ERNEST CHAUSSON'S POEMEDEL'AMOUR ETDELA MER, OP. 19: AN INVESTIGATION OF THE INTEGRATION OF MUSICAL PARAMETERS AND TEXTUAL CONTENT

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A THESIS SUBMITTE|? W 二i ? THE DEPARTMENT Ol^^SIC-丄 OF THE CHINESE UNIVERSIT\|辣 H^^SfQ KOIJfG IN PARTIAL FULFILLMENT OF T^E REQUI^MENTS OF THE MASTER OF PHIL0S0PM1?R0GRAMME

BY WONG WAI YEE MARINA JUNE 1994

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im Abstract

Art songs are possibly the most expressive mode of musical composition.

Composers may communicate using an integrated union of words and music.

Lied (German art song) was one characteristic genre of musical composition, developed in the early nineteenth century. By the end of the nineteenth century, French composers like Debussy, Faure and Chausson also wrote art songs, Melodies, in their language.

Vocal compositions form one of the most important genres of Chausson,s output. He composed about forty art songs. Like other art song composers, most of his art songs were written with piano accompaniment. However he wrote one song cycle with orchestral accompaniment -- Poeme de 1'Amour et de la Mer, Op. 19 (based on the poems by Maurice Bouchor). By using the orchestra, the composer was able to enhance his expressive power.

The main purpose of this research is to investigate Ernest Chausson's mastery of melody, harmony and instrumentation in intensifying the passionate emotions as expressed in the poems, and how he converged music and words into an architectural entity.

、 Content

Chapter Page

One Introduction 1

Two Analysis of the Poem 17

Three Analysis of the Music 35

Four Text and Music 77

Five Significant Differences of the Orchestral

Score and the Piano-vocal Score 119

Six Summary 130

Selected Bibliography 132

Appendix 137 1

Chaper One: Introduction

A. Background

By the end of the nineteenth century, Europe had undergone a vast change in

political and cultural aspects. After the German invasion, the Third Republic in

France was founded in 1870; its greatest contribution was in education.• This

was the first time in the history of France that every village had a school. The

government was responsible for the cost of education; all people had a right to

be taught without having to pay for it. Since then, religion had no place in the

government supported schools and even the poor could have proper education.

The cultural spirit of France was then flourishing in the arts, music and poetry.

Claude Monet started impressionism in painting. In literature, poets of the

Parnassian School published Parnasse contemporain (An anthology of poems

. in four volumes) during the years 1866-1876.2 Poets like Baudelaire, Paul

Verlaine and Stephana Mallarme at this time wrote poems according to the

1 Cazamian, L. A History of French Literature. (London: Oxford University Press, 1955), p. 1.

^Dumesnil, Rene. Le Real is me et le Naturalisme. (Paris: Duca, 1968), p. 253. 2 doctrine of art for art's sake (I'Art pour I'Art).^ This group of poets later on became the early symbolist poets in the 1880’s. Symbolists tried to express their feelings by relating abstract thinking to concrete materials. Objects were suggested instead of described and thus, the reader can see "behind and beyond the objects of the real world to the essences concealed in the ideal world ”4

One of the favourite objects used in the poetry of this period is “flower.”5

According to Verlaine's Art Poetique, written in 1874, musicality of poems should come first, and words last. He declares that music has the quality of vagueness and power of suggestion that Symbolists were looking for. Thus, there was the "equation between poetry and music in preference to the equation between poetry and sculpture, or poetry and painting that had been current in the middle of the nineteenth century in France ”6

In Germany, Richard Wagner started to build a theater at Bayreuth in 1872 and the opening performance there was given in 1876. Many French musicians and poets went there to attend his operas. In 1885, a group of wealthy music-lovers

3 Ibid.

4Chadwick, Charles. Symbolism. (London: Methuen & Co. Ltd., 1971), p. 3.

5 Knight, Philip. Flower Poetics in Nineteenth-century France. (Oxford: Clarendon Press, 1986), p. 1.

6 Chadwick, p. 5. 3

founded the Revue Wagnerienne (The Wagnerian Review) in Paris for the discussion and appreciation of his work.7 This Review lasted only three years and closed down in 1888.8 But since then, the influence of Wagner's music drama on French music has been notable. Nevertheless, the interaction between painting, poetry and music in France was also prominent at that time,

as painters, poets and musicians were mutual friends.^

The title piece of this research, Poeme de VAmour et de la Mer, was written

during this period of time by the poet Maurice Bouchor，and set to music by the

composer Ernest Chausson. •

7 Lehmann, A. G. The Symbolist Aesthetic in France 1885-1895. Second edition. (Oxford: Basil Blackwell, 1968), p. 195.

8 Ibid., p. 224.

9 Michaud, Guy. Message Poetique du Symbolisme. (Paris: Librairie Nizet, 1947), p.391. “At Mallarme's place, there were musicicans, like Debussy; painters like Gauguin ....,’ » 4

B. The Composer

Ernest Chausson was bom to a wealthy family on January 20，1855 in Paris.�

His childhood was quite lonely because he received his education through private tuition. The cultural life of his childhood was mainly influenced by

Mme. de Rayssac，his "godmother," who was talented in music and painting."

In order to please his parents, Chausson first took up law studies and graduated in 1875，becoming a lawyer in 1876.12 Because of his wealthy background, he was able to travel a lot. In 1879, he went to Munich to attend a performance of

Richard Wagner's Tristan und Isolde, and was deeply moved by the music drama. 13 Then he began his music studies at the Paris Conservatoire with

Olivier Massenet and Cesar Franck.i^ in 1880, he went to Germany to listen to

Tristan again” When he returned to Paris, he studied exclusively with Franck

10 Grover, Ralph Scott. Ernest Chausson: The Man and His Music. (London: Associated University Presses, 1980), p. 13.

11 Ibid.

12 Grover，p. 15. i3Davies, Lawrence. "The French Wagnerians" Opera 19 (May 1968):p. 351.

14 Grover, p. 15.

^^Barricelli, Jean-Pierre, and Leo Weinstein. Ernest Chausson: The composer's Life and Works. (Norman: University of Oklahoma Press, 1955), p. 11. Chausson wrote: “I have heard Tristan, which is marvelous, I don't know any other work which possesses such intensity of feeling. As pure music it is splendid and of the highest order，as a way of understanding the musical drama it is a revolution ” 5 until 1883.16 In the same year, he married Jeanne Escudier, "a talented pianist and sister-in-law of the painter Henri Lerolle.”i7 They had five children and lived in a spacious mansion with luxurious furnishings.'^

Since he was financially well off and generous in character, he was able to give financial aid to many artists and musicians, including Claude Debussy. i9 As he was the secretary of the Societe Nationale de Musique for many years, he was able to help young composers by arranging performances of their works.20

In addition to music, Chausson was also interested in literature.21 Poets like

Maurice Maeterlinck and Maurice Bouchor were his personal friends.22

i6Grover, p. 16.

17 Ibid.

18 Ibid. i9Grover, p. 50. “In 1890，Chausson and Etienne Dupin, a wealthy businessman, financed a limited and deluxe edition of Debussy，s Cinq Poemes de Baudelaire. And in 1891, Debussy dedicated his song “La Mer est plus belle,, to Chausson; later, one of the Proses Lyhqiies - “De Fleiirs：" - was dedicated to Mme Chausson ”

20 Ibid.，pp. 22-3. "Ravel's overture Sheherazade was performed May 27, 1899, at the Societe when Chausson withdrew one of his own works in favor of the young man. Two further recipients of his generosity were Albeniz and Debussy."

21 Oulmont, Charles. Musique de I'Amour. (Paris: Desclee de Brouwer & Cie., Editeurs, 1935), pp. 102-3. ’

» Grover, pp. 17-8. 6

Therefore he got to know many poets and writers of the time.23 In his luxurious mansion, he had a large and varied collection of books and paintings of contemporaries: for example, the works of Delacroix, Manet and Gauguin.24

He often welcomed friends to his place. Many outstanding artists, poets and musicians were frequent visitors to his mansion.

"Among the painters and sculptors were Besnard, Carriere, Manet, Redon, Degas, Renoir, Denis, Vuillard and Rodin. Poets and writers were represented by Mallarme, Henri de Regnier,... Camille Mauclair and Bouchor. Among the composers were Franck and the "Fjanckistes": d'Indy, Duparc, Bordes, Breville, Ropartz, Magnard, and Benoit. Other composers were Faure, Dukas, Chabrier, Debussy, Albeniz, Bonheur, Satie."25

As a Roman Catholic, Chausson was influenced by the church's teachings about death. He wrote to Henri Lerolle in 1894: “Death, is our destination, it is a more real goal of our existence death is not an end of life, but a start or restart oflife."26

23Gallois, Jean. Ernest Chausson: I 'Homme et I'Oeuvre. (Paris: Editions Seghers, 1967), p. 78.

24Grover, p. 17.

25 Ibid., pp.17-8.

26 0ulmont,pp. 110-1. t 7

Chausson's musical career ended in 1899. He was killed instantly in a bicycle accident at Limay, a resort villa that he and his family had rented for the summer.27

C. The Poet

Maurice Bouchor was born on November 6, 1855 in Paris.^s He was a personal

friend of Ernest Chausson: they studied law together.29 Bouchor was one of the frequent visitors to Chausson's luxurious mansion. He started his career by writing poems in praise of the joy of life and love — Les Chansons Joyeuses

(The Happy Songs), published in 1874.30 In 1876, he published his Les Poemes de rAmour et de la Mer (The Poems of Love and of the Sea)?^ He was a

27Gallois, p. 69. "On the tenth of June, around six-thirty, putting his score aside for a moment. ... he called his eldest daughter, Etiennette, and departed with her on the familiar road to the neighoring railroad station, there to meet his wife and his other children who were returning from Paris. Being more agile, the young cyclist took the lead and, turning around, failed to see her father. She then retraced her steps, but she had the horror of discovering the musician lying at the floor of the carriage entrance, his temple crushed. He was killed instantly."

28Grente, Cardinal Georges. Ed. Dictionnaire des Lettres Frangaise, Le 19e Siecle. (Paris: Librairie Artheme Fayard, 1971), p. 186.

