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Le bestiaire [TO] 25. Biała chor¹giewka (Le drapeau blanc)...[0.44] 1. Le dromadaire ...... [1.27] 26. Wisła (La vistule) ...... [1.46] 2. Le chèvre du Thibet ...... [0.42] 27. Jezioro (Le lac) ...... [2.15] 3. La sauterelle...... [0.29] Cinq poèmes de Paul Eluard [JMA] 4. Le dauphin...... [0.28] 28. Peut-il se reposer celui qui dort ...... [2.06] 5. L’écrevisse...... [0.47] 29. Il la prend dans ses bras ...... [0.54] 6. La carpe ...... [1.41] 30. Plume d’eau claire ...... [0.41] n his notorious little 1918 pamphlet Le Coq et l’Arlequin, pronounced 7. Le serpent [TO] ...... [0.31] 31. Rôdeuse au front de verre...... [1.53] that ‘a composer always has too many notes on his keyboard.’ This was a lesson the 32. Amoureuses ...... [1.15] young took to heart and observed throughout his career; and nowhere 8. La puce [TO]...... [0.56] I more tellingly than in the piano parts of his songs – far better written, he thought, than Chansons villageoises [TO] 9. La colombe [TO]...... [0.52] his works for piano solo. 33. Chanson du clair tamis...... [0.55] Poèmes de Ronsard [WD] 34. Les gars qui vont à la fête...... [1.31] After the First World War, the ethos of French art across the board lay in the direction of 10. Attributs...... [1.22] 35. C’est le joli printemps ...... [2.43] clarity and simplicity. Cocteau further cried for ‘an end to clouds, waves, aquariums, water 11. Le tombeau ...... [2.47] 36. Le mendiant ...... [3.38] nymphs, an end to fogs’, and , the cultural godfather of the new French music, 12. Ballet ...... [2.12] 37. Chanson de la fille frivole ...... [0.51] warned that fogs had been the death of as many composers as sailors. Another target was 13. Je n’ai plus que les os … ...... [3.26] 38. Le retour du sergent ...... [1.54] the ‘music one listens to head in hands’ – Wagner most notably, but also Schumann. For 14. A son page ...... [1.36] Poulenc then, in quest of song texts, the 19th century was largely to be avoided and only 39. Une chanson de porcelaine [WD]...[1.31] one of his texts, Théodore de Banville’s Pierrot, was published during it, while Jean Moréas’s Cinq poèmes de Max Jacob [SF] 40. Fancy [AM] ...... [1.55] four poems forming the Airs chantés were printed in the first decade of the 20th. Otherwise 15. Chanson Bretonne ...... [0.45] Poulenc sought either distancing through pre-Romantic poetry or immediacy through 16. Cimétière ...... [2.30] 41. La dame de Monte Carlo [SF] ...... [7.23] poetry of his own time. The present disc contains settings of both kinds. 17. La petite servante...... [2.07] 18. Berceuse...... [1.19] Total timings: ...... [69.27] In 1949 looked back to his first meeting with Poulenc 30 years before: 19. Souric et Mouric ...... [1.51] ‘He played us his Mouvements perpétuels and sang Le bestiaire which he’d just finished. I John Mark Ainsley [JMA] remembered, that day, something d’Indy had said to me about the evolution of music: Osiem piesn´i polskich [MM] William Dazeley [WD] “French music will become what the next composer of genius wishes it to be.” After all (Huit chansons polonaises) Sarah Fox [SF] the Impressionist fogs, would not this art - simple, clear, and going back to the tradition of 20. Wianek (La couronne) ...... [2.03] Magdalena Molendowska [MM] Scarlatti and Mozart – mark the next phase of our music?’ The simplicity and clarity of 21. Odjazd (Le départ)...... [1.03] Ann Murray [AM] Poulenc’s score matched those of Apollinaire’s poetry which the composer had first read 22. Polska młodziez˙ (Les gars polonais) ....[0.57] Thomas Oliemans [TO] in 1912 at the age of thirteen. From then on ‘I was fascinated by everything I read of his. 23. Ostatni mazur (Le dernier mazour) .....[1.59] Most important: I heard the sound of his voice. Apollinaire’s timbre, like his whole output, 24. Poz˙egnanie (L’adieu) ...... [1.37] piano was at the same time both melancholy and full of joy. Sometimes his speech was marked

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by a touch of irony, but never by deadpan humour. That’s why my Apollinaire songs must as the voice of his conscience, encouraging him to avoid the classical poets and stick to be sung without emphasising the comical sounds of certain words.’ Apollinaire, Eluard and Max Jacob. Certainly his harmonic palette is now much richer, and perhaps not so well under control. The first and fourth songs seem to have been the ones Le bestiaire, containing Poulenc’s earliest known songs,was originally written in the first he favoured, since he recorded them in 1934 with Suzanne Peignot who had premiered half of 1919 for singer and an instrumental group of string quartet, flute, clarinet and them in 1925, and who ‘sang them as I would if Heaven had made me a soprano’. bassoon, the piano version arriving shortly afterwards. It also contained twelve settings from the 30 poems that make up the poet’s collection, and Poulenc indeed mentioned all Poulenc had set four poems by Max Jacob (1876-1944) in 1921. Ten years later he returned twelve as figuring in a performance on 8 June 1919. But when it came to the editions to the writer, following Auric’s advice, and at the end of his life he mused rather sadly ‘I published the following year, Poulenc took his friend Auric’s advice and reduced the don’t understand why my Cinq poèmes de Max Jacob are so rarely done. It is without doubt twelve to six. Three of the rejected settings survived and are included here. The simplicity one of my most characteristic [‘authentiques’] cycles.’ In these poems Jacob paints pictures Milhaud refers to operates on at least two levels: in the close intervals of the melodic line, of country life in his native Brittany, and Poulenc captures marvellously the combination and in the use of repetitions in the accompaniment. How economically Poulenc renders of fantasy and earthiness. Here is the ‘composer of his own folksongs’ identified by Ravel, the swinging gait of the dromedaries and the sportive swoops of the dolphins! The the harmonies now more firmly directed than in the Ronsard cycle, the textures clearer. backwards movement of the crabs, reversing the opening phrase, is marked ‘ironique’ (but But the listener can never entirely relax: in ‘Cimétière’, for instance, the phrases ‘rose no winks to the audience…), while the stillness of the carps does momentarily look back blanche’, ‘rose rouge’ and ‘blanc muguet’ are set differently at each repetition. For once, in to Impressionism, crowned by the sudden rising octave on the key word ‘mélancolie’. Of ‘La petite servante’, Poulenc is guilty of saying the obvious. Over the ecstatic bars of the the three rejected songs, ‘Le serpent’ surprisingly recalls the music hall, and ‘La puce’ seems servant girl’s final prayer, for a husband who doesn’t beat her every evening, he writes ‘avec to look forward over 40 years to the mesmeric textures of the Dialogues des Carmélites. charme’. How else?

After the popular Cocardes (see volume 1), Poulenc turned in December 1924 to the In the early months of 1934 Poulenc set eight Polish folksongs, chosen by the soprano poetry of Pierre Ronsard (1524-85). Earlier that year La revue musicale had commissioned Maria Modrakowska, presumably with a view to their joint recitals in Morocco in March and published a number of settings of his poems (most famously, Ravel’s Ronsard à son âme), 1935, although we know of no reason for the lapse of time. On the edition of the songs but not from Poulenc; his five Poèmes de Ronsard might possibly have been composed to Modrakowska indicates that the poems and tunes mostly date from the Polish uprisings of show the magazine what it had missed. Initially Poulenc was happy with the cycle, 1830 and 1831. Each of the songs is dedicated to one of the composer’s Polish friends, commenting on a critic’s use of the words ‘magnifique, très émouvant’ to describe the including Mme Arthur Rubinstein and Wanda Landowska. At different times Poulenc fourth song: ‘these adjectives, replacing “charmant, délicieux”, come as something of a wrote that he had set them with the greatest care – and that really there was no call for surprise.’ But soon he came to judge most of the cycle harshly. Once again, Auric had acted anything other than an improvised accompaniment… He regarded the last of the eight as

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being the most successful and personal, and with good reason. Here the conventional, the eyes, so too do the thick Mussorgskian thirds of ‘Le mendiant’, but for a very different Chopin-based harmonies give way to something more demanding and powerful. reason: we should perhaps bear in mind that these songs were written during the darkest hours of the war. Although Poulenc had known Paul Eluard (1895-1952) since the end of the First World War, his first setting of poems by him dated from 1935. ‘For years’, he wrote, ‘I had been The remaining three items on this disc all date from the end of Poulenc’s life. ‘Une chanson searching for the key to Eluard’s poetry.’ In the Cinq poèmes, ‘it grates for the first time in de porcelaine’, his last Eluard setting, was written in March 1958 to celebrate the soprano the lock.’ He attempted also to make the piano part as full as possible with the minimum Jane Bathori’s 80th birthday the previous June. After the regular sequences of the first three of notes, and took as his model some Matisse drawings for a book of Mallarmé’s poetry in lines, the phrase ‘Matin des loups’ moves the harmony into more uncertain territory. which the artist had successively whittled away everything inessential. Poulenc’s own ‘Fancy’, a setting made the following year of ‘Tell me where is fancy bred’ from The favourites were ‘Plume d’eau claire’, whose lyricism makes an impact out of all proportion Merchant of Venice, was commissioned by Marion Harewood and Ronald Duncan for their to its brevity, and ‘Rôdeuse au front de verre’, built around his familiar pulsing quavers in Classical Songs for Children, published in 1962. Although it barely moves out of G major, it the piano part. The cycle was first performed by Pierre Bernac and Poulenc in the first could only be by Poulenc, even if the final cadence looks back to that of Ravel’s opera recital of their long partnership, on 3 April 1935. L’Enfant et les Sortilèges.

