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MÉLODIES MÉLODIES Martin Isepp & Geoffrey Parsons & Geoffrey Martin Isepp Martin Isepp & Geoffrey Parsons & Geoffrey Martin Isepp

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MÉLODIES MÉLODIES Martin Isepp & Geoffrey Parsons & Geoffrey Martin Isepp Martin Isepp & Geoffrey Parsons & Geoffrey Martin Isepp Nimbus Nimbus FAURÉ AND DUPARC • AND MÉLODIES DUPARC FAURÉ Hugues Cuenod • AND MÉLODIES DUPARC FAURÉ Martin Isepp & Geoffrey Parsons MÉLODIES Gabriel Fauré NI 5736/7 Henri Duparc NI 5736/7 NI 5736/7 Also available by Hugues Cuenod on Nimbus NI 5027 Satie – Socrate Songs by Chabrier, Honnegger, Menasce, Poulenc and Roussel Geoffrey Parsons, piano Hugues Cuenod NI 5337 Martin Isepp & Geoffrey Parsons 20th Century French Songs Songs by Roussel, de Manziarly, Poulenc, Caplet, Auric, Milhaud Geoffrey Parsons, piano NI 5231 MÉLODIES Debussy – 17 Songs Trois Poemes de Stephane Mallarme, Cinq Poemes de Baudelaire Martin Isepp, piano Gabriel Fauré P 2004 Wyastone Estate Limited © 2004 Wyastone Estate Limited Henri Duparc Cover picture: Dynamic Graphics Group/Creatas/Alamy Design: [email protected] 16 NI 5736/7 NI 5736/7 Fauré and Duparc family and to a broad range of interests including literature, music and painting. He died blind and eventually paralysed in 1933 aged 85. Hugues Cuenod No other composers of their generation created so much of quality in the genre of song with in France, especially not, it seems, those composers whose lyrical gifts were so admired in opera. Fauré and Duparc show a conception of the unity of music and Martin Isepp (Fauré) poetry rare in the music of any time or nation. Their sensitivity in communicating this interdependence lifts their work far above the charming but ultimately Geoffrey Parsons (Duparc) inconsequential songs of Gounod, Massenet, Chausson and to a great extent over those of Debussy and Ravel. Together Fauré and Duparc are the musical substance of DISC ONE French Song. Gabriel Fauré (1845-1924) 1 Lydia (Lisle) op.4 no.2 c.1870 2.47 © 1994 Adrian Farmer 2 Au bord de l’eau (Prudhomme) op.8 no.1 1875 2.12 3 Après un rêve (Bussine) op.7 no.1 c.1878 2.44 4 Nell (Lisle) op.18 no.1 1878 2.01 5 Automne (Silvestre) op.18 no.3 1878 2.56 6 Aurore (Silvestre) op.39 no.1 1884 2.40 7 Les roses d’Ispahan (Lisle) op.39 no.4 1884 3.11 8 Les présents (Adam) op.46 no.1 1887 1.57 9 Clair de lune (Verlaine) op.46 no.2 1887 3.14 10 Spleen (Verlaine) op.51 no.3 1888 2.55 Cinq mélodies ‘de Venise’ op.58 (Verlaine) 1891 11 I Mandoline 2.00 12 II En sourdine 4.04 13 III Green 2.00 14 IV À Clymène 3.27 Translations by Atlas Translations, Cambridge, UK 15 V C’est l’extase 4.09 2 15 NI 5736/7 NI 5736/7 lyriques admirables. Fauré et Duparc démontrent une conception de l’unité musicale La bonne Chanson op.61 (Verlaine) 1892-4 et poétique très rare en musique, quelle que soit l’époque, quel que soit le pays. La 16 I Une Sainte en son auréole 2.13 sensibilité qui les pousse à communiquer cette interdépendance de la musique et du 17 II Puisque l’aube grandit 2.03 poème porte leur œuvre bien au-delà du monde des mélodies charmantes mais, au 18 III La lune blanche luit dans les bois 2.33 fond, peu importantes de Gounod, Massenet, Chausson et même Debussy et Ravel. Ensemble, Fauré et Duparc sont la quintessence de la mélodie française. 19 IV J’allais par des chemins perfides 1.53 20 V J’ai presque peur, en vérité 2.18 21 VI Avant que tu ne t’en ailles 2.54 22 VII Donc, ce sera par un clair jour d’été 2.54 Fauré & Duparc 23 VIII N’est-ce-pas? 2.34 24 IX L’hiver a cessé 3.24 Gabriel Fauré and Henri Duparc were almost exact contemporaries, yet apart from their longevity the progress of their lives could hardly be more different. Fauré, born Total playing time 65.03 in 1845, had a long life which was ultimately at the centre of French music. In 1896 he Tracks 1-15 recorded Nimbus Studios, Birmingham 16-17 October 1972 was appointed chief organist at the Madeleine and in the same year succeeded Tracks 16-24 recorded Nimbus Studios, Birmingham 9 March 1973 Massenet to the post of composition at the Conservatoire. In 1903 he became music critic of Le Figaro and in 1905, aged 60, he became the somewhat revolutionary director of the Conservatoire, nicknamed ‘Robespierre’ by those reactionary professors obliged to resign in protest over his reforms. The works of his later years, especially the last DISC TWO song cycles Mirages and L’Horizon Chimérique (1919-1921) are distilled and compressed masterpieces full of passionate utterance, painfully direct and without the smallest Gabriel Fauré element of pretence. 