29Grover,p. 75.

^^Dumesnil, Rene. Le Realisme et le Natural is me (Paris: Duca. 1968), p. 294.

3丨 Ibid. ‘ 8 personal friend of Paul Verlaine，and was influenced by him to write "vers libre" (i.e. poems in "free form"); he also searched for philosophies and symbols concerned with inexpressible reality.32 He published two sets of poems called Les Symboles (The Symbols) in 1888 and 1895 respectively.33 In his mature stage, he wrote poetry for the working class and devoted much of his time to education and giving lectures on poetry.34 His works of this period include Chants Popiilaires pour les 色coles (Popular Songs for the Schools) published in 1897 and Nouveaux Chants Populaires (New Popular Songs) published in 1912.35

In addition to poems, he also wrote religious plays, mystical plays and short stories.36 These include Le Faust Moderne (The Modern Faust), a humourous story in poetry and prose published in 1878; Noel ou le Mystere de la Nativite

(Christmas or the Mystery of Nativity), a religious poem published in 1890;

Conte de Noel (Story of Christmas), a one-act play published in 1897; and Les

32Grente，p. 186.

33 Ibid.

34 Ibid.

35 Ibid. �

36Konta, Annie Lemp. The History of French Literature. (New York: D. Appleton & Co.，1910), p. 495. / 9

Mysteres d'Eleusis (The Mystery of Eleusis), a mystical poem published in

1894.37 ,

Nowadays, the name of Maurice Bouchor has nearly vanished from the history

of French literature: details of his life are nearly impossible to find. His name is

sometimes associated with Verlaine. Verlaine has written a poem with the title

Maurice Bouchor”沾(To Maurice Bouchor) and has mentioned his name in

another poem with the title “Chanson a Manger"" (Song to Dining)}"^

“It is generally recognized today that in Bouchor’s poetry, a great deal of it is concerned with the sentimental images of lost loves ”恥 It is possible that

Chausson chose Bouchor, s poems because of their friendship. Though he was literally not in the same class as Verlaine and Mallarme, "his verses express the tender and nostalgic simplicity of a fading love emotion，a theme that appealed greatly to Chausson’s artistic temperament It can be ascertained that

37Mendes, Catulle. Ed. Dictionnaire Bibliographique et Critique des Principawc Poetes Fmngais du XIX^ Steele. (Paris: Imprime Nationale, 1902), PP. 40-1. ’

38 Verlaine，Paul. Oeuvres Poetiques Completes. Bibliotheque de la Pleiade (Paris: Gallimard, 1962), p. 562.

39 Ibid., p. 953.

40G_r, p. 75.

4iBarricelli，p. 122. , 10

Chausson began to set Bouchor's poems to music from 1877, before entering

the Paris Conservatoire. The titles of these songs are “Les Lilas" written in

1877 and "Le Petit Sender” written in 1878. Both songs remain unpublished.

Other published works by the partners are Quatre Melodies (Four Melodies),

Op. 8，written during 1882-1888, and the incidental music for Shakespeare's

play in Bouchor's translation. La Tempete (The Tempest), Op. 18，published in

1888 «

Poetry critics of Bouchor's time have the following comments on him. Henri

Mercier describes him as an outstanding poet and a poet of ‘‘heart,” and his Les

Poemes de I 'Amour et de la Mer as full of tender love of nature and with a

delicate approach to his concept of women, along with soft melancholy.44

/

Emile Fagnet described his works as very beautiful and charming.45 Gaston

Deschamps wrote that after reading the poems of Bouchor, he admired and

loved them very much and considered his poems as historical documents. The

imagination found in his poems was colourful, delicate and graceful.

42Grover,p. 223.

43 Ibid.，p. 75.

44Mendes，p. 40，quoted from L'Art dam les Deia-Mondes published during 1890-1891.

45 Ibid., qut)ted from Le Theatre Contemporain published in 1890.

46 Ibid., quoted from Le Vie et les Livres published in 1895. 11

D. History and Critiques of Chausson's Poeme de VAmour et de la Mer

The songs of this song cycle were composed separately over a period of ten

years (1882-1892).47 The first song, "La Fleur des Eaux，” was begun in the

summer of 1882,48 published in June, 1890, by Quincy^^ and revised in June,

1893 after the first performance of the whole cycle.^o The second song, "La

Mort de rAmour," was published by Cremault in 1887, while the final song

“Le Temps des Lilas" was published separately in 1886 by Bellevue.^^

The first performance of the song cycle in piano-vocal version took place in

Brussels, Belgium on February 21, 1893,52 The voice part was sung by a

Belgian tenor，Desire Demest, also a friend of the composer. The piano part was played by Chausson himself, without the instrumental interlude.53 The orchestral version was first performed in April, 1893 by the Soci^te Nationale

47Gallois,p.98. .

48Grover, p. 95.

49Gallois，p. 98.

50 Ibid.

51 Ibid.

52 Ibid.，p. 100.

53Maus, Madeleine-Octave. Trente Annies de Lutte pour VArt (1884-1914). (Brussels: Libraire I'Oiseau Bleu, 1926), p. 153. Chausson wrote: “1 am leaving out the 'Interlude- which I would be too afraid to play ” 12

in Brussels, presented by the Concerts Ysaye.^^ These concerts were well

received by the audience.55 The orchestral score was first published by Rouart-

Lerolle in 1893.56 According to Classical Vocal Music in Print, the piano-

vocal version was first published as a whole in 1955 by The International

Music Co.57

This song cycle was dedicated to Henri Duparc，friend of the composer，but

Duparc later wrote to Chausson with his comments on the work:

"I had more than once the impression that the words had been adapted to the music and that there was not absolute cohesion between the two, ... perhaps you hasten too much to think of the music before having sufficiently penetrated the words and I declaimed them to yourself as they are. ... Reread the poem from this point of view and think that， now I have called your attention to it, you will understand better by yourself what I mean than with the aid of my hieroglyphics ”58

54 Grover, p. 96.

55Barricelli，p. 57.

56Gallois，p. 98.

57Nardone，Thomas. Classical Vocal Music in Print. (Philadelphia: Musicadata, Inc.，1976). p. 96.

58 Grover，p. 96. Quoted from "Lettres de Henri Duparc a Ernest Chausson ” Revue de Musicologie 38,(December 1956): pp. 138-9. 13

In 1894, when the orchestral version was first performed in Paris, the criticism in Le Figaro was an unfavourable one:

"M. Chausson was badly inspired the day he wrote the Poeme de I 'Amour et de la Mer, we admit, however, that the inspiration has some relation to the music which this member of the Societe Nationale writes. It moves crushingly monotonous developments; not a theme can be seized, not a single orchestral detail to make one stop and listen; nothing but a vague and unstressed declamation, nothing but a continuous use of procedures and formulae of what was recently called "the new school", procedures and formulae which are already outmoded and which have become more unbearable commonplaces than those for which we reproached our grandfathers. Such is the Poeme de 1'Amour et de la Mer, of interminable length and deadly boredom.，，59

The Parisians changed their preferences so fast that they interpreted Chausson's work as already out of fashion. The piece was seldom performed after that. It was not until 1975 that favourable comments about this piece appeared in

Musical Times:

"In Chausson's Poeme de VAmour et de la Mer, the ebb and flow of modulations turning back on themselves, clinging tenaciously to the mode mineur, create a gently morose seascape ，,6o

59Barricem,p. 58.

60Evidon, R. "Poeme de I'Amour et de la Mer." Musical Times (1975): p. 551. 14

Nowadays, Chausson's vocal music is "for some unknown reasons neglected

by the great majority oF singers, who are sufficiently well equipped to perform

it. Most of his songs are neither musically nor interpretatively easy.”6i His

Poeme de 1'Amour et de la Mer demands considerable dramatic intensity of the

singer and the piano-vocal version demands an accomplished pianist.62

At present, very little research on his work has been done and only one research

document on his song cycle is available, this being a doctoral dissertation by M.

A. Mittelstadt at Memphis State University, published in 1990，with the title

"An analytical study of the song cycle Poeme de I 'Amour et de la Mer by

Ernest Chausson." The focus of Mittelstadt's dissertation is mainly placed on

providing an alternative French-English translation of the poems and describing

the features of the piano accompaniment patterns of the piano-vocal version.

The other elements of the music were not considered.

Kagen, Sergius. Music for Voice. Revised Edition. (Bloomingtion: Indiana University, 1968), p. 392.

, 62 Ibid., p. 394. 15

E. Significance of the present research

Vocal compositions form one of the most important genres of Chausson's

output. As with the output of other art-song composers, most of his art songs

were written with piano accompaniment. The title piece of this research,

Poeme de VAmour et de la Mer, Op. 19, is a cycle of three songs for tenor with

orchestral accompaniment. This work is perhaps one of the earliest song-cycles with orchestral accompaniment in the history of western music.63 The present research is intended to arouse musicians' interest in Chausson's almost forgotten works, and the findings of this research are intended to contribute a useful reference for performers in enriching their understanding of this genre of work — song-cycle with orchestral accompaniment.

63 Sadie, Stanley, ed. The New Grove's Dictionary of Music and Musicians. Vol. 2 (London: Macmillan Publishers, 1980), p. 597. Berlioz composed Les Nuits d'he during 1840-41, six settings of poems by Gautier, ... orchestrated with some transpositions for different voices in 1856. One should be wary of treating the set as a strict cycle and Berlioz never performed it as such, but it has a wholeness of mood and feeling and a satisfying emotional balance." Gustav Mahler's Lied von der Erde, a cycle of six songs for Tenor and Contralto, was composed during 1908-9 and published in 1911, actually later than Chausson's Poeme de I'Amour et de la Mer, Op. 19. 16

F. Methodology

Analytical work will be undertaken in order to find how Chausson set the words to music in relation to the following musical parameters: (i) the use of themes and their development; (ii) the use of keys, modulations, and chromatic harmony; (iii) the use of dynamics; (iv) the use of tempo and meter; (v) the use of orchestration and (vi) formal relationships.