The composer had his favourites too when it came to the geography of France: Paris of Poulenc himself was surprised that he had been so slow to return to Jean Cocteau’s course (but only certain arrondissements), Cannes, Monte-Carlo… and Autun in the writings after the Cocardes of 1919. When he did so, it was to immerse himself in the Morvan district of Burgundy, a photo of which ‘I have on my mantelpiece as others do of sombre, depressive side of the poet’s work – one that he understood all too well – firstly the woman they love’. So it was with considerable enthusiasm that in 1942 he went about in La voix humaine of 1958, then three years later in La dame de Monte-Carlo (his 1962 setting six Chansons villageoises by Maurice Fombeure (1906-81), likening them to incidental music for Renaud et Armide is lost). He enumerated the moods through which Stravinsky’s Pribaoutki, but relocated from Russia to the Morvan. The accompaniment was the desperate woman of the title passes: melancholy, pride, lyricism, violence and sarcasm; originally for small orchestra (but with a sizeable percussion department) and Poulenc finally unhappy affection, anguish and suicide in the sea. In all this, he recognised the made a piano reduction the following year. Here again we find the master of the catchy danger of monotony that lay in the music’s unyielding rhythm, a danger he countered by tune, firmly based in conventional tonality but seasoned with chromatic decorations; and varying the harmonic colours. And the vocal style? That of ’s ‘Vissi d’arte’! Not, then, again, the spirit of Maurice Chevalier frequently hovers over all – the line ‘Le faux-col en a work for the faint-hearted, whether singers or listeners. cellulo’ in the second song actually bears the marking ‘prendre l’accent faubourien’ (with a common, suburban accent). If the sheer beauty of ‘C’est le joli printemps’ brings tears to © Roger Nichols

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Le bestiaire [TO] 6. La carpe 6. The Carp Guillaume Apollinaire (1880-1918) Dans vos viviers dans vos étangs In your fish-ponds in your pools Carpes que vous vivez longtemps carp how long you live 1. Le dromadaire 1. The Dromedary Est-ce que la mort vous oublie is it that death has forgotten you Avec ses quatre dromadaires With his four dromedaries Poissons de la mélancolie? fish of melancholy? Don Pedro d’Alfaroubeira Don Pedro d’Alfaroubeira Courut le monde et l’admira roamed the world over and admired it Il fit ce que je voudrais faire He did what I would like to do 7. Le serpent 7. The Snake Si j’avais quatre dromadaires. if I had four dromedaries. Tu t’acharnes sur la beauté. You set yourself against beauty. Et quelles femmes ont été And what women have been Victimes de ta cruauté! victims of your cruelty! 2. Le chèvre du Thibet 2. The Tibetan Goat Eve, Eurydice, Cléopâtre; Eve, Eurydice, Cleopatra; Les poils de cette chèvre et même The fleece of this goat and even J’en connais encor trois ou quatre. I can name three or four others. Ceux d’or pour qui prit tant de peine that golden one for which so much trouble was taken Jason ne valent rien au prix by Jason are worth nothing to the value Des cheveux dont je suis épris. of the hair of her I love. 8. La puce 8. The Flea Puces, amis, amantes même, Fleas, friends, lovers even, Qu’ils sont cruels ceux qui nous aiment! How cruel are those who love us! 3. La sauterelle 3. The Grasshopper Tout notre sang coule pour eux. All our blood runs for them. Voici la fine sauterelle Here is the delicate grasshopper Les bien-aimés sont malheureux. The well-beloved are wretched. La nourriture de Saint Jean the nourishment of St. John Puissent mes vers être comme elle may my verses be likewise Le régal des meilleures gens. the feast of superior people. 9. La colombe 9. The Dove Colombe, l’amour et l’esprit Dove, the love and the spirit Qui engendrâtes Jésus-Christ, Who begat Jesus Christ, 4. Le dauphin 4. The Dolphin Comme vous j’aime une Marie. Like you I love a Mary. Dauphins vous jouez dans la mer Dolphins you sport in the sea Qu’avec elle je me marie. With her may I marry. Mais le flot est toujours amer yet the waters are always briny Parfois ma joie éclate-t-elle at times my joy bursts forth La vie est encore cruelle. but life is still cruel. Poèmes de Ronsard [WD] Pierre de Ronsard (1524-1585)

5. L’écrevisse 5. The Crayfish 10. Attributs 10. Attributes lncertitude o! mes délices Uncertainty O! my delights Les épis sont à Cérès, The corn belongs to Ceres, Vous et moi nous nous en allons you and I we progress Aux dieux bouquins les forêts, to the satyrs the forests, Comme s’en vont les écrevisses just like the crayfish A Chlore l’herbe nouvelle, to Chloris the fresh grass, A reculons à reculons. backwards backwards. A Phoebus le vert laurier, to Phoebus the laurel,

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A Minerve l’olivier to Minerva the olive tree, Vos yeux, bien qu’il fut nuit your eyes, although it was night, Et le beau pin à Cybèle; and the lovely pine to Cybele; ramenèrent le jour, brought back the day, Tant ils surent d’éclairs so well did they know how to Aux Zéphires le doux bruit, to Zephyrus sweet sound, par la place répandre. spread brilliance around them. A Pomone le doux fruit, to Pomona sweet fruit, Le ballet fut divin, qui se The ballet was divine, L’onde aux Nymphes est sacrée, the waters are sacred to the nymphs, soulait reprendre, it was wont to revive anew, A Flore les belles fleurs; to Flora the beautiful flowers; Se rompre, se refaire et, to break away, to join again, Mais les soucis et les pleurs but cares and tears tour dessus retour, to twist and turn, Sont sacrés à Cythérée. are sacred to Cytherea. Se mêler, s’écarter, to mingle, to separate, se tourner à l’entour, to circle round and round, Contre imitant le cours as though to simulate the winding 11. Le tombeau 11. The Tomb du fleuve de Méandre. course of the river Meander. Quand le ciel et mon heure When heaven and my hour Ores il était rond, ores long, Now in a ring, now in a line, Jugeront que je meure, decree that I should die, or’ étroit, now close together, Ravi du beau séjour torn away from the beauty Or’ en pointe, en triangle, now tapering, triangular, Du commun jour, Of everyday existence, en la façon qu’on voit in the manner Je défend qu’on ne rompe I forbid that they should break L’escadron de la grue évitant of a flight of cranes Le marbre pour la pompe marble for display la froidure. fleeing from the cold. De vouloir mon tombeau with the wish Je faux, tu ne dansais, I am wrong, you were not dancing, Bâtir plus beau, to beautify my tomb, mais ton pied voletait but rather did your foot soar Mais bien je veux qu’un arbre but my dearest wish is that a tree Sur le haut de la terre; above the ground; M’ombrage en lieu d’un marbre should shade me rather than marble aussi ton corps s’était your body too was Arbre qui soit couvert a tree which will be covered Transformé pour ce soir, transformed for this one evening, Toujours de vert. always with green. en divine nature. into divinity. De moi puisse la terre May the earth Engendrer un lierre make of me an ivy M’embrassant en maint tour to twine round about me 13. Je n’ai plus que les os … 13. I am nothing but bones Tout à l’entour; in many a coil; Je n’ai plus que les os, I am nothing but bones, Et la vigne tortisse and may the twisted chain of the vine un squelette je semble, I seem but a skeleton, Mon sépulcre embellisse, embellish my sepulchre, Décharné, dénervé, emaciated, feeble, without muscles, Faisant de toutes parts spreading on all sides démusclé, dépoulpé, without flesh, Un ombre épars. a scattered shade. Que le trait de la mort sans such that the stroke of death pardon a frappé. has knocked without leave, Je n’ose voir mes bras I dare not look at my arms for I 12. Ballet 12. Ballet que de peur je ne tremble. should tremble with fear. Le soir qu’Amour vous fit The evening when Eros brought you en la salle descendre down into the hall Apollon et son fils, deux grands Apollo and his son, Pour danser d’artifice un beau to dance designedly a beautiful maîtres ensemble two great masters together ballet d’Amour, ballet of love, Ne me sauraient guérir; could not cure me; 10 11