1 Prison (Verlaine) op.83 no.1 1894 2.48 2 Soir (Samain) op.83 no.2 1894 2.53 To find anything the equal of Fauré’s last songs requires a backward journey of 50 3 Le parfum impérissable (Lisle) op.76 no.1 1897 2.50 years to the thirteen songs written between 1868-1884 which are the sum total of the 4 Le plus doux chemin (Silvestre) op.87 no.1 1904 1.43 output of Henri Duparc. To remark on his acutely sensitive disposition has become a commonplace; enough to leave posterity with the uneasy sense that the psychological and physical worries which caused him to abandon composition aged 36 were perhaps really insanity. This is not borne out by his subsequent long life which was certainly quiet and intensely reflective but nonetheless normal. He was devoted to his 14 3 NI 5736/7 NI 5736/7 Mirages op.113 (Brimont) 1919 Fauré & Duparc 5 I Cygne sur l’eau 3.28 6 II Reflets dans l’eau 4.27 Gabriel Fauré et Henri Duparc étaient presque exactement contemporains, et les 7 III Jardin nocturne 3.15 similitudes entre les deux hommes s’arrêtent à leur longévité, car leur parcours 8 IV Danseuse 2.34 n’aurait pu être plus différent. Fauré, né en 1845, vécut une longue existence pour aboutir finalement au centre de la scène musicale française. En 1896, il fut nommé L’horizon chimérique op.118 (Mirmont) 1921 titulaire des orgues de la Madeleine et, la même année, il succéda à Massenet à la 9 I La mer est infinie 1.42 chaire de composition du Conservatoire. En 1903, il devint critique musical pour Le 10 II Je me suis embarqué 2.35 Figaro et en 1905, à l’âge de 60 ans, il devint le directeur du Conservatoire. Sa vision 11 III Diane, Séléné 2.19 assez révolutionnaire lui valut le surnom de « Robespierre », certains professeurs 12 IV Vaisseaux, nous vous aurons aimés 1.51 réactionnaires étant obligés de démissionner en signe de protestation contre ses réformes. Les derniers travaux de sa vie, en particulier les dernières mélodies, Mirages Henri Duparc (1848-1933) et L’Horizon Chimérique (1919-1921), sont des chefs-d’œuvre de subtilité et de passion, très directs dans leur mode d’expression et sans le moindre soupçon de prétention. 13 Chanson triste (Lahor) c.1868 3.42 14 Soupir (Prudhomme) c.1869 3.43 Il faut remonter dans le temps pour trouver l’équivalent de ces merveilleuses 15 L’invitation au voyage (Baudelaire) c.1870 4.43 compositions de Fauré. Cinquante ans plus tôt, Henri Duparc composait treize 16 Élégie (Moore) c.1874 3.01 mélodies (de 1868 à 1884) qui devinrent l’essentiel de son œuvre. Le débat sur son 17 Extase (Lahor) c.1874 3.39 tempérament hyper sensible est devenu un lieu commun ; tel qu’on le voit quitter la 18 Le manoir de Rosemonde (Bonnières) c.1879 2.32 postérité avec l’impression inconfortable que les raisons qui lui firent abandonner la 19 Phidylé (Lisle) 1882 5.35 composition à l’âge de 36 ans n’étaient peut-être pas dues à ses soucis psychologiques 20 Lamento (Gautier) c.1883 3.35 et physiques, mais bien à une véritable folie. Ceci n’est pas corroboré par la longue vie qu’il mènera par la suite, calme et empreinte d’une intense réflexion mais par ailleurs Total playing time 62.57 tout à fait normale. Il se consacrait tout entier à sa famille et s’intéressait à beaucoup de choses : à la littérature, à la musique, bien sûr, et à la peinture. Il mourra aveugle et paralysé en 1933, âgé de 85 ans. Tracks 1-4 recorded Nimbus Studios, Birmingham 16-17 October 1972 Tracks 5-12 recorded Nimbus Studios, Birmingham 9 March 1973 Aucun autre compositeur de la génération de ces deux hommes ne saura créer une Tracks 13-20 recorded Wyastone Leys, Monmouth 8 June 1978 telle qualité de la mélodie en France, surtout pas les compositeurs d’opéras aux dont 4 13 NI 5736/7 NI 5736/7 by the American press and the performance was immortalised on a DVD that is still currently available. His last public appearance was on the day of his hundredth Hugues Cuenod, birthday, on 26 June 2002. The theatre in his native town of Vevey organised a Insouciance et longévité memorable celebration for him, to which his best artist friends came to testify, play and sing for him. He was in exceptionally good form, and once again captivated those « Parques, qui dans vos mains tenez present by his humour and his prodigious memory. His philosophy? “I only remember Le fil de notre vie, the good times in my life and I think my existence can be summed up as a profane Allongez, tant que vous pourrez, trinity: the gift of music, the gift of laziness, the gift of being kind and pleasant to my Le mien, je vous en prie.
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