G. Source of Music Scores

As the manuscripts of Chausson's compositions are kept in the Paris

Conservatory of Music, it is impossible for this writer to reach the earliest publications of the orchestral score. This research is based on the orchestral version of the song-cycle, Poeme de VAmour et de la Mer. Op. 19, published by

Rouart-Lerolle & Cie. of Paris in 191964 and the piano-vocal version, Poeme de

I'Amour et de la Mer. Op. 19, published by The International Music Co. of

New York in 1955.

64 A photocopy from the library of Harvard University. 17 、

Chapter Two: Analysis of the Poem

A. Introduction to French Poetry

Among the different genres of literature, perhaps poetry can exploit the musical

possibilities of language more than any other. Paul Verlaine declares in his Art

Poetique: "De la musique avant toute chose ”i Poets of his time began to

experiment with the possibilities of making poems more musical. In French

poetry, the elements that affect the musicality of a poem are syllabism, accent

and rhyme.

In traditional French verse, each line consists of a fixed number of syllables

which does not exceed twelve. The concept of accent in French verse is

different from that of English poetry; “the rhythm of English poetry depends on

the regular recurrence of a stated number of feet in each line.,,2 "English

verses are classified according to the number of feet they contain.”3 In French

poetry，however, "the total number of syllables is fixed for any given type of 1 Music comes first of everything.

2 Taylor, Alan Carey. A Book of French Verse. (Melbourne: Melbourne University Press, 1939), p. xiii.

3 Ibid. I 18 verse, while the number of accented syllables may vary.，，4 In classical alexandrin^ binaire, a line is divided into two groups in which there is always a fixed accent on the sixth syllable and there are generally one or two secondary accents whose positions may vary.6 The last vowel of each line is always accented. In alexandrin temaire, a line is divided into three groups, with one accent on the last vowel of each.? The rhythm of French poetry depends upon a certain ratio between time and number.^ "However many it may contain, is uttered in approximately the same length of time. They are thus like the bars of a piece of music’

A recurrent rhyme pattern enhances the musical harmony and the musical cohesion of the verse. Therefore terminal rhyme is a principal source of sonority in French verse. There are some rhyme schemes commonly used in

French verse: (i) rimes plates are rhyme patterns that are used in consecutive lines，e.g. aa, bb, cc, (ii) rimes croisees are rhyme patterns that are used in alternate lines, e.g. abab, cdcd, (iii) rimes embrassees are rhyme patterns that

4 Ibid.

5 Each poetic line contains twelve syllables.

6 Berthon, H. E. Nine French Poets. (London: Macmillan & Co. Ltd., 1961), pp. xxix-xxx.

7 Ibid.

8 Ibid., p. XX.

9 Taylor, p. xiv. ‘ 19 are used when two rhymed lines are placed between another two rhymed lines， e.g. abba, cddc. When more than one system of rhymes are mixed up in use，it is called rimes melees, which is often found in vers litres. Modem French poets often disregard the systems of rhymes in their compositions, lo

The variety of stanzas used in poetry is also an interesting point to consider in analyzing poems. The most common ways used by modem poets are three-line stanzas and four-line stanzas which have a specific rhyme scheme within a stanza. 11 “In modem poems, the length of lines may be varied but with rhymes remaining in the same order."'2

By the end of the nineteenth century, French poets favored the writing of vers litres. This is because they had the freedom to choose the length of lines and did not need to adhere to any pre-determined scheme. Therefore they were free to make any combination and variety in their poems. A group of poets, known as the Symbolists, favored the use of concrete objects to symbolize abstract thoughts or sentiments. Among their works, there are some poems which sentimentally express the feelings of sadness, death and the loss of love - les

10 Berthon, p. xlviii.

“Ibid., pp. lix-lxii.

12 Ibid., p. Ixiii. 20 poesies decadentes. Maurice Bouchor's Les Poemes de I 'Amour et la Mer

belongs to this kind of writing”

B. Analysis of Maurice Bouchor's Les Poemes de VAmour et la Mer

I. "La Fleur des Eaux"

“La Fleur des Eaux” is the longest of the three poems. It can be divided into three sections. The first section (lines 1-12) contains four stanzas. Each stanza has three lines. The syllable scheme for each stanza is 12-12-8, which coincides with the rhyme scheme aab. (The syllables are underlined, accents are bold-typed and the rhymes are in italics.)

Stanza 1 1 L'^r est plein d'une od^ exqiHse des lite,

2 Qui, fl^rissant du h迎t des murs jusques en bas,

3 Embaument 丨空s chev^x dt^femmes.

13 Pokojski, Bernard. Personal Interview. 14 January 1994. 21

Stanza 2 4 La mer m grand soldi va toute s'embr^^r,

5 Et sur le sable fin qu'elles vi/ennent b^er,

6 Roulent d'eblou/issantes lames.

The first two stanzas serve as an introduction and romanticize the nature scene.

In the first stanza, the poet exaggerates the scent of lilacs in the air which could add fragrance to women's hair. In the second stanza, he uses "flame" to suggest the bright reflection of sunlight on the sea, and uses "kiss" to suggest the sparkling waves that roll ashore. These two stanzas are inter-related with the rhyme of the last line.

Stanza 3 7 O ciel qui de ses y^x dms porter la cmleur,

8 Brise qui vas chanter dans les lilas en ileur

9 Pour en sortir t迎t Qmhmmee.

Stanza 4 10 Ruisscaux qm mouillerez sa robe, O verts SQXxtiers,

11 V迎s qui tressmllerez s迎s ses chers petits pieds,

12 F^tes-m^ v^r ma bjen ^mee.

The third stanza and the fourth stanza are grouped together with the same rhyme scheme as the first two stanzas. In these two stanzas, everything of 22 nature reminds the poet of his beloved. The breeze blows as if singing and the grass quivers at her feet. He explicitly shows his longing for his beloved.

The second section (lines 13-20) contains two stanzas. Each stanza has four

lines and each line has twelve syllables as in the classical French poems. The

maximum number of syllables per line is twelve. The rhyme scheme used in this section belongs to rimes croisees.

Stanza 5 13 Et mon coeur s'est leve par ce matin d'e^f；

14 Car une belle enfant etmt sur le nvqge,

15 Lmssant errer sur mm des y^x pleins de cl耻达

16 Et qui me souriait d'un mr tendre et smvage.

Stanza 6 17 To] que transfigurment la J^nesse et 1,Amour�

18 Tu m'apparus alors comme rame des choses, ^― ^A 1 — — — MM — —— — — — 〕

19 Mon coeur vola vers toi, tu le pns sans VQtour,

20 Et au ciel entr'ouvert pl^vment sur n^s des roses.

This section describes a romantic rendezvous of the poet and his lover at the

seashore. Her sweet smile and her bright eyes capture his heart. He is so happy

that his heart seems to fly towards her and even rain seems like roses. 23

The third section (lines 21-40) contains four stanzas. Each stanza has five lines and each line has eight syllables. This type of poetic line is known as hiiitain. This kind of poetic line does not belong to classical structure of French poems. The rhyme scheme used in this section is ababb - a mixture of rimes croises and rimes plates, thus called rimes melees.

Stanza 7 21 Quel son lamentable et savage

22 Va sonner I'h^re de radigfi!

23 La mer r^le sur le nvqge,

24 Moqu^se, et se souciant p纽

25 Que ce smt I'h^re de l,adig“!

Stanza 8 26 Des oiseaux passent, I'mle ouverte,

27 Sur rabime presque joy^jc;

28 Au grand soldi la mer est verte,

29 Et je s^ne, silencz/^jc,

30 En r^ardant bnller les deux.

Stanza 9 31 Je s幽ne en regardant ma vie

32 Qui va eloigner sur les Hots,

33 Mon ame unique m'est raviV

34 Et la sombre clamor des Uots

V 24

35 Couvre le bruit de mes smglots.

Stanza 10 36 Qui smt si cette mer crdelle

37 La ramenera vers mon coeurl

38 Mes regards sont fixes sur dle\

39 La mer chante, et le vent moqueur

40 Raille I'angoisse de mon coeur.

In this section, the poet states that it is the time for parting. At this unhappy moment, the waves that roll ashore no longer “kiss” the sand, but only mock their parting (stanza 7) . The reflection of the sun is green instead of red as in the first section (stanza 8). The change of colour symbolises the change of his mood. His heart is captured by his lover, he imagines that his life will vanish like wave sparkles with the loss of love. He sobs, and imagines that the sea and wind jeer at his heart's anguish (stanza 10).

II. “La Mort de FAmour"

There are altogether three sections in this poem. The first section (lines 1-8) contains two four-line stanzas. These two stanzas are hiiitain, with rimes croisees rhyme schemes.

N 25

Stanza 1 1 Bjentot I'lle bl^e

2 Parmi les rocs m'aparm^ra

3 L'lle sur I'eau sjlend/^s^

4 Comme un nenuphar f\oitera.

Stanza 2 5 A travers la mer

6 Doucement glisse le hd^teau

1 Et je serai joy^x et ttiste

8 De tant me souvenir h\Qr\tdt.

The word "Bientot" (soon) is used as the first and the last word of this section and makes this section self-complete. The poet uses a floating island to symbolize his memory. The boat that softly glides across the sea symbolizes the journey of thinking.

The second section (lines 9-17) contains two stanzas. Stanza 3 is a five-line stanza. The number of syllables per line is irregular (8-5-10-12-10). The poet does not usually use rhymes in this stanza. It is the only stanza among the three poems that does not have any rhyme scheme. Perhaps the poet uses this irregularity to show his twisting thoughts. In this stanza, he uses repeated words to achieve unity，e.g. the parallel writing of "Le vent roulait" (the wind rolls) and "Mes pensees roulaient，，（my thoughts roll) to equate his thoughts to

V 26

« the wind; the repetition of "feuilles mortes" (dead leaves) in lines 9 and 11 highlight the scene of sadness.

Stanza 3 9 Le vent roulait les feuilles mortes,

10 Mes pensees rouiaient

11 Comme des feuilles mortes dans la nmt,

12 Jamais si doucement 迎 ciel ndr n'avaient \m,

13 Les mille roses d'or d'ou tombent les roses.

Stanza 4 is a four-line stanza using rimes plates. The number of syllables per line is consistently twelve. The rhyme “s6s” is used repeatedly from lines 13-

19 and adds intensity to the poem as it describes "the inexpressible horror of love is dead."