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leur métier m’a trompé. their skill has deceived me. Cinq poèmes de Max Jacob [SF] Adieu, plaisant soleil; Farewell, pleasant sun; Max Jacob (1876-1944) mon œil est étoupé. my eyes are obscured. Mon corps s’en va descendre my body will descend where 15. Chanson Bretonne 15. Song from Brittany où tout se désassemble. all come to dust. J’ai perdu ma poulette I have lost my little chicken et j’ai perdu mon chat and I have lost my cat Quel ami, me voyant What friend, seeing me Je cours à la poudrette I run to the dust hole en ce point dépouillé reduced to this extremity si Dieu me les rendra. if God will give them back to me. Ne remporte au logis would not return to the dwelling un œil triste et mouillé, with sad and tearful eye, Je vais chez Jean le Coz I’ll go and see Jean le Coz Me consolant au lit et consoling me on my couch and et chez Marie Maria. and Marie Maria. me baisant la face, bathing my face, Va-t’en voir chez Hérode Go and see Herode Peut-être il le saura. perhaps he will know. En essuyant mes yeux, wiping my eyes already par la mort endormis? lulled to sleep by death? Passant devant la salle Passing by the hall toute la ville était là all the town was there Adieu, chers compagnons, Farewell, dear companions, à voir danser ma poule to watch my chicken dancing adieu, mes chers amis, farewell my dear friends, avec mon petit chat. with my little cat. Je m’en vais le premier I go before to prepare vous préparer la place. a place for you. Tous les oiseaux champêtres All the birds of the countryside sur les murs et sur les toits on the walls and on the roofs jouaient de la trompette played the trumpet 14. A son page 14. To his page pour le banquet du roi. for the king’s banquet. Fais rafraîchir mon vin de sorte Cool my wine until Qu’il passe en froideur un glaçon; it is colder than an icicle; Fais venir Jeanne, qu’elle apporte tell Jeanne come, and bring 16. Cimétière 16. Cemetary Son luth pour dire une chanson; her lute to give us a song; Si mon marin vous le chassez If you drive my sailor away au cimetière vous me mettrez, you will put me in the cemetery, Nous ballerons tous trois au son, We will all three dance to the tune, rose blanche, rose blanche et rose rouge, white rose, white rose and red rose, Et dis à Barbe qu’elle vienne and tell Barbe she should come Les cheveux tors à la façon her locks twisted like Ma tombe, elle est comme un jardin, My tomb, it is like a garden, D’une folâtre italienne. a sprightly Italian girl. comme un jardin rouge et blanche, like a garden red and white, Ne vois-tu que le jour se passe? Do you not see that day is ending? Le dimanche vous irez, rose blanche, On Sundays you will go, white rose, Je ne vis point au lendemain; I never give a thought to the morrow; vous irez vous promener, you will go to take a walk, Page, reverse dans ma tasse, page, fill my cup rose blanche et blanc muguet, white rose and white lily, Que ce grand verre soit tout plein. until this great glass be quite full. Tante Yvonne à la Toussaint Aunt Yvonne on All Saints’ Day Maudit soit qui languit en vain! A plague on those who languish in vain! une couronne en fer peint a wreath of painted iron Ces vieux médecins je n’appreuve; I disapprove of these old doctors; elle apporte de son jardin she will bring from her garden Mon cerveau n’est jamais bien sain my brain is never quite sane en fer peint avec des perles de satin, of painted iron with satin pearls, Si beaucoup de vin ne l’abreuve. if it be not soaked in plenty of wine. rose blanche et blanc muguet. white rose and white lily. 12 13

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Si Dieu veut me ressusciter If God raises me up Qui ne soit pas trop ivrogne who is not too much of a drunkard au Paradis je monterai, rose blanche, I will go to Paradise, white rose, Et qui ne me batte pas tous les soirs. and will not beat me every evening. avec un nimbe doré, with a golden halo, rose blanche et blanc muguet. white rose and white lily. 18. Berceuse 18. Cradle song Si mon marin revenait, If my sailor should return, Ton père est à la messe, Your father is at mass, rose rouge et rose blanche, red rose and white rose, Ta mère au cabaret, your mother at the cabaret, sur ma tombe il vient auprès, he will come near to my tomb, Tu auras sur les fesses you will get your bottom spanked rose blanche et blanc muguet. white rose and white lily. Si tu vas encore crier. if you go on crying. Souviens-toi de notre enfance, rose Do you remember our childhood, Ma mère était pauvresse My mother was a beggar woman blanche, white rose, Sur la lande à Auray on the moor at Auray quand nous jouions sur le quai, when we played on the quay, Et moi je fais des crêpes and I am making pancakes rose blanche et blanc muguet. white rose and white lily. En te berçant du pied. while I rock you with my foot. Si tu mourais du croup If you should die of croup 17. La petite servante 17. The Little Servant Coliques ou diarrhées, colic or diarrhoea, Préservez-nous du feu et du tonnerre, Keep us safe from fire and thunder, Si tu mourais des croutes if you should die of the scabs Le tonnerre court comme un oiseau, thunder runs like a bird, Que tu as sur le nez. that you have on your nose. Si c’est le Seigneur qui le conduit if the Lord sends it Je pêcherais des crevettes I should go shrimping Bénis soient les dégats. blessed be the havoc. A l’heure de la marée, at low tide, Si c’est le diable qui le conduit If the devil sends it Pour faire la soup aux têtes to make soup of the heads Faites-le partir au trot d'ici. drive it away quickly. Y a pas besoin de crochets. there is no need for hooks. Préservez-nous des dartres et des Keep us from scabs and boutons pimples De la peste et de la lèpre. from the plague and leprosy. 19. Souric et Mouric 19. Souric and Mouric Si c’est pour ma pénitence que vous If you send it to make me Souric et Mouric Souric and Mouric l’envoyez, penitent, rat blanc, souris noire, white rat, black mouse, Seigneur, laissez-la moi, merci. Lord, let it be, thank you. venus dans l’armoire have come into the cupboard Si c’est le diable que le conduit If the devil sends it pour apprendre à l'araignée to teach the spider Faites-le partir au trot d’ici. drive it away quickly. à tisser sur le métier to weave on the loom un beau drap de toile. a beautiful linen cloth. Goître, goître, sors de ton sac, Goitre, goitre, out of your pouch, Expédiez-le à Paris, à Quimper, Send it off to Paris, to Quimper, Sors de mon cou et de ma tête! out of my neck and my head! à Nantes, to Nantes, Feu Saint Elme, danse de Saint Guy, St Elmo’s Fire, St Vitus’s Dance, c’est de bonne vente! it will sell well! Si c’est le diable qui vous conduit, if the devil sends you, Mettez les sous de côté, Put the coins aside, Mon Dieu, faites-le sortir d’ici. dear God, drive him out of here. vous achèterez un pré, you will buy a meadow, Faites que je grandisse vite Let me grow up quickly des pommiers pour la saison some apple trees for the season Et donnez-moi un bon mari, and give me a good husband, et trois belles vaches, and three fine cows, 14 15

