; des facies deformes, plombes, with golden stars; features deformed, livid, blbnis, incendies; des enrouements folatres! blemished, burnt; wanton huskiness! Lil demarche cruelle des oripeaux! The cruel bearing of the tawdry finery! fly a quelques jeunes! There are some young people! 0 le plus violent Paradis de la grimace Oh most violent paradise of the furious enragee! grimace! Chinois, Hottentots, Bohemiens, niais, hyenes, Chinese, Hottentots, Gypsies, fools, hyenas, Molochs, m·elles dbnences, demons sinistres, Molochs, mad old women, sinister demons, ils rnelent les tours populaires, maternals, they mingle their popular, motherly tricks avec les poses et les tendresses bestiales. with animal poses and affections. fls interpreteraient des pieces nouvelles They would interpret new pieces et des chansons "bonnes ft.lies." and "good girl" songs. Maitres jongleurs, ils trnsforment le lieu Master jugglers, they transform the place et les presonnes et usent and the people and make use de la comedie magnetique. of irresistible comedy. f' ai sul la clef de cette parade, I alone have the key to this parade, de cette parade sauvage. to this savage parade

Depart ("Departure")

Assezm1. Enough seen. Lil vision s'est rencontree atours les airs. The vision was to be found in every tune. Assezeu. Enough had. Rumeurs des villes, le soir, et au soleil, Murmurs of the town, of the night, and et toujours. in the sun, and always. Assez connu. Enough known. Les arretes de la vie. The decrees of life. 0 Rumeurs et Visions! Oh murmurs and Visions! Depart dans /'affection et le bruit neufs. Departure in new affection and noise.