Stanza 4 14 line danse effra/vante, et les feuilles froiss"如， I •• — — — — a^H^M 乂 ^―- » -I-1 • I 7

15 Et qui rend^ent un son metallique, v^sgient,

16 Semblment gemir sous les etoiles, et dysment

17 L'inexpnmable horreur des am^r trepassfs.

The third section (lines 18-23) coldly describes his loss of love. The words used explicitly repeat the message that love is already dead, and this is confirmed by his lover in a speechless scene. There are two three-line stanzas

s 27 in this section. The number of syllables per line is twelve. The rhyme scheme of the stanza 5 is aab while the rhyme scheme of stanza 6 is rimes plates and intensifies the last word of this poem; ‘Toubli” (forgetfulness). The combined rhyme scheme of stanzas 5 and 6 is aabcbc.

Stanza 5 18 Les grands hetres d'argent que la lune bmsmt

19 Etment des spectres; moi, t迎t mon sang se glagmt

20 En vwant mon aimee etrangement sourire. 一_ . — • J ^mt p— I •丨 I II MS — —' — 一

Stanza 6 21 Comme des fronts de morts nos fronts avment pa//

22 Et, mu/et, me penchant vers elle, je pus /ire

23 Ce mot fatal ecrit dans ses grands yeux: roub/i.

III. “Le Temps des Lilas，，

The form of this poem is more regular than the previous two poems. The number of syllables in each line is ten, i.e. dizain. There are altogether four stanzas. Each stanza contains four lines. The rhyme scheme of this poem consistently belongs to rimes croisees.

\ 28

‘ In the first stanza, the first and the third lines are the same. The poet

emphasizes the faded flowers and the bygone springtime. The flowers are used

to symbolize love. The faded flowers stand for its loss.

Stanza 1 1 Le temps des Hlas et le temps des roses

2 Ne reviendra plus a ce printemps-ci.

3 Le temps des lilas et le temps des roses — X ~ — w — — 1 —' mtm

4 Est p^se, le temps des oeillets aussi.

In the second stanza, the poet is sad because he and his lover will not have the

chance to gather flowers again as during the past spring. He uses "spring" to

symbolize himself, that “spring is sad."

Stanza 2 5 Le vent a change, les deux sont moroses

6 Et n^s n'irons plus courir, et cueil//r.

7 Les lilas en fleur et les belles roses;

8 Le printemps est triste et ne p迎t fl^r/r.

In the third stanza, he directly states that he still.remembers the sweet and joyful

past year. But now "the flower of love is faded" in reality. The phrase "Le

temps des lilas et le temps des roses，’ recurs in the fourth stanza and sadly states

that "love is dead forever ” � 29

Stanza 3 9 Oh! j^^x et doux pnntemps de Tan/i^

10 Qui vins. Fan passe, nous ensoldl/er,

11 Notre fl迎r cTamour est si bien

12 Las! Que ton baiser ne peut I'eveil/^r!

Stanza 4 13 Et toi, que fds-tu? pas de fl^rs eclgses,

14 Point de gm soldi ni d'ombr^es frais;

15 Le temps des Hlas et le temps des roses

16 Avec notre amour est mort aj^qis.

C. Significant words and phrases of the poems

Among these poems, there are some words and phrases that occur frequently and become significant in the unity of the set. Bouchor favoured using things from nature to represent his feelings and ideas, which is a common way of writing poems at his time. The poet also uses repeated phrases to achieve the unity of a poem and/or to highlight its expression.

Flowers play an important role in this set of poems. The poet mentions four types of flowers: the rose, the lilac, the water-lily and the carnation. The water- 30 lily is mentioned only in "La Mort de 1, Amour” (line 4). The floating of a water-lily symbolizes the happy side of his memory of love. The carnation is mentioned only in "Les temps des lilas" (line 4). The function of the carnation here is just the same as the lilacs and roses ~ to symbolize “love ” In “Les temps des lilas" the poet uses the phrase "Notre fleur d'amour" (our flower of love) to reinforce this symbolism (line 11).

1. Roses (roses)

The word "roses" occurs once in “La Fleur des Eaux’” when the poet romantically describes rainfall (line 20). It recurs in “La Mort de I'Amour" when the poet describes the falling dew as golden roses in his memory of love

(line 13). In "Les temps des lilas," it is used four times to symbolize "love" that fades away (lines 1, 3, 7 and 15).

2. Lilas (lilacs)

The word "lilas" is used frequently except in “La Mort de L'Amour." It occurs twice in “La Fleur des Eaux" when the poet uses it to suggest a lovely environment in spring when the air is filled with the scent of lilacs (line 1) and the wind sings over blooming lilacs (line 8). In "Les temps des lilas," this word occurs in the same line with “roses ” 31

3. Mer (sea)

The word “mer” occurs altogether five times in "La Fleur des Eaux" (lines 4,

23, 28, 36 and 39) and once in “La Mort de 1'Amour" (line 5). The poet uses

the sea to provide an unstable romantic scene for the love story to happen. The

sea is active and restless. In "La Mort de 1'Amour" it stands for the poet's journey of memory.

4. del (sky)

This word is used twice in "La Fleur des Eaux," once in "La Mort de 1'Amour"

and once in “Les Temps des Lilas ” The “sky” is used to comment on his

feelings. In “La Fleur des Eaux," the sky is described as "open sky" when he

was in love (line 20); and the sky shines brilliantly, without any sympathy on

him at the hour of parting (line 30). In "La Mort de 1'Amour," "the sky is dark"

when he was unhappy in his memory (line 12); in "Les temps des lilas," "the

skies are somber" when he has lost his love (line 5).

5. Amour (love)

As the poet often symbolizes love with the use of flowers，the word “love” is

used only when he needs to express it explicitly. It is used once only in “La

Fleur des Eaux" when he describes his lover as the transfiguration of youth and

“love” (line 17). In “La Mort de 1，Amour,” it is used in the phrase “the

inexpressible horror of love" (line 17) since it cannot be subsituted by any other 32 word. In "Les Temps des Lilas," “amour•” is for the first time directly related to a flower, “the flower of love" (line 11). At the end of the poem，the poet plainly expresses that "love is dead forever" (line 16).

6. Mort (death)

This word is used in the title of the second poem, "La Mort de 1，Amour.，，In this poem, it appears in "dead leaves" to describe the poet's thoughts (lines 9 &

11) and “faces of the dead" to describe the strange smile of his lover (line 21).

These descriptions indirectly express his sorrow. Finally, it is used directly to described the death of love at the end of "Le Temps des Lilas."

7. Sourire (smile)

This word is used only twice in the whole set of poems, but it is very effective in the development of poetic tone. When it is first used in “La Fleur des Eaux，” the smile of the poet's lover is tender (line 16). As the poet tells of his lost love in “La Mort de 1'Amour," her smile is strange and like those faces of the dead

(line 21). Through his description, one can easily sense that his attitude towards his lover has changed.

8. Baiser (kiss)

This word is used once in each poem. In "La Fleur des Eaux," the poet describes the waves that roll ashore as a "kiss" on the sand (line 5). In "La 33

Mort de rAmour," he describes the moon-shine on beeches as "silvery beeches kissed by the moon" (line 18). These descriptions are indirect and subtle. In

“Le Temps des Lilas," he explicitly exclaims that his lover's kiss no longer works, as their love is already faded (line 12).

9. Yeux (eyes)

The eyes are one of the best media of non-verbal communication. Here the poet describes his lover's eyes differently as the poetic tone changes. In "La Fleur des Eaux,” his lover's eyes are the same colour as the sky (line 7) and full of brightness (line 15). In “La Mort de 1，Amour,” as he feels that no more love could be found in the communication between him and his lover; he can find only the feeling of "forgetfulness" in the eyes of his lover (line 23).

10. I 'Heiire de I，adieu (the time of parting)

This phrase is used twice in “La Fleur des Eaux" (lines 22 & 25) and heavily confirms the reality of the poet's parting with his lover.

11. Les lilas en fleur (the blooming lilacs)

In "La Fleur des Eaux," the poet imagines that the wind sang over the blooming lilacs when he was in love (line 8). In “Le Temps des Lilas," he mentions that he cannot gather the blooming lilacs and beautiful roses with his lover again as

I 34 in the bygone springtime (lines 6-7). The poet uses this phrase to enhance the unity of the poem by recalling the same phrase in a different situation.

12. Le temps des lilas et le temps des roses (The time of lilacs and the

time of roses)

This phrase is repeated three times in "Le Temps des Lilas." The first two occurrences of this phrase are associated with the past spring (lines 1-2) and the past flowering time (lines 3-4). These repetitions prepare well for the sorrowful announcement of the death of love (lines 15-16).

* 35

Chapter Three: Analysis of the Music

A. Formal structure

I. “La Fleur des Eaux"

This song is through-composed and can be divided into three sections. It starts with a short instrumental introduction (bars 1-17) in G major. Violins start the introduction by playing a melody (Example 1) that is modified to become theme A (Example 2) in bars 6-7. It is repeated immediately by various solo woodwind instruments.

Example 1 “La Fleur des Eaux," bars 1-3. e>arl

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Example 2 “La Fleur des Eaiix," bars 6-7. jW^ 3

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Section 1 (bars 19-76):

This section consists of three periods which are linked together by short bridges. In the first period (bars 19-28), theme A is sung by the voice while the first violins play a condensed version of theme A. It is then immediately repeated. These repetitions end simultaneously with the voice at bar 22.

Theme A recurs at bar 26 with similar harmony as in bars 8-10. The key center of G major is clearly established with a well-defined perfect cadence at bars

28-29 where the first bridge begins.

From bar 29 onwards, the key-center becomes unstable. The first bridge (bars

29-32) starts with rapid arpeggios played by the first clarinet. These wave-like figures suggest the sea and anticipate the mood of the next period.

In the second period (bars 32-43), the dynamic level of the voice gradually rises from mezzoforle with a rise in pitch level. The wave-like accompaniment pattern spreads from the flute and clarinet solos to the harp, violins and violas while the woodwind section plays ascending aipeggiated chords. The tension increases until the liiUi at bar 42 where the voice has already established the highest note of this section (G-flat).