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un bœuf pour faire étalon. a bull for stud. 21. Odjazd (Le départ) 21. The Departure Chantez, les rainettes, Sing, tree-frogs, Stefan Witwicki (1801-1847) car voici la nuit qui vient, for night is falling, R¿y koniczek mój bułany, My dun horse neighs, la nuit on les entend bien, at night you hear them well, Puœæcie, czas ju¿ czas! The time has come, let me go! crapauds et grenouilles, toads and frogs, Matko, ojcze mój kochany, My dear mother and father, écoutez mon merle listen my blackbird ¯egnam, ¿egnam was. I bid you goodbye. et ma pie qui parle, and my magpie who talks, Có¿by ¿ycie warte było, What would my life be worth, écoutez toute la journée, listen all day long, Gdybym gnuœnie zgasł? Had I died idle and indolent? vous apprendrez à chanter. you will learn to sing. Dosyæ, dosyæ siê marzyło, Enough, no more dreaming, Teraz nie ten czas. No time for that now. Osiem piesñi polskich [MM] Eight Polish songs Zdala słyszê tr¹b hałasy, From afar I hear a bugle, (Huit chansons polonaises) Dobosz w bêben grzmi, Drum-major’s drum thunders, Rzucam, rzucam słodkie czasy, I shun, I abandon sweet life, 20. Wianek (La couronne) 20. The Head Wreath Błogosławcie mi! Give me your blessing! Franciszek Kowalski (1799-1862) Targa swéj wianeczek Distressed maiden weeps W rzewnych łzach dziewczyna, Pulls apart her head wreath, 22. Polska młodzie¿ (Les gars polonais) 22. Polish Youth ¯e jej kochaneczek Shedding tears for her beloved Anonymous Idzie do Lublina. Who departs for Lublin. Polska młodzie¿ niech nam ¿yje, Long live the Polish youth, Nikt jej nie przesadzi, No one shall uproot her, Bo w Lublinie s¹ Krakusy, Cracovians stand in Lublin, Bo jej rêka dobrze bije, For her arm fights valiantly, ¯wawe chłopcy i wiarusy. Jaunty fellows and old campaigners. Głowa dobrze radzi, Her head counsels wisely, “Nie idŸ, nie idŸ Janku, “John, do not go, please stay œmieræ tam grozi , your life will be in peril there, Pognêbieni, zapomnieni, Oppressed, forgotten, Od całego œwiata, By the entire world, Czy¿ ja bez ustanku, Must I forever Własnych baliœmy siê cieni, We were afraid of our own shadows, Płakaæ mam w ¿ałobie?” Weep in mourning?” Brat unikał brata. Brother avoided brother. “Uœmierz dziewczê swe katusze, “My maiden, soothe your pain and torment Ja OjczyŸnie słu¿yæ muszê.” I must serve my Country.” Niech do boju ka¿dy biegnie, Let us all go into battle, Piêkne tam skonanie, Where death is glorious, “Wiêc ty z sob¹ razem, “So, when you depart, Za jednego, który legnie, For every one who falls in battle, Zabierz sw¹ dziewczynê, Take your maiden with you, Sto mœcicieli wstanie. A hundred avengers shall arise. Jak zginiesz ¿elazem, If you die by the sword, I ja z tob¹ zginê.” I shall die with you.” Zawsze Polak miał nadziejê A Pole always puts his hope W mocy Niebios Pana, In the Heavenly Father, On w nas jednoœæ, He will imbue us with unity zgodê wleje, and reconcile, A przy nas wygrana. And the victory shall be ours.

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23. Ostatni mazur (Le dernier mazour) 23. The Last Mazurka 25. Biała chor¹giewka (Le drapeau blanc) 25. White Standard Anonymous Rajnold Suchodolski (1804-1831) Jeszcze jeden mazur dzisiaj, Let us dance one more mazurka Warszawianka dla kochanka A Varsovian lady was sewing nim poranek œwita, before the morning dawn, szyła biał¹ chor¹giewkê, a white standard for her beloved, “Czy pozwoli Pana Krzysia?" “Krzysia, will you dance with me?” To płakała, to wzdychała, She cried and sighed, młody ułan pyta. asks young uhlan. œl¹c modły do Boga. supplicating God. I tak długo błaga, prosi, He begs and pleads, Warszawiaczek zrzucił fraczek A Varsovian discarded his dress coat boæ to w polskiej ziemi: on this Polish soil: Przeciw cara jest czamara, Civilians in overcoats oppose the tsar, W pierwsza parê j¹ ponosi, Sweeps her off to dance as first pair, Kulka w rurkê, proch w panewkê, Bullet in the pipe, gun powder in the pan, a sto par za niemi. a hundred others follow. I dalej na wroga. Let us fight the enemy. On coœ pannie szepce w uszko, He whispers something into her ear, i ostrog¹ dzwoni, clanking his spurs, 26. Wisła (La vistule) 26. The Vistula River Pannie tłucze siê serduszko, Girl’s heart is pounding, Anonymous i liczko siê płoni. cheeks blush. Płynie Wisła płynie, Vistula flows and flows, Cyt, serduszko, nie płoñ liczka, Be still heart, do not blush cheeks Po polskiej krainie, Through the Polish countryside, bo ułan niestały: because uhlan is inconstant: A dopóki płynie, And for as long as it flows, O pół mili wre potyczka, Battle rages half a mile away, Polska nie zaginie. Poland will not perish. słychaæ pierwsze strzały. first shots are heard. Zobaczyła Kraków, She saw Cracow, Słychaæ strzały, głos pobudki, Shots are heard, reveille is sounded, Wnet go pokochała: And it was love at first sight: dalej na koñ, hurra! mount horses, hurrah! I w dowód miłoœci As a token of her love Lube dziewczê porzuæ smutki, My dear girl, do not be sad, W stêg¹ opasała. She adorned Cracow with a sash. dokoñczym mazura. we shall finish the mazurka. Jeszcze jeden kr¹g dokoła, Just one more circle, Bo ten polski naród For this Polish Nation jeden uœcisk bratni, one more brotherly embrace, Ten ma urok w sobie, Has such bewitching charm, Trabka budzi, na koñ woła, The bugle sounds wake-up call, Kto go raz pokochał, That once loved, mazur to ostatni. this is the last mazurka. Nie zapomni w grobie. It is never forgotten, even in a grave.

24. Po¿egnanie (L’adieu) Farewell 27. Jezioro (Le lac) 27. The Lake Maurycy Goslawski (1802-1834) Anonymous Widzisz dziewczê chor¹giewkê, Girl, do you see the standard, O jezioro, jezioro: O lake, lake: Co przy mojej lancy dr¿y? Trembling on my lance? Bystra woda w tobie jest. Fast waters flow through you. Zaœpiewam ci o niej œpiewkê, I will sing you a song about her, Wionku z maryjonku, Marjoram head wreath, Ona piekna tak jak ty. She is as beautiful as you. Na głowie mi wiêdniejesz. You wilt on my head. Nie płacz luba, bywaj zdrowa, Do not cry my dear, keep well, Jak¿e ja nie mam wiêdnieæ? How can I not wilt? Łzy na ciê¿sze zostaw dnie: Save your tears for worse times: Gdy ju¿ nie jestem cały. I am no longer intact. Co Bóg s¹dzi, bywaj zdrowa, Let God’s will be done, keep well, Zielone listeczki, modre fijołecki Green leaves, violets ¿ ê ¿ ¿ ¹ 18 Mo e wróc , mo e nie. I may come back, I may not. Ze mnie ju opadaj . Keep falling from me. 19

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Cinq poèmes de Paul Éluard [JMA] 30. Plume d’eau claire 30. Jet of clear water Paul Éluard (1895-1952) Plume d’eau claire pluie fragile Jet of clear water fragile rain Fraîcheur voilée de caresses freshness veiled with caresses 28. Peut-il se reposer celui qui dort 28. Can he rest this man who sleeps De regards et de paroles with looks and with words Peut-il se reposer celui qui dort Can he rest this man who sleeps Amour qui voile ce que j’aime. love that veils that which I love. Il ne voit pas la nuit he does not see the night ne voit pas l’invisible does not see the invisible Il a de grandes couvertures he has thick coverings 31. Rôdeuse au front de verre 31. Prowler with brow of glass Et des coussins de sang sur and pillows of blood Rôdeuse au front de verre Prowler with brow of glass des coussins de boue on pillows of mud Son cœur s’inscrit dans une étoile noire her heart inscribes itself on a black star Ses yeux montrent sa tête her eyes show her head Sa tête est sous les toits His head is under the roofs Ses yeux ont la fraîcheur de l’été her eyes have the freshness of summer et ses mains sont fermées and his hands are closed, La chaleur de l’hiver the heat of winter Sur les outils de la fatigue upon the tools of weariness Ses yeux s’ajourent rient très fort her eyes light up full of laughter Il dort pour éprouver sa force he sleeps to test his strength Ses yeux joueurs gagnent leur part de clarté. her playful eyes win their share of clarity. La honte d’être aveugle dans the shame of being blind un si grand silence in so great a silence. Aux rivages que la mer rejette On the shores rejected by the sea 32. Amoureuses 32. Lovers Il ne voit pas les poses silencieuses he does not see the silent postures Elles ont les épaules hautes They have haughty shoulders Du vent qui fait entrer l’homme of the wind which causes a man Et l’air malin and a cunning air dans ses statues to enter into his images Ou bien des mines qui déroutent or else looks that lead astray Quand il s’apaise. when he is appeased La confiance est dans la poitrine the confidence is in the chest A la hauteur où l’aube de leurs seins se lève at the height where the dawn of their breasts rise Bonne volonté du sommeil A willing acceptance of sleep Pour dévêtir la nuit. to strip the night. D’un bout à l’autre de la mort. from one end to the other of death. Des yeux à casser des cailloux Eyes to break stones Des sourires sans y penser thoughtless smiles 29. Il la prend dans ses bras 29. He takes her in his arms Pour chaque rêve for each dream Il la prend dans ses bras He takes her in his arms Des rafales de cris de neige squalls of cries of snow Lueurs brillantes un instant entrevues brilliant rays glimpsed for a moment, Et des ombres déracinées. and uprooted shadows Aux omoplates aux épaules aux seins on the shoulder blades on the shoulders on the breasts Il faut les croire sur baiser They must be believed on kiss Puis cachées par un nuage. then hidden by a cloud Et sur parole et sur regard and on word and on look Elle porte la main à son cœur She raises her hand to her heart Et ne baiser que leurs baisers and to kiss only their kisses Elle pâlit elle frissonne she grows pale she trembles Je ne montre que ton visage I show only your face Qui donc a crié? Who has cried out? Les grands orages de ta gorge the great storms of your throat Mais l’autre s’il est encore vivant But the other if he is still living Tout ce que je connais et tout ce que j’ignore all that I know and all that I do not know On le retrouvera will be found Mon amour ton amour ton amour ton amour. my love your love your love your love. Dans une ville inconnue. in an unknown town. 20 21