I 37

The second bridge (bars 44-49) starts with a contrasting softer dynamic level

and thinner texture. A clarinet solo plays theme A (Example 3) which is

repeated by flute with bassoon against soft trills in the second violins

eventually leading to the undulating triplets of the next period.

Example 3 “La Fleur des Eaux," bars 44-46. /V44

In the third period (bars 49-76), the triplets continue with the tonal ambiguity.

Theme B (Example 4) is first introduced at bars 54-56 in the voice part and is

doubled by the first oboe. Different versions of theme B (Example 5) are then played by cello and bassoon solos against the triplets. The melodic contour of the voice rises simultaneously with the dynamic level, and reaches the highest note (G) of this period in bar 73. This exciting point is supported by bowed tremolos in the upper strings and rolls on the timpani. After the use of consecutive unresolved half-diminished chords, the key-center becomes clearer and ends Section 1 on a clear perfect cadence in G major at bar 76.

Example 4 "La Fleur des Eaux," bars 54-56.

f 38

Example 5a "La Fleur des Eaux," bars 57-59. ？7 II. fmnrTtii ^

Example 5b "La Fleur des Eaux," bars 61-63.

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At bar 76, the first interlude starts with wide-ranging arpeggios played by flutes

and clarinets while the second violins, violas, cellos and the first bassoon play the altered version of theme B (Example 6) forte. As the dynamic level gradually xt^ohts fortissimo at bar 81, the flutes and clarinets play arpeggios in

demisemiqiiavers together with the violins. A sustaining tonic pedal in G major is played by the double basses and timpani. The harp joins in this tutti moment with other instruments playing loud sustained chords and tremolos.

Approaching bar 88, the music has begun to move away from G major with a gradual drop in dynamic level. The soft sequential phrases of altered theme B

(Example 7) at bars 99-102 prepare for B major of the next section.

Example 6 "La Fleur des Eaux," bars 76-78.

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Example 7 “La Fleur des Eaux," bars 99-102.

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_ J * 39

Section 2 (bars 108-133):

There are two periods in this section. The first period (bars 108-118) starts in B major with the change in key-signature. The music is now in 6/4 time with six beats per bar. The tempo qualification of this period is marked Simplement.

The woodwind section plays a very steady and soft chordal accompaniment which gives a tranquil but intensive support to the soft and lyrical voice part.

After the passage of tonal ambiguity, a contrasting mood is established in the second period (bars 118-133). The tempo is changed to Un peu plus anime at bar 118. The strings join in a more complex texture with woodwinds. The descending arpeggios of the woodwinds respond to the wave-like arpeggios of the violas. These arpeggios facilitate the crescendo. As the music reaches the dominant chord of B major at bar 120, the voice sings the highest note of the whole song-cycle (B)'. (The composer provides another version for the singer if the B is too high.) The melodious violins make this period obviously contrast with the previous one. The tempo increases from bar 123. More instruments temporarily join in although the dynamic level becomes softer at bar 126 where the woodwinds drop out and leave the strings to play a soft counterpoint to the voice. The accompaniment becomes more chromatic until this section ends on

‘The orchestral score includes two versions of the tenor part while the piano score provides only one. This highest note (B) appears only in the orchestral score. ‘ • 40

a perfect cadence in B major at bar 133, the beginning of the next interlude, with a descending line and dimimiendo.

The second interlude (bars 133-155) starts at bar 133 where the tempo changes to Animando poco rnosso. In bars 133-139, violas play theme B against repeated chords of flutes and sustaining chords in clarinets and strings at pianissimo. The violas play tlieme B (Example 8) under the soft chordal accompaniment and repeated notes of the other instruments. The music departs from B major and passes through a chain of chromatic chords reaching a B minor chord at bar 147. A varied fragment, derived from the first three notes of theme A，(Example 9) is introduced in bars 143-145. From bar 149, the trumpets, then the horns, play repeated F-sharps; F-shaip is the dominant of

B major and the leading note of G minor. This interlude thus moves the key- center from B major to G minor at bar 156.

Example 8 "La Fleur des Eaux," bars 133-136. 6a/ /33 牛、

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Example 9 "La Fleur des Eaux," bars 143-145.

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* 41

Section 3 (bars 156-225):

The section can be divided into 4 periods. The first period (bars 156-172)

starts in G minor where the tempo changes to Tres lent. The time-signature is

3/4. This period starts with the varied fragment of theme A played by violas

(Example 10). The dynamic level drops as the composer uses violas and cellos

to accompany the voice part. There is a rest with fcrmata in bar 164 which

paints the word 'hdieu" (farewell). At bar 165, violas, doubled by first clarinet，

play the same fragment of theme A as in Example 10, with the same

accompaniment. This period ends at bar 173 after the voice sings a narrow，

parlando passage. Longer note-values (minims and crotchets) are used in the

voice part at bars 171-173 to intensify the feeling of parting and to enhance the

second "adieu" of this period.

Example 10 "La Fleur des Eaux," bars 173-175.

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The second period (bars 173-185) starts with changes in tempo (Poco

• animanto), time-signature and texture. The oboe solo plays a varied fragment

of theme A (Example 11) against violin accompaniment before the voice enters.

In this period, the voice part includes more leaps and the range extends to a

tenth. An altered version of theme A (Example 12) is then played by viola solo

against flute and violin accompaniment in bars 176-179. The dynamic level 42 and the pitch level of the voice part gradually go up {q forte at the G in bar 183， as the second violins play rapid semiquavers, with added woodwinds and horns, to end this period at bar 185.

Example 11 “La Fleur des Eaux," bars 173-175. /73 ‘ 串丨]丨 hJiri�f-Uis

Example 12 "La Fleur des Eaux," bars 176-179.

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The third period (bars 185-202) is much faster than the previous period; the tempo changes to Le dcnihle plus vile at bar 185. The altered fragment of theme

A is treated with syncopated rhythm supporting the voice part which has its own variant of theme A (Example 13) in the string section. The dynamic level starts at mezzoforle and gradually crcscemios to forte with voice part reaching

G-flat doubled by first oboe and first violins over chordal accompaniment at bar 193. This period ends at bar 202 with the altered fragments of theme A

(Example 14) sung by the voice and doubled by the clarinet over horn and bassoon accompaniment from bar 199.

Example 13 "La Fleur des Eaux," bars 185-188.

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Example 14 "La Fleur des Eaux," bars 199-202.

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The mood of the fourth period (bars 202-225) becomes restless with the rapid

semiquavers and the tremolos in the accompaniment. Chains of chromatic chords are used here as the music becomes more intensive, suggesting the cruel sea. The crescendo in the ascending passage of the woodwinds at bar 211 makes this period more descriptive. In the last phrase of this period, the clarinet and the strings resume the wave-like accompaniment as in the first interlude and evoke the sea and the wind. The voice reaches A-flat in this phrase. The widest leap (a descending minor 9th) of the song cycle ends the voice part on the dominant of G ininor supported by the perfect cadence in bar

225. This ending sounds incomplete for the voice part, but it prepares for the songs that follow.

The tempo of the postlude (bars 225-239) changes to Calme at bar 225. It starts with the recurrence of theme A (Example 15) played by bassoons, horns and cellos against the wave-like arpeggios of flutes, clarinets, harp, with trills in violins and tremolos in violas. It is then repeated in bars 228-230 by the same instruments (the horns are divided and play the theme an octave apart).

Theme A recurs in violins and trumpets in bars 231-234. Violins play theme B in bar 235 at for/issimo* against a dominant pedal of G minor played by other ：• i

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“Interlude”

Between 'La Fleur des Eaux" and 'La Moit de 1'Amour," there is a short and separate instrumental interlude. As a contrasting movement to the previous song, this interlude is only 38 bars long with tempo marked Lent et triste (Slow and sad). The dynamic level of this interlude mainly stays at piano. In general, an interlude between two songs of different keys is modulatory，but this interlude stays in D minor, the same key as the final song 'Le Temps des

Lilas.，’ The materials used in this interlude are mainly repetitions of theme B.

This interlude consists of two periods. The first period (bars 1-17) starts with theme B (Example 16) played by bassoon solo at piano against string accompaniment and leads to a dominant chord in D minor (bar 9). In bars 10-

12，solo viola plays a transposed version of theme B against a syncopated D minor tonic chord in upper woodwinds. From bar 13’ scattered chords in upper woodwinds and violins, followed by theme B played by solo horn, end this period on a D major chord at bar 丨 7.

Example 16 “Interlude,” bars 1-4.

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The second period stmts from bar 17 and goes through a passage of sequential fragments harmonized by third-related chords. Flutes, clarinets and violas play 46 theme B in bar 23. In bar 25, first violins and first oboe play theme B, which is repeated in bar 27 doubled by first bassoon and flutes. First clarinet and first violins start to play theme B in bar 29 over string accompaniment, supported by the dominant chord in D minor. This dominant chord lasts for five bars and eventually resolves to the tonic chord in D minor in bar 33. This tonic chord lasts for another five bars with sustained strings and sycopated chords in flutes, clarinets and violins while the dynamic level gradually drops to pianissimo, ending the interlude.

II. "La Mort de I'Amour"

This song is through-composed and can be divided into two sections. The first section is preceded by a short instrumental introduction in E major (bars 1-31).

Theme A of 'La Fleur des Eaux” appears in bars 2-8 in an altered version, theme A，(Example 17), played by clarinet and harp against rapid undulating demisemiquavers. Theme A，is repeated in bars 15-23, played by the first horn and continued by woodwinds against string tremolos and arpeggios in harp. A transposed version of it follows immediately as another brief hom solo.

Example 17 “La Mort de L,Amoiii.,” bars 2-8. IfUv�

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Section 1 (bars 32-135)

Theme A, is extensively used in this section simultaneously with the voice part and as linkage material between phrases. There are two periods in section 1.

The first period (bars 32-53) starts in E major with theme A, played by violins.

A transposed version of theme A，is then played by oboes, clarinets and bassoons under tremolos of flutes and violins in bars 39-42. The voice sings a diatonic melody in D major at bars 43-53，with a counter-melody derived from theme A (Example 18) played by the violas. In bars 53, theme A, recurs in D major and serves as a connection between the two periods.

Example 18 “La Mort de 1'Amour；' bars 43-49.

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The second period (bars 61-89) starts with a diatonic voice part in E major.

Fragments of Theme A (Example 19) are played by flute, oboe and clarinet as counter-melody against the ascending scale passage in the string section. The second phrase of this period is accompanied by the transposed theme A, in bars

69-71. It serves as a link to the next phrase. It is then followed by a half- diminished seventh chord in bar 74, highlighting the word triste (sad), and leads to a temporary E minor area in bar 76. The clarinet and second flute soli play an altered version of theme A, (Example 20) leading to a perfect cadence at bar 79 in E major where this sections ends with the recurrence of theme A’ 48

played by the first violins. In bars 83-85, a horn solo plays fragments of theme

A，(Example 21) against a scale in the luiip and wave-like broken chords in first flute. Theme A’ recurs in bars 86-89 played by clarinets and first violins against an E major chordal pedal.

Example 19 "La Mort de 1'Amour," bars 61-62.

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Example 20 "La Mort de PAmour；' bars 76-79.

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Example 21 "La Mort de 1'Amour," bars 83-85.

The interlude starts from bar 90. Fragments of theme A, (Example 22)， supported with repeated diminished chords (bars 96-99), move away from the tonal area of E major. All iiistruinents join in at bar 100. At this busy tutti moment, sequential phrases of theme A, (Example 23) recur in oboes, clarinets, bassoons and violins at for/issinw above a G-shaip pedal note. Sequential fragments continue to appear as a transition to the A minor beginning of

Section 2 at bar 136. 49

Example 22 "La Mort de PAmour；' bars 90-92.

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Example 23 “La Mort de 1'Amour," bars 100-108.

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Section 2 (bars 136-235)

There are altogether four periods in this section. The first period is preceded by

an extended instrumental introduction (bars 136-49) in A minor with the tempo

• marked Sombre el solemcP-^^omhQ[‘ and solemn). The upper woodwinds play

melodies softly in low register against static string accompaniment to match the

darker mood of this section.

The tempo of the first period (bars 149-166) changes to Phis vite at bar 149.

The dynamic level of this period stays mainly soft. The voice sings a phrase

which expands to a major tenth within seven bars (bars 149-155) against the

strings，tremolos with oboe solo pai.tially doubling the voice in bars 152-157.

After the ascending thirds in the clarinets and oboes in bars 157-158, a pedal

note on B is played repeatedly in syncopated rhythm by the flutes, tremolos by

2 In the piano-vocal version, it is marked Lent el solcnncl instead. 50 first violins, and sustaining low strings in bars 159-165. Here, the voice sings a simple melody supported by chains of arpeggios played by harp, second violins and leaps of sixths by violas. This period ends with the change of accompaniment at bar 166.

The dynamic level of the second period (bars 166-180) becomes louder.

Occasional accented leaps are played by cellos, double basses, and woodwinds in bars 168-169 that respond to the leaps in the voice part against rapid semiquavers in second violins and violas. In bar 171, the melodic contour rises as the upper strings play tremolos and the dynamic level increases. Upper woodwinds join in to play chords and first violins change to double the melody of the voice part. The climax of this section occurs at bar 176 as the voice sings the highest note of this song (A-flat) for the words Tinexprimable horreur,, (the inexpressible horror) at June, doubled by flutes, oboes and violins，while other parts give hannonic and dynamic support. The dynamic level drops with the melodic contour and this period ends on a clear D minor chord at bar 180.

The third period (bars 180-199) starts with violin tremolos and undulating semiquavers in violas against sustaining brass and bassoons. The voice enters at bar 181 and sings a recitative-like melody at piano. In bar 185, clarinets play rapid semiquavers against sustaining strings. The dynamic level gradually rises with the melodic, contour to foriissimo and reaches a clear E minor chord at i"

『：相 - 级… ...‘

私 tt - • • r-...... m i . I.》V "v.-. ,1 • ::.:�......

iL •、 .如.. .

• -‘ .,

,!, f- y • ”； .. • . •

'•ti^y ‘ . ‘ . .':-•‘：'’ • . •. 1 等：：'.丨[： . 、广... . .

海".：,:“.：..：...... • J , m::y�..、.广•�.•二i:�:.-:.： .：、 .

-. ：餘..V,’]!“ ；.广 ”：二 .；.�..."..—— . .,..农•- .秘,V .

臉，‘...》.. •.- . • …、.、;:.. ；. ；‘ . ‘. Y ,

“；• .•....:. V� �. i . ’ ... •

'•Y...... 」... - ‘：：^： sr.- ：黎：： •. •• . ..'.V •. ..

...:、:‘:..。 - .

. . •• . i ：^' ‘ • ...... \ ,-V;.：. . . .

-1 • • • 52

Section 1 (bars 1-33)

This song starts with tempo marked Lent et irisle (Slow and sad) at piano with

the time-signature changed to 3/4 as in the instrumental interlude. The

introduction (bars 1-4) starts with the first phrase of theme B (Example 24)

played by cello solo, as in the instrumental 'Interlude," against syncopated broken chords in violins and violas suggesting the sadness of fading flowers.

Example 24 "Le Temps des Lilas,” bars 1-4.

眷

There are two periods in the first section. The cello solo continues playing theme B doubling the entry of the voice at bar 5. At bar 12, violas take up theme B (Example 25) against a syncopated chord played by flutes, clarinet and horns. Condensed fragments of theme A are played by flutes, first violins and clarinets against theme B (Example 26) at bar 17-18.3 The first period ends with a perfect cadence in D major at bar 19.

Example 25 “Le Temps des Lilas," bars 12-14.

f^ntp 山 M' I 1

3 These fragments do not exist in the piano score. 53

Example 26 "Le Temps des Lilas," bars 17-18.

G<> yipr；. I V i - | - : * _，�I t I Bwlb. f,'y • . •'.q. f “ - • I . , • r'loio

..• 1. 卜 r” ！ _ ft 一 • I Solo ^ Cora ；」-. 丨〜 I �“~ J r •广 T. 1. 丨 I j I

Trt>. " ' -=

‘Timb. I - 丨 - = ‘(J^ I ™ tUrp«< I ^

.r ' '',' i ‘ . . . Tnior (»，» I • • _� . I • f _ I ‘ ** Sst p*s$e__- L« temps desoilldsaus rif, , • , . OTT： _ ,-—— 、押:I

-L • ^^ • ... . 丨 I 、 Alt. jfi-W ‘ f j - ',m J>'

— -) ^^

—. ‘

C.B.卜I ~ I ' i ~ E • .-

The texture changes in the second period (bars 19-33). The violins play busy semiquavers with rests intervening while violas reinforce the voice part. The busy accompaniment figurations suggest the "changes of weather and flowers will not bloom." In bars 29-33, the accompaniment resumes the texture of the first phrase and ends this section with a perfect cadence in D minor to represent the "sad spring." 54

The interlude (bars 33-37) is legato and sustained. The syncopated horns add

to the tensions of the crescendo leading to the next section.

Section 2 (bars 38-79)

There are two periods in Section 2. The mood of the first period (bars 38-55)

becomes more excited with the tempo change to Plus anime at mezzoforte. The

voice sings a melody apparently in G major over chromatic harmonies played

by harp，with tremolos in upper strings against sustaining chords in the wind

section and lower strings. This scoring suggests the 'joyful and sweet spring"

of the poem. Fragments of theme A (Example 27) recur alternately in the

woodwinds.4 In bars 46-47, the undulating triplets recall the accompaniment

of the first song as the voice sings 'bur flower of love ” This song reaches its

climax at bar 50 with a one-bar change in the time-signature from 3/4 to 4/4.

The voice sings its loudest and highest note of this song, G-shaip at forte

doubled by flutes, clarinets, trumpets and violins. This climax is used to

highlight the exclamation syllable 1as” (abbreviation of helas, same as alas)

and intensifies the heart-felt sadness suggested by the poem.

3 These fragments do not exist in the piano score. 55

Example 27 “Le Temps des Lilas；' bars 41-45.

41 一

0 , , , J^ J I I I I Tr iT Z -

HuUi. fi^ i j ‘ I � •【！• I I 三

• • K. 二

r • Cors — 一 ‘ — — 与 1 1 ‘

I I I Trb. • = I • \ — —与 g I I Tfmb. J* — = 一 丨 I 丨 ；

丨 iJ�丨 丨广 L'^kB Tenor f^p , � -� ” I , I— : \ I �厂 ； . Qui Tint Vu) pM • si oousui.so.leil • Ur 广 g. e- i O I r k

•u.妬 I, J,j； 各

V.U" — , . 56

The texture of the second period (bars 55-79) resembles the introduction of this

song. The violins and violas play soft, syncopated, broken chords against tthe

cello solo. The voice sings recitative-like repeated notes until bar 66. In this

period, only the strings accompany the voice part. The tempo changes to Lent

(Slow) at bar 68 with the insertion of a 4/4 bar. The last phrase (bars 68-79)

starts with the recurrence of theme B played by the cello solo, which partially

provides an obligate to the voice, reminiscent of the first section. The whole

song-cycle ends on an extended perfect cadence in D minor in bars 72-79 as the poem sighs and laments, "our love is dead forever." The dynamic level drops to pianissimo with solo oboe playing the last recurrence of theme B over the sustained tonic chord and syncopated, seemingly endless，thirds in the clarinets.

B. Vocal Melody

The melodic contour usually coincides with the dynamic level, i.e. high notes are sung louder than low notes. Many high notes function as textual and musical climaxes. When high notes are sung softly, it is mostly due to word painting or tone painting of the poem. The following charts la, lb and Ic show the relationships between the vocal ranges and dynamic levels of the three songs. 57

Chart la "La Fleur des Eaux"

Vocal Range Dynamic Range

Section 1 Period 1 (b. 19-28) � ^ 二 p

Period ^ (b. 32-43) . ^n ^^

Period 3 (b. 49-76) y a_ (^jTf

~~Section 2 Period 1 (b. 108-118) �� ^^�Vo p

Period 2 (b. 118-133) ^n：^ JTf

"“Section 3 Period 1 (b. 156-172) “ ^ ^

Period 2 (b. 173-185) 丨 nil ^ T S� • . Period 3 (b. 185-202) bEZ： mp-f y bo ~ Period 4 (b. 202-225) ^� ；;

Chart lb "La Mort de I'Amour"

Vocal Range Dynamic Level

~Section 1 Period 1 (b. 31-53) •脅叛..