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Chansons villageoises [TO] Village Songs 34. Les gars qui vont à la fête 34. The lads going to the fair Maurice Fombeure (1906-1981) Les gars qui vont à la fête The lads going to the fair Ont mis la fleur au chapeau have stuck a flower in their hats 33. Chanson du clair tamis 33. Song of the clear sieve Pour y boire chopinette To drink a mug there Où le bedeau a passé Where the beadle has gone by Y goûter le vin nouveau to taste the new wine Dans les papavéracées among the poppies Où le bedeau a passé where the beadle has gone by Y tirer la carabine to shoot at the rifle range Passera le marguillier the churchwarden will go Y sucer le berlingot to suck sweets Notre vidame est mort Our lord and master is dead Les gars qui vont à la fête The lads going to the fair Les jolis yeux l’ont tué pretty eyes have killed him Ont mis la fleur au chapeau have stuck a flower in their hats Pleurons son heureux sort Let us weep for his happy lot Sont rasés à la cuiller They have shaved carefully En terre et enterré in earth and buried Sont raclés dessous la peau have scraped to the under skin Et la croix de Lorraine and the cross of Lorraine Sur son pourpoint doré on his gilded doublet Ont passé la blouse neuve have put on the new smock Le faux-col en cellulo the celluloid collar Ils l’ont couché dans l’herbe They have laid him in the grass Son grand sabre dessous his great sword under him Les gars qui vont à la fête The lads going to the fair Un oiseau dans les branches A bird in the branches Ont mis la fleur au chapeau have stuck a flower in their hats A crié: ‘Coucou’ cried: ‘Cuckoo’ Y faire danser les filles They will dance with the girls C’est demain dimanche It is Sunday tomorrow Chez Julien le violoneur at Julian the fiddler’s C’est fête chez nous it is the day of our fair Des polkas et des quadrilles polkas and quadrilles Au son de la clarinette To the sound of the clarinet Et le pas des patineurs and the skater’s step Le piston par en-dessous the cornet in the lower part Le piston la clarinette The cornet the clarinet La piquette, la musette the local wine, the accordion Attendrissent les costauds soften the hearts of the strapping fellows Les plus vieux sont les plus saoûls the old folk are the most tipsy Les gars qui vont à la fête The lads going to the fair Grand’mère à cloche-lunettes Grandma with her spectacles askew Ont mis la fleur au chapeau have stuck a flower in their hats Sur ses jambes de vingt ans on her twenty-year-old legs Vienne le printemps mignonne Let the springtime come my sweet Quand ils ont bu, se disputent When they have drunk they quarrel Vienne le printemps let springtime come Et se cognent sur la peau and go for one another Où la grenouille a passé Where the frog has gone by Puis vont culbuter les filles then go to tumble the girls Sous les renonculacées down among the buttercups Au fossé sous les ormeaux in the ditch under the elms Où la grenouille a passé where the frog has gone Les gars qui vont à la fête The lads going to the fair Passera le scarabée. by the beetle will go. Ont mis la fleur au chapeau have stuck a flower in their hats

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Reboivent puis se rebattent They drink again and fight again 36. Le mendiant 36. The beggar Jusqu’au chant du premier jô until the song of early dawn Jean Martin prit sa besace Jean Martin took his sack Vive le passant qui passe Long live the passer-by Le lendemain on en trouve the next day some are found Jean Martin prit sa besace Jean Martin took his sack Sont couchés dans le ruisseau asleep in the ditch Son bâton de cornouiller and his dogwood staff Les gars qui vont à la fête The lads going to the fair S’en fut au moutier mendier Went off to the monastery to beg Ont mis la fleur au chapeau. have stuck a flower in their hats. Vive le passant qui passe Long live the passer-by Va’t-en dit le père moine Off with you said the father monk N'aimons pas les va-nu-pieds we do not like tramps 35. C’est le joli printemps 35. It is pretty springtime C’est le joli printemps It is pretty springtime S’en fut en ville mendier Went off to the town to beg Qui fait sortir les filles bringing the maidens out of doors Vive le passant qui passe Long live the passer-by C’est le joli printemps it is pretty springtime Epiciers et taverniers grocers and innkeepers Qui fait briller le temps making the weather sunshiny Qui mangez la soupe grasse who eat rich soup J’y vais à la fontaine I am going to the fountain Et qui vous chauffez les pieds and warm your feet C’est le joli printemps it is pretty springtime Puis couchez près de vos femmes then lie close to your wives Trouver celle qui m’aime to find the one who loves me Au clair feu de la veillée in the light of the evening fire Celle que j’aime tant the one I love so much Jean Martin l’avez chassé Jean Martin you have driven him away C’est dans le mois d’avril It is in the month of April Vive le passant qui passe Long live the passer-by Qu’on promet pour longtemps that a lasting promise is given On l’a trouvé sur la glace he was found on the ice C’est le joli printemps it is pretty springtime Jean Martin a trépassé Jean Martin was dead. Qui fait sortir les filles that brings the maidens out of doors Tremblez les gros et les moines Tremble over-fed men and monks La fille et le galant The lass and her swain Vive le passant qui passe Long live the passer-by Pour danser le quadrille to dance the quadrille Tremblez ah! maudite race tremble Ah! accursed tribe C’est le joli printemps it is pretty springtime Qui n’avez point de pitié who are without pity Qui fait briller le temps making the weather sunshiny Un jour prenez garde ô race one day, take care O tribe Aussi profitez-en So enjoy it while you may Les Jean Martin seront en masse the Jean Martins will become a mob Jeunes gens, jeunes filles young folk, young maidens Aux bâtons de cornouiller with their dogwood staves C’est le joli printemps it is pretty springtime Il vous crè’ront la paillasse They will stick you through the belly Qui fait briller le temps making the weather sunshiny Puis ils violeront vos garces then they will ravish your wenches Car le joli printemps For pretty springtime Et chausseront vos souliers and be in your shoes C’est le temps d’une aiguille is but a point in time Jean Martin prends ta besace Jean Martin take your sack Car le joli printemps for pretty springtime Ton bâton de cornouiller. your dogwood staff. Ne dure pas longtemps. lasts so short a time