Period 2 (b. 60-89)“�� •• ,.

‘Section 2 Period 1 (b. 149-166) 9 ftfCZ 丨〜——=

Period 2 (b. 166-180) J7J

Period 3 (b. 180-199) r^ JfTJ

Period 4 (b. 200-217) �^ ^ (iO = 'FM 58

Chart Ic "Le Temps des Lilas"

Vocal Range Dynamic Level

Section 1 Period 1 (b. 5-19) 分。。二 p

Period 2 (b. 20-33) ^ J^

Section 2 Period 1 (b. 38-55) ,丄 开Q ~ J^ 。 三 Period 2 (b. 55-79) n—— pp - mf T 言

Chausson uses two main theines to gain unity throughout the whole song cycle, but these themes are used mostly as introductions, bridges and postludes for the orchestra instead of melodies for the voice. In 'La Fleur des Eaux," theme A is sung only at the very beginning of the song. Recurrence of thematic material in the voice is rare except in 'Le Temps des Lilas” where theme B is used extensively.

As shown in Chart 2, the voice moves mainly in conjunct motion and notes are frequently repeated. As the tone of French speech normally stays in a narrow range of pitches without much fluctuation, the frequently repeated notes suggest a parlancio style.5 In most parts of the song cycle, rhythm of music is set according to the rhythm of French speech. It is interesting to note that the melodic interval of a major seventh is not used nt all in this song-cycle.

5 Debussy's Pel Mas et hdclisanck (published in 1905) uses parlancio style extensively. 59

Chait 2 Frequency of melodic intervals in Poemc dc la Mer et cie I 'Amour

Interval Number of occiircnccs in equivalents "La Fleur" ‘‘La Mort" ‘‘Le Temps"

Repented nolcs 106 ^ Semitone 86 ^ ^ Whole tone . Tl 48 ^ Minor 3rd ‘ 37 15 Jl Major 3rd 16 9 fj Perfect 4lh 2\ g Trilonc fi 5 4 hT Perfcct 5ll\ 7 \ Minor 6lh 5 3 q Major 6(h 4 0 ‘ j q Minor 7lh 0 i Major 7lh 0 0 0 Perfcct Oclax'c 0 2 \ q q Minor 9lh i

Although Chausson set the poem according to the style of French speech, there are some passages in which the music does not fit the words well, as was pointed out by Diiparc/) Some selected examples of these are considered here.

In Example 28, the word ‘Et” (And) of bar 37 is placed on high E and sustained for one and a half beats. This placement would shift the emphasis from the more important word ‘Sable” (sand) of bar 38 to the much less important word “et ”

6 op. cit.’ Grover/p. 96. 60

Example 28 "La Fleiir des Eaux," bars 37-38.

bar 31 �

^ ^ Sixr ie Sa-Ue. f"n— ~~

As in the previous example. Example 29 shows that the less important words

'Et" (And) and “d，iin”(of one) in bar 116 are highlighted by the stronger beat with longer note value than the more important words "qui me souriait" (she smiles at me).

Example 29 "La Fleiii. des Eaux,” bars 116-118.

Bar ^^「1 丨丨丨11 I n I ma ^oa-Vi'-aiC i'un air ie^nz.

In Example 30, as in the previous examples, the word 'Et" (And) is sung with minim which is only one quaver shorter than the more important word

"disaient" (say).

Example 30 “La Mort de PAmour；' bars 174-175.

,� f f I ' …r^.. H七 i^i" ^a'lzt^

In Example 31, the more important word �ent”（word i)s put on the second beat while the less important article “le,, (the) is put on the first beat of bar 21. 61

Example 31 “Le Temps des Lilas," bar 21. e>arai

Le vent a d^ • - • - I

In Example 32, as in the previous examples, the less important words 'fet le"

(and the) are placed on the first beat while the more important word ‘temps”

(time) is placed on the second beat of bar 70. This rhythmic attention to lighter words is, however, countered by an effective crescendo to the phrase goal,

"roses." Example 32 “Le Temps des Lilas,” bars 68-71. .

丨|{广"”m”「hf用 te cie$ IJ - l

C. Tonality

1. Key Scheme

•The key-relationships that Chausson uses in this piece are typical of his time.

He includes modulations to remote keys and relative keys. The key centers of

the three songs are different from each other. The reason for the differences in

key center cannot be traced from available documents, because these songs

were composed separately over a period of ten years (1882-1892)7 The overall

key scheme is showns as follows:

I II III IV

"La Fleur des Eaux" Interlude "La Mort de 1'Amour" "Le Temps des Lilas"

G major-B major- G minor D minor E major-A minor D minor

“La Fleur des Eaux" starts in G major. It modulates from G major to B major.

The chromatic mediant relationship of these two keys is a common feature in

nineteenth century music. Then it modulates from B major of the first section

to G minor of the second section. These two keys share only one enharmonic

note (pitch class), the mediant note D-sharp in B major and the submediant

note E-flat in G minor. According to Kostka, this is known as a doubly

7 Gallois, p. 98.� 63 chromatic mediant relationship, a forerunner of twentieth century usage.^ The third-related key scheme of the entire song can be found in miniature through the harmonic analysis of the instrumental introduction. This starts with theme

A (original) in G major and moves to a region of B major before ending the introduction with a perfect cadence in G major at bar 17. [Example 33]

Example 33 Harmonic analysis of "La Fleur des Eaux," bars M7.9

Calme I ^^ 7^ ^“i

i ^^ ；. r ‘气‘f ^ • Lf ‘ “ V' PIANO] I I ^ �.

厂 Pj �，丨 ^.！ � ；J f f- f- vl^. Tv：.-^! ^ iii "^'fvl iT^ vf

P f: ^^^J"""—-j-Vj^M^ I J zj：：. J gjr~~=, 74prT

i ^ f' T i XJ I un peu plus f ^ ^ ' ' ，!. (七〜I� j -. J ^ jf^ ti -g

p

pIt^ I^T�}〜二 t ple:ndWo.

.丨 二 r- �、 ； r^ 二 必 X 工

^ Kostka, Stephan. Materials and Tcchniqucs of T\vcndelh-century Music (Engle Cliffs, New Jersey: PreiUicc Hall, 1990), p. 4.

9 Chausson, Maurice. Pocme de 1'Amour el de la Mer. Piano-vocal Score. (New York: International Music Co., 1955), p. 1. 64

The instrumental "Interlude" is in D minor, the same key as the final song "Le

Temps des Lilas." It has a dominant minor relationship with "La Fleur des

Eaux ” The second song，"La Mort de 1'Amour," starts in E major，which is in a supertonic major relationship with the instrumental “Interlude” and dominant relationship with the succeeding section in bar 136. In the second section of

“La Mort de 1'Amour," there is a modulation to A minor, the subdominant minor in relation to the preceding E major and which is also dominant minor to the following song. The final song "Le Temps des Lilas" returns to D minor, the key of the instrumental "Interlude." This yields, as an overall reduction of integrated tonal relationships, a subdominant-to-tonic tonal progression for the entire song cycle. The key centers of this song-cycle are inter-related, as follows, in terms of overall tonality:

I II III IV

"La Fleur des Eaux" Interlude "La Mort de I'Amour" "Le Temps des Lilas"

G major-B major-G minor D minor E major-A minor D minor

G: I _——III i D: i II ——V i

D: iv i 65

II. Modulation

1. Devices used in establishing key centres

The modulatory devices that Chausson uses in this song cycle are quite conventional. As the tonality is weakened by the extensive use of chromatic chords and embellishing notes, Chausson re-establishes the sense of tonality by using tonic and dominant chords in root position or by using, embellishing chords over tonic or dominant pedals before and after modulating to a new tonal area. These devices are shown in the following examples.

In the first bridge of 'La Fleur des Eaux," a tonic pedal, held by the double basses, trombones and tyinpani for seven bars (bars 81-87), is used to establish the region of G major, before the modulation to B major. [Example 34] 66

Example 34 “La Fleur des Eaux,” bars 80-87.

^ .产：邏 i ~1 醉.:s， ‘‘"F ILLL；^^^^^^ . I.I ^^ ji^b^ ij^

'.’，「. ‘ i'' , . 丨 I Tt! •r" S. 一 7 ===：

. I ； —g

丄 二丨丨^^ ^ 〒二 i_丨丨‘ I- • I ~ ‘ ‘ —I f I 、r I 一 f ‘‘丄 Trh. ‘ _ "“ ip" -- _ ^^ 一二 一 Ttfwb. ~y ‘ “ "“ •I 矛, •— ‘ i j^.' “ “ ‘ • T •- ——

丨"一产 I �

Truor ：么資 - 丨-丨 一 丨 一 = 9

__ 11 I f' •! \iiM r:11 “ • _ ^ 广 、^^ ^ ，0 i V - • _[g； —I 拜� I ‘ ！r, � • I Miii_ ‘ I"丨• I ‘ k•丨•• in � —=1^ k L-.

li I ‘ * r… 一If =H 'I •冓 k" " , I �.•', , ‘ -—— I c.B.:‘尸去 ====丄 = i i, 1：= 67

»>,.“ I I.J’ ‘ T • "•一 =

f 一’ • 一 ‘ ——n ».，. i 1 — -—丨"~=—•~~ 丨—~ 1 jq , y 、 I —— 一

• . . I,-"^ \ ”广 ， • -—— , ，^�-.丨•丨 i _ ^ •’* • * I I • “ L •' ‘ “ 」I _ • I • • •, I • — • ‘( ‘—> -~~I4 ‘ _ T'’. '•‘) ：4, J . I I ‘ ‘ ；I:— , ！