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37. Chanson de la fille frivole 37. Song of the flighty girl 38. Le retour du sergent 38. The return of the sergeant Ah dit la fille frivole Ah said the flighty girl Le sergent s’en revient de guerre The sergeant is returning from the war Que le vent y vire y vole let the wind blow where it listeth Les pieds gonflés sifflant du nez swollen feet sniffling nose Mes canards vont sur l’étang my ducks are swimming on the pond Le sergent s’en revient de guerre the sergeant is returning from the war Belle lune de printemps lovely moon of springtime Entre les buissons étonnés between the astonished thorn bushes Ah dit la fille frivole Ah said the flighty girl A gagné la croix de Saint-Georges He has won the St George Cross Que le vent y vire y vole let the wind blow where it listeth Les pieds gonflés sifflant du nez swollen feet sniffling nose Sous les vergers éclatants under the full blown orchards A gagné la croix de Saint-Georges he has won the St George Cross Belle lune de printemps lovely moon of springtime Son pécule a sous son bonnet has his gratuity under his cap Ah dit la fille frivole Ah said the flighty girl Bourre sa pipe sen terre rouge Fills his red clay pipe Que le vent y vire y vole let the wind blow where it listeth Les pieds gonflés sifflant du nez swollen feet sniffling nose Et dans les buissons chantants in the singing bushes Bourre sa pipe en terre rouge fills his red clay pipe Belle lune de printemps lovely moon of springtime Puis soudain se met à pleurer then suddenly begins to weep Ah dit la fille frivole Ah said the flighty girl Il revoit tous ses copains morts He sees again all his dead chums Que le vent y vire y vole let the wind blow where it listeth Les pieds gonflés sifflant du nez swollen feet sniffling nose Je vais trouver mes amants I am going to find my lovers Il revoit tous ses copains morts he sees again all his dead chums Sous la lune de printemps under the springtime moon Qui sont pourris dans les guérets who have rotted in the fields Ah dit la fllle frivole Ah said the flighty girl Ils ne verront plus leur village They will see their village no more Que le vent y vire y vole let the wind blow where it listeth Les pieds gonflés sifflant du nez swollen feet sniffling nose L’âge vient trop vitement old age comes all too quick Ils ne verront plus leur village they will see their village no more Sous la lune de printemps under the springtime moon Ni le calme bleu des fumées nor the calm blue of smoking chimneys Ah dit la fille frivole Ah said the flighty girl Les fiancées va marche ou crève Their sweethearts go on or die Que le vent y vire y vole let the wind blow where it listeth Les pieds gonflés sifflant du nez swollen feet sniffling nose Plus tard soucis et tourments later on cares and torments Envolées comme dans un rêve scattered as in a dream Sous la lune de Printemps under the springtime moon Les copains s’les sont envoyées the chums have ravished them Ah dit la fille frivole Ah said,the flighty girl Et le sergent verse une larme And the sergeant sheds a tear Que le vent y vire y vole let the wind blow where it listeth Les pieds gonflés sifflant du nez swollen feet sniffling nose Aujourd’hui guérissez-m’en today preserve me from them Et le sergent verse une larme and the sergeant sheds a tear Belle lune de printemps lovely moon of springtime Le long des buissons étonnés. along by the astonished thorn bushes. Ah dit la fille frivole Ah said the flighty girl Que le vent y vire y vole let the wind blow where it listeth Baisez moi bien tendrement kiss me very tenderly Sous la lune de printemps. under the springtime moon.

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39. Une chanson de porcelaine [WD] 39. A song of porceleain pour les lâches et les salauds. for the coward and the scumbag. Une chanson de porcelaine bat des mains A song of porcelain claps hands Mais si la frousse de ce geste But if the fear of such an act Puis en morceaux mendie et meurt then in pieces begs and dies s’attache à vous comme un grelot, clings to your neck like a cat’s bell, Tu te souviendras d’elle pauvre et nue you will remember it poor and denuded si l’on craint de s’ouvrir les veines, if you are scared to slash your wrists, Matin des loups et leur morsure est morn of the wolves and their bite is on peut toujours risquer la veine you can always gamble your luck un tunnel a tunnel d’un voyage à Monte-Carlo with a trip to Monte Carlo. D’où tu sors en robe de sang out of which you come robed in blood Monte-Carlo, Monte-Carlo. Monte Carlo, Monte Carlo. A rougir de la nuit to blush for the night J’ai fini ma journée. I have finished my day. Que de vivants à retrouver so many living beings to find again Je veux dormir au fond de l'eau de la Mediterranée. I want to sleep on the seabed of the Mediterranean. Que de lumières à éteindre so many lights to extinguish Après avoir vendu à votre âme et mis en gage Once you’ve sold your soul Je t’appellerai Visuelle I will call you Visual des bijoux que jamais plus on ne réclame, and pawned jewels that you’ll never reclaim, Et multiplierai ton image. and will replicate your face. la roulette est un beau joujou. roulette is a pretty plaything. C’est joli de dire: “je joue”. It’s good to say: “I play”. Cela vous met le feu aux joues It makes your cheeks burn 40. Fancy [AM] et cela vous allume l’œil. and it lights up your eyes. William Shakespeare (1564-1616) Sous les jolis voiles de deuil Beneath joyous mourning veils Tell me, where is fancy bred, on porte un joli nom de veuve. you bear a noble widow’s name. Or in the heart, or in the head? Un titre donne de l’orgueil! A title gives you pride! How begot, how nourished? Et folie, et prête, et toute neuve, And foolish, up for it, and all fresh, Reply, reply. on prend sa carte au casino. you take up your casino card. It is engend’red in the eyes, Voyez mes plumes et mes voiles, See my feathers and my veils, With gazing fed; and fancy dies contemplez les strass de l’étoile admire the bling of the star In the cradle where it lies. qui mène à Monte-Carlo. that leads to Monte Carlo. Let us all ring fancy’s knell: La chance est femme. Elle est jalouse Luck is a woman. She is jealous I’ll begin it, — Ding, dong, bell. de ces veuvages solennels. of such solemn widowhoods. Ding, dong, bell. Sans doute ell’ m’a cru l’épouse Perhaps she thought I was the wife d’un véritable colonel. of a real colonel. J’ai gagné, gagné sur le douze. I won, won on the twelve. 41. La dame de Monte-Carlo [SF] 41. The lady of Monte Carlo Et puis les robes se decousent, And then dresses come unstitched, Jean Cocteau (1889-1963) la fourrure perd des cheveux. furs shed their hair. Quand on est morte entre les mortes, When you are dead amongst the dead, On a beau répéter: “Je veux”, As much as you say: “I want”, qu’on se traîne chez les vivants that you crawl along with the living dès que la chance vous déteste, once luck hates you, lorsque tout vous flanque à la porte when everything shuts you out dès que votre cœur est nerveux, once your heart is nervous, et la ferme d'un coup de vent, and slams the door with a blast of wind, vous ne pouvez plus faire un geste, you cannot move a thing, ne plus être jeune et aimée... no longer to be young or loved... pousser un sou sur le tableau push a coin on the board derrière une porte fermée, Behind the closed door, sans que la chance qui s’écarte without, as she steps away, luck il reste de se fiche à l’eau all that is left is drowning yourself change les chiffres et les cartes changing numbers and changing cards ou d’acheter un rigolo. or buying yourself a revolver. des tables de Monte-Carlo. on the tables of Monte Carlo. Oui, messieurs, voilà ce qui reste Yes, gentlemen, that’s all that is left 28 29

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Les voyous, le buses, les gales! The thugs, the fools, the scabs! Ils m’ont mise dehors... dehors... They threw me out... out... et ils m’accusent d’être sale, and accuse me of being dirty, de porter malheur dans leurs salles, of bringing bad luck to their rooms, dans leurs sales salles en stuc. to their filthy stucco rooms. Moi qui aurais donné mon truc Me, who would have given my trick à l’œil, au prince, à la princesse, for nothing, to the prince, the princess, au Duc de Westminster, to the Duke of Westminster – au Duc, parfaitement. yes, that’s right, the Duke. Faut que ça cesse, This has to stop, qu’ils me criaient, votre boulot! they shouted at me, this business of yours Votre boulot?... This business?... Ma découverte. My discovery. J’en priverai les tables vertes. I’ll deprive those green tables of it. C’est bien fait pour Monte-Carlo, Monte-Carlo. Serves Monte Carlo right, Monte Carlo. Et maintenant, moi qui vous parle, And now, I who am talking to you, je n’avouerai pas les kilos que j’ai perdus, will not admit to the pounds that I’ve lost, que j’ai perdus à Monte-Carle, that I’ve lost at Monte Carle, Monte-Carle, ou Monte-Carlo. Monte Carle or Monte-Carlo. Je suis une ombre de moi-même... I am a shadow of myself... les martingales, les systèmes The martingales, the systems et les croupiers qui ont le droit and the croupiers who have the right de taper de loin sur vos doigts to rap your fingers from a distance quand on peut faucher une mise. when you want to pinch a stake. Et la pension où l’on doit And the boarding house where you owe et toujours la même chemise and always the same chemise que l’angoisse trempe dans l’eau. that anguish drenches with water. Ils peuvent courir. Pas si bête. They can run. I’m not that dim. Cette nuit je pique une tête Tonight I’m taking a header dans la mer de Monte-Carlo, Monte-Carlo ... in the sea of Monte Carlo, Monte Carlo...

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JOHN MARK AINSLEY [JMA] WILLIAM DAZELEY [WD]

A highly versatile singer, John Mark Ainsley’s international engagements William Dazeley was born in Warwickshire and studied at Jesus College, include appearances with the London Symphony under Sir , Cambridge and the Guildhall School of Music and Drama. Rostropovich and Previn, the Concert D’Astrée under Haim, the London His operatic roles have included Guglielmo (Cosi fan tutte), Anthony Philharmonic under Norrington, under (Sweeney Todd), Figaro (Il Barbiere di Siviglia) with the Minkowski, the under Welser-Moest, the Berlin and Covent Garden; Owen Wingrave (Owen Wingrave) with Glyndebourne Philharmonic under Haitink and Rattle, the Berlin Staatskapelle under Touring Opera; (Don Giovanni) with Deutsche Oper, Jordan, the under Masur, the Boston Symphony Berlin; Dr with and Theatre du Châtelet; Zurga under Ozawa, the under Tate and Norrington, (The Pearl Fishers) with ; Ferryman () the under Norrington, Pinnock and Welser-Möst, and both the with Edinburgh Festival, Papageno (The Magic Flute) with , Count Orchestra of the Maggio Musicale Fiorentino and the Orchestre de Paris under Giulini. (Le Nozze di Figaro) with , Maximilian (Candide) with Teatro di San Carlo, His discography covers the baroque and classical repertoire, the German Lied and English song, Naples; (Eugene Onegin) with New Zealand Opera; Posa (Don Carlos), Yeletsky and the American musical. His Britten recordings include ‘A Midsummer Night’s Dream’, ‘Spring (Queen of Spades), Don Giovanni and Mr Gedge () with ); Eisenstein Symphony’ and the three cycles ‘Serenade for tenor, horn and strings’, ‘Les Illuminations’ (Die Fledermaus) with the Bolshoi, Moscow; Marcello (La Bohème) with ; and ‘Nocturne’. Father (Hansel und Gretel) with Glyndebourne Festival Opera and Garsington Opera; and Captain von Trapp (The Sound of Music) at the Châtelet. On the operatic stage he has sung Don Ottavio at the Glyndebourne Festival under Sir , directed by Deborah Warner, the Aix-en-Provence Festival under Claudio Abbado, William appears frequently in concert alongside renowned orchestras and conductors, including directed by Peter Brook and for his debut at the Royal Opera House, Covent Garden, under the CBSO, , BBC Symphony, Philippe Herreweghe, John Eliot Gardiner and Mackerras. His many appearances at the Festival include Bajazet in , Jonathan Leonard Slatkin. He performed the world premiere of songs by Harrison Birtwistle for the BBC in , the title role in a new production of at the Cuvilliestheater and as Orfeo, for Proms, and has recently performed Carmina Burana with Sydney Symphony Orchestra and which he received the Munich Festival Prize. He created the role of Der Daemon in the world L’Enfance du Christ with the Bayerische Rundfunk Munich. He has given recitals at the Wigmore premiere of ’s L’Upupa at the Salzburg Festival and Hippolyt in the world Hall, Purcell Room, and St George’s Bristol, and is regularly invited to sing at Cheltenham, Aix premiere of Henze‘s in Berlin and . He sang Skuratov in Janácˇek’s From the House en Provence and Saintes Festivals with such noted accompanists as Graham Johnson, Iain of the Dead directed by Chereau and conducted by Boulez at the Amsterdam, Vienna and Aix-en- Burnside, Sholto Kynoch and Malcolm Martineau. Provence Festivals and subsequently in his house debut at La Scala, Milan under Salonen. A DVD of this production has also been released. He sang his first Captain Vere in in Frankfurt directed by Richard Jones and 2010 saw his first Captain Vere in the UK in Michael Grandage’s production of Billy Budd for the Glyndebourne Festival. John Mark won the 2007 Royal Philharmonic Society Singer Award. He is a Visiting Professor at the Royal Academy of Music.

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SARAH FOX [SF] MAGDALENA MOLENDOWSKA [MM]

Born in Yorkshire, Sarah Fox was educated at Giggleswick School, London Polish soprano Magdalena Molendowska studied at the Guildhall School of University and the Royal College of Music. She won the Kathleen Ferrier Music & Drama under the guidance of Rudolf Piernay, where she was Award in 1997 and the John Christie Award in 2000. Versatile and with a awarded the prestigious Gold Medal in her final year. She began her studies voice that has grown in size and warmth from the Baroque repertoire in at the Academy of Music in Gdañsk, as a student of Dariusz Paradowski. As which she made her name, to encompass Lieder, and the well as this she obtained a Master of Law Diploma from Gdañsk University. some of the heavier Mozart roles, she is equally at home in song, opera, In 2008 she was a member of the Accademia Nazionale di Santa Cecilia‘s oratorio and musical theatre. Opera Studio in Rome, where she worked with Renata Scotto. Her extensive international concert career includes engagements with the Since 2011 she has been a soloist with the Polish National Opera in Academy of Ancient Music, Berlin Philharmonic, City of Birmingham Symphony, Concerto Warsaw, where she made her debut in Jakob Lenz by Wolfgang Rihm. In the 2012/13 season she Cologne, Halle, Minnesota Orchestra, Philharmonia, and the San Francisco Symphony, under returned to the Teatr Wielki Opera Narodowa to perform the title role in Halka by Stanisław conductors including Bolton, Hickox, Maazel, Mackerras, Pappano and Rattle. She has appeared Moniuszko. She has also sung with Wrocław Opera House, Glyndebourne Festival and Clonter at the BBC Proms and the Edinburgh International Festival and been part of the immensely Opera. For a number of years she performed with Gdañsk Chamber Opera. popular Hollywood Musicals concerts, both at and on tour. She Her repertoire comprises contemporary music, songs of many nations, various cantata and has starred in a Mario Lanza tribute on BBC Radio, and performed concerts in Europe with oratorio works, however her most beloved music to perform is opera. She made her debut as a Rufus Wainwright. A frequent guest of the Classical Opera Company, she regularly sings with soloist in 2006 as Atalanta in Handel’s , re di Persia. She has since then appeared in numerous them and with others at Wigmore Hall. roles, including Die Erste Dame (Die Zauberflöte), Donna Elvira (Don Giovanni), Countess (Le Operatic highlights include Asteria (Tamerlano) for Covent Garden, Munich & nozze di Figaro), Vitellia (), Anita (La Navarraise), Mrs Webbs in Ned Rorem’s (opposite Placido Domingo); Zerlina (Don Giovanni) for Covent Garden, Glyndebourne & Our Town, Kurfürstin in Carl Zeller’s Der Vogelhändler, Rosalinde (Die Fledermaus), and Mother in Cincinnati; Susanna (Le Nozze di Figaro) for Glyndebourne & The Royal Danish Opera; Mimi Hansel und Gretel. (La Boheme) & Merab (Saul) for Opera North; Michal (Saul) & Eurydice (Orphee et Eurydice) in She also appears frequently upon the dramatic stage. She participated in the work of the Academic Munich; Ilia (Idomeneo) with De Vlaamse Opera; and Lucy Lockitt (The Beggar‘s Opera) for Theatre Society, culminating in two premiere performances in Wybrze¿e Theatre, Gdañsk. Covent Garden. In recital, Sarah works closely with Malcolm Martineau with whom she made her debut at the Concertgebouw, Amsterdam. She will record her debut solo disc with him later this year. She has also recorded Poulenc Songs with Graham Johnson for Hyperion. Her discography includes Mahler’s Symphony No.4 (Philharmonia/Mackerras) for Signum Classics; Leighton’s Symphony No.2 (BBC National Orchestra of Wales/Hickox), Vaughan Williams’ Christmas Music & Britten’s Owen Wingrave (CLS/Hickox) and Britten’s The Beggar’s Opera (CLS/Curnyn) for Chandos; and “That‘s Entertainment” (John Wilson Orchestra/Wilson) for EMI classics.

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ANN MURRAY [AM] THOMAS OLIEMANS [TO]

Ann Murray was born in and studied with Frederick Cox at the Born in Amsterdam in 1977, the Dutch baritone Thomas Oliemans Royal Manchester College of Music. She has established close links with graduated from the Amsterdam Conservatory, coached by Margreet Honig. both the English National Opera, for whom she has sung the title roles in He continued his studies with KS Robert Holl, Elio Battaglia and Dietrich Handel’s Xerxes and and Donizetti’s Maria Stuarda, and with the Fischer-Dieskau. Royal Opera House, Covent Garden, where her roles have included In 2005 he made his debut at the Salzburg Festival as Gonsalvo Fieschi in Cherubino, Dorabella, Donna Elvira, Rosina, Octavian, and new Schreker’s Die Gezeichneten. Further important debuts followed in 2006 as productions of L’Enfant et les Sortilèges, Ariadne auf Naxos, Idomeneo, Papageno (Die Zauberflöte) with the Opera of Nantes and Angers and at Mitridate, Re di Ponto, Cosi fan Tutte, Mosé in Egitto, and Giulio Cesare. the Opera de Genève as Guglielmo (Cosi fan Tutte). Much sought after as a concert singer, she has sung with the Orchestre de Paris under Kubelik, Most recent opera appearances include his debut at the Royal Opera House, Covent Garden in the Philadelphia Orchestra under Sawallisch, the Berlin Philharmonic Orchestra under Muti, the the role of Schaunard (La Bohème), Papageno (Die Zauberflöte) at De Nederlandse Opera; Marcello Chicago Symphony Orchestra under Solti, the Royal Concertgebouw Orchestra under Haitink (La Bohème) and Eisenstein (Die Fledermaus) at the Opéra in Strassbourg; Figaro (Le Nozze di and in the Musikverein, Vienna under Sawallisch and Harnoncourt. She sings in Great Britain Figaro) and Figaro (Il Barbiere di Siviglia) both at Scottish Opera; Hercule in Gluck’s at the with the leading orchestras, at the BBC Promenade Concerts (where she has sung at both the Aix-en-Provence Festival, Maximilan (Candide) and Tarquinius (The Rape of Lucretia) both at the First and Last Nights of the Proms) and at the major festivals. Vlaamse Opera and Frank in Korngold’s Die tote Stadt at the Opéra national de Lorraine. Ann Murray’s recital appearances have taken her to Paris, Brussels, Amsterdam, Geneva, Dresden, His discography includes Schubert’s Winterreise, as well as the CD ‘Mirages’ with song cycles by Zurich, Frankfurt, Madrid, London, Dublin, the Aldeburgh, Edinburgh, Munich and Salzburg Francis Poulenc and Gabriel Fauré and Schubert’s Schwanengesang, both with pianist Malcolm Festivals and both the Konzerthaus and Musikverein in Vienna. Her discography reflects not only Martineau. In orchestral repertoire in 2010 a CD was released with works by Frank Martin for her broad concert and recital repertoire but also many of her great operatic roles, including baritone with the Stavanger Symphony Orchestra and conductor Steven Sloane as well as a live- Purcell’s Dido under Harnoncourt, Dorabella under Levine, Cherubino under Muti, Hansel recording of Bach‘s Johannes Passion with the Orchestra of the 18th Century. under Colin Davis, Sextus under Harnoncourt and Donna Elvira under Solti. Thomas Oliemans has worked with conductors as Semyon Bychkov, Ivor Bolton, Hartmut In 1997 Ann Murray was made an Honorary Doctor of Music by the National University of Haenchen, Edo de Waart, Jaap van Zweden, Claus Peter Flor, Yakov Kreizberg, Paul McCreesh, Ireland, in 1998 she was made a Kammersängerin of the and in 1999 an Marc Albrecht and Yannick Nézet-Séguin. Honorary Fellow of the Royal Academy of Music. In the 2002 Golden Jubilee Queen’s Birthday Honours she was appointed an honorary Dame Commander of the Most Excellent Order of the British Empire. In 2004 she was awarded the Bavarian Order of Merit.

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MALCOLM MARTINEAU This recording was made with generous support from Simon Yates and Kevin Roon. Dedicated by all the artists with affection and admiration to the late John West. Malcolm Martineau was born in Edinburgh, read Music at St Catharine’s College, Cambridge and studied at the Royal College of Music. English translations of Le serpent, la puce and la colombe reproduced by kind permission of Lauren Shakeley. English translations of Huit chansons polonaises by Maria Paszkiewicz. Recognised as one of the leading accompanists of his generation, he has All other song texts are reproduced by kind permission of Kahn & Averill from Pierre worked with many of the world‘s greatest singers including Sir Thomas Bernac’s Francis Poulenc: The man and his songs, with English translations by Winifred Radford. Allen, Dame Janet Baker, Olaf Bär, Barbara Bonney, Ian Bostridge, Angela Gheorghiu, , Thomas Hampson, Della Jones, Simon The Steinway concert piano chosen and hired by Signum Records for Keenlyside, Angelika Kirchschlager, Magdalena Kozena, Solveig this recording is supplied and maintained by Steinway & Sons, London Kringelborn, Jonathan Lemalu, Dame , Christopher Maltman, Karita Mattila, Lisa Milne, Ann Murray, Anna Netrebko, Anne Sofie von Otter, Joan Rodgers, Amanda Roocroft, Michael Schade, Frederica von Stade, Sarah Walker and Bryn Terfel. La bestiaire, Cinq poèmes de Max Jacob, Cinq poèmes de Paul Eluard, Fancy He has presented his own series at the Wigmore Hall and the Edinburgh Festival. He has appeared & La dame de Monte Carlo throughout Europe (including London’s Wigmore Hall, Barbican, Queen Elizabeth Hall and Recorded at St Michael and All Angels in Summertown, Oxford, Royal Opera House; La Scala, Milan; the Chatelet, Paris; the Liceu, Barcelona; Berlin‘s from 14-20 February and 6-10 September 2010. Philharmonie and Konzerthaus; Amsterdam’s Concertgebouw and Vienna’s Konzerthaus and Producer – John West. Recording Engineer & Editor – Andrew Mellor Musikverein), North America (including in New York both Alice Tully Hall and Carnegie Hall), Le serpent, La puce, La colombe & Chansons villageoises Australia (including the Sydney Opera House) and at the Aix-en-Provence, Vienna, Edinburgh, Recorded at All Saints Church, East Finchley, London, from 1-3 June 2011. Schubertiade, Munich and Salzburg Festivals. Producer – John West. Recording Engineer & Editor – Andrew Mellor Recording projects have included the complete Beethoven Folk Songs and Schubert, Schumann Poèmes de Ronsard, Huit chansons polonaises & Une chanson de porcelaine and English song recitals with Bryn Terfel (Deutsche Grammophon); Schubert and Strauss recitals Recorded at All Saints Church, East Finchley, London, from 5-6 June 2012. with Simon Keenlyside (EMI); recital recordings with Angela Gheorghiu and Barbara Bonney Producer, Recording Engineer & Editor – Andrew Mellor (Decca), Magdalena Kozena (DG), Della Jones (Chandos), Susan Bullock (Crear Classics), Solveig Kringelborn (NMA); Amanda Roocroft (Onyx); the complete Fauré songs with Sarah Walker and Design - Darren Rumney Tom Krause; the complete Britten Folk Songs for Hyperion; the complete Poulenc songs for P2013 The copyright in this recording is owned by Signum Records Ltd. Signum and Britten Song Cycles as well as Schubert’s Winterreise with Florian Boesch for Onyx. C2013 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd. Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of He was a given an honorary doctorate at the Royal Scottish Academy of Music and Drama in copyright and will render the infringer liable to an action by law. Licences for public performances or broadcasting may be obtained from 2004, and appointed International Fellow of Accompaniment in 2009. Malcolm was the Artistic Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd. Director of the 2011 Leeds Lieder+ Festival. SignumClassics, Signum Records Ltd, Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. +44 (0) 20 8997 4000 E-mail: [email protected] www.signumrecords.com 38

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SIGNUMCLASSICS POULENC SIGCD323 COMPLETE SONGS VOL.4 [6.49] [1.31] [1.55] [7.23] [11.32] [69.27] ...... [JMA] ...... [WD] ...... [SF] [TO] DDD ...... 24 bit digital recording [AM] D Cinq poèmes de Paul Eluard Chansons villageoises Une chanson de porcelaine Fancy La dame de Monte Carlo timings Total 39. 40. 41. 28-32. 33-38. 2013 Signum Records 2013 Signum Records P C [5.34] [0.31] [0.56] [0.52] [8.32] [11.23] [12.24] ...... SIGCD323 ...... [SF] [MM] ...... [WD] LC15723 ...... [TO] [TO] ´ i polskich [TO] [TO] Le Le serpent La puce La colombe de Poèmes Ronsard Cinq poèmes de Max Jacob Osiem piesn (Huit chansons polonaises) Le bestiaire 7. 8. 9. 1-6. Job Title Job Title CTP Template: CD_INL1 CTP Template: Compact Disc Back Inlay Customer Catalogue No.

Signum Records Ltd, Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, United Kingdom www.signumrecords.com 15-19. 10-14. 20-27.

COMPLETE SONGS VOL.4 SONGS COMPLETE

SIGNUM SIGCD323 CLASSICS POULENC