1 ‘ I, � ^^T'l y • i

-一 ‘ * I Tftjof f, ‘ 二

«

gr I I “ • r:. . -j � ^• V.H • � I - �^ J < ^ At t* ^ .Mi iM m M£

S" II I I I 丨 I I I e ‘".f T I -j 勒 * j 一 £f J ^ -y � • ‘ � r • — � A 丫，； ‘ I 二 I ‘’ . C.I..'】;》 • • ^ •^ • - i

i 68

At the modulation, the key-signature changes and the new section in B major begins. The tonality of B major is clear with the use of a dominant ninth chord in bar 107 and a tonic chord in bar 108 without any embellishment. [Example

35]

Example 35 “La Fleur des Eaux；' bars 105-109.

lo^ I � yt^l ^implement , . ^^

-.’一；I ^^kLi^z^ cu.；‘巧 I =丨丨Yi: I ！ ~ i II piJillj^. ？ =： 5 :t I" - ..' i-L '丨^ Trp. '' I I _ ll

r “ - ^^ ， • •

Tenor f^ ~ i • I% 9 • t ； ‘： ^. l . , _ , —

* _ • ff ^ f> f —— • ？ T , , “ SfmpIemenUrueTrar'"" —— V，•广•‘’ ‘ I I • 於私 I • - "iv. ！ -J� r ‘ - I ^^^^ V'li" ！ ；Iff'j. 'j •！ I -- ==r— � -•ll ； - I I I ‘ • 卜 ——‘ ^^ 69

In the second bridge of 'La Fleiir des Eaux," the tonal region of B major is re- established before modulating to G minor in the succeeding section. The tonic of B is held by the clarinet in bars 133-136. Theme B is first introduced with the start of the bridge in bar 133. [Example 36:

Example 36 "La Fleur des Eaux," bars 133-139.

!33, Animando pocomoaso^ ‘ ^ iTHi ^ifHTf sglfff iiikii ^aUit ^^T^x

n.p.i » » 丨 》 • • • » •:厂• • • • • 1 • » • » » » 'j_I • = ^ ' PP' I I ‘ I = ^^

HiuU>. 社“'�.j - _•三 _ = ~ - - J

• J - ^ c 丨 f ^ 卜. ..y "Urz；^ • »» - ly.

-M- ‘_ .^ I • I .T 丨V • ~ • == ‘ Trp. ‘ : • I I I I • Trb. - I - - g « ； j I j limb, V' " "- 、 • .(Ml . I • : • .IE � 铍 I I I j j I r" I I 丨‘I s

T � _’._ • M • I • ,I • • ‘ • . • , 二 -- Tenor • ^ , V 丨 I • TO . lU. (Battez a deiuc temps) • Animando poco mosno i^r g. g g•竺* g- V，^^ r f——

k. ••• 卜. ,.-： K...... V. t… I'^ -，I 芒‘一 T^^” .n,病-•• : i " i '. ‘ ： = mf en dekm ttpr. ‘ f • 二 - …，^： I 丨 I 丨 I I V'L" SK，厂 + - 丨 - : _ 丨 - •- ‘ “ ‘II,,，: 4 • ‘ I I I •~~I • ！ —^ C.B. 3' • i I i ！ ： t r== Vf

> 70

Example 37 shows the use of a pedal note in 'La Mort de 1,Amour” to re-

establish the key centre of E major before modulating to A minor. In bars 76-

78，a dominant pedal note is sustained by the second horn until a dominant

ninth chord is reached at the end of bar 78. The first bridge of ‘La Mort de

rAmour" starts in bar 79，where the tonic note is sustained by the tenor and

both tonic and dominant fifths by the cellos in bars 79-82. [Example 37]

Example 37 ‘‘La Mort de rAmour," bars 76-82.

U ^^^ ^ . 7�國

•: I' . ^ :

^-f I ~傘 —^ : cu：^^: I' 二]藍- ：• JI mp； !-—-—^ 幫 _ 一1丨 ^T^ 三 = mp . ‘ 一 I 零 丛”丨‘�| V II ^^ ^^ tut ms sourt • nir Blco • ^^ -A ^；； • • j Hfl： I I _ - ^ I I I 丨. I • I • - ‘ I 1.1 I 1.3

. .I • .. ‘ r ' Ml 國一 I

—卜 ^^

^ 1.1.:�

:1 哪 k'；^ 卜‘歸

im'z .1-1 I . 、. 71

The key signature changes as the music reaches A minor iu bar 136. In bars

136-139，Chausson uses a sustained tonic chord in the upper strings at piano “

while employing leaping dominant-tonic notes marked mezzoforte in the lower

strings to establish the new key center. [Example 38:

Example 38 "La Mort de 1'Amour," bars 133-139. iy^ Sombre et soleiinel ^^^^^^^^ “『召 j - t J J__L ； _ I _ ^

cu. - 'v I 汁 -H

1 Ji I � I , I = —^，ombre et sole^el “

• UT. r ； 5 ^ y pi a

』一 tfl -- I* —> I " ^ 一 I — I •‘ € . 掛A I I 1 I • =~ T V > ,

“…I'llf\ \ 丨^^^^^^^^一 . ‘ "T~ ‘ ‘ •二 = ‘ . = -

The second song 'La Mort de 1,Amour” is linked with 'Le Temps des Lilas"by

a short bridge. Again, Chausson restates the tonal center of A minor in bar 226

. before moving to D minor in "Le Temps des Lilas." [Example 39]

Example 39 "La Mort de PAmour," bars 223-227. JtX^ •

con. r I I .丨 I M； _ *一 irrS-^ ItW . -p —— • I v r- - ！ 一 .I,,. ‘ “ ‘ I

‘{j： *"：. . I j _ 1 “ V 一 ‘ I ^ . I ‘‘ * M E r , ===^ 一 f ^ ® -^f" ^ ‘ "rL! 人kI W ’ U “ ： I r.‘ „ — lu ‘ • I .j '.. =H —Ml •• I . I 广• . ..r~"� I—r r^^g 72

The dominant seventh chord and approaching tonic chord are fused in bar 234

before reaching the D minor tonal center of 'Le Temps des Lilas.” The tonal

region of D minor is clearly stated with the use of a broken D minor tonic triad

as accompaniment to support theme B in bars 1-5. [Example 40]

Example 40 "La Mort de rAmoiir," bars 233-235 and

“Le Temps des Lilas," bars 1-5.

5.33 Mouvl 义3 � I • (3l| Lent et triste un peu retenu Mouvl j I cur B/L', y • •一 I _ I • ； • I • 5 I I j ‘ ... _ 一 . 丄" ...U-^ T-* . • ^/, W I .弓"•” •‘ • 二广乂 _ ！ _ P~=� - ~~- - ： ！ _ I i CUr. ^ ‘ ； r .: -Pi 1 V 1； ‘ ，~~TerM r� - •! - ！ - 1 _ ‘ - M ' » "1 I / *• - - T* -wf' • P Lclcmptdali . ” i - •. n (SS Lent et triste uii peu retenu Mouv:

n P s S ,!, V ； s t. >. . _ ... . _ • 一"‘―»r!il' . . j •-'"TV- »_! . ~"H~� • ! » • . Mouv.' I v.", .评 ‘—• 一— • • .： I fn � • ifcM •.’ • / i « .Vry'' ; 7 , V««i “ ^~~•* j_ I: -i 1 • ‘ •^^一 ‘ ^ ‘ • ^ ^ ^^ ^ 识 ^pr--. . _ • .广.I T-：^ 'f±-t±± - / 一r T" 11 ' f f f — t ‘ " I 广 t^-tttt —• ^ ’ j ^ r lliii 11*1 llIII"III I 'iiii'i fi i �— 一 ！ . • 11 .. .1 d'v.l I ^ ^ ： . ' I 'I ！I ‘ • I - I - -~~— •- i 。.‘.JP^ '1.I ‘ ‘ j. 3 - .； p

> 73

2. Modulation Techniques

(a) Melodic Sequences

In Example 41, theme A, (with sequential extension) recurs over a pedal note on G-shaip. These melodic sequences weaken the tonal center. In bars 118-

125, the sequence in violin and clarinets achieves the effect of enharmonic changes from B-sharp to C-natiiral and D-sharp to E-flat.

Example 41 "La Moit de PAmour," bars 100-125. '。。ji. 5Sm jsa jsia,諭.MIM

-oui I��� • "-^� “. ,_~ —b. ‘ • . j . ' —、 ！ • • • “-— “—~~~~i I- 二 -

--T： T . I f••，• I 、丨 I |1_1_J 兰 -= f “ I細• -~ L .-Is i^^-ir^ ‘J5r ‘~i1 |j 丨 I f r L_•_- ^^

• ^ —卜 一I I, irp.翔 U: •~ l|_' I；. ••——I’ I ——一 • y 21izzr | —T -~— I

|i 一 | ， 卜."i 1. _ ^ ' t I 7 ‘““ 「 ；，

• ‘ ‘ r ^ > • ’

TVnor. jlf^ 1 • • ！ ‘ — A' "” •

p., f 1 广’〒。•^沙:.ir：^.. ..i-:e‘H、-，‘'<..亨：，'老、 ‘ jy j , 一 I lliiif \ f ^~~‘ V" unis £ h t. i*- . ~

！^^^^一 r Ir jGT ^ v-i.. ：丄学

C.B. 」l 74 •

/C75" R 罔丨节 F^Pffl W ^ ff h en dlminuniit

1,..” 1, 111 J \ I, imm wy, i w —' r — j '

^ ~ ^ I 二 、 jy ...^^ ‘ - - ^ ，I - ~cL T c—-- ~~！iH f • J j ‘ ‘ It- _ _ r- _ I i ^I-.'.

CUr. .~ “ * I « ‘ ； j a • ； ；‘ ‘ [r], ：- ： 十.^ v'5 I? ~HT' ‘ ca i — 二 • IJ ； _ J • ~r� - I _ — r” • I •； IL • ； ‘ - - I ^ -J T? ^^ I , I 1 k'. I I J^.i. • Con ^^^-V^jf^J- L , I. —I^* * ‘ 1 y T；-, = I -1 ‘ p P 卜 一 _ 一 —=• Trp. 二 I:-丨 二 V: — , > i • ； •；- -r- -Tf- H-r I ； ^^—

TSmb. ^ 1 i zj^. • i, I i —丨 j, ！ j, dim.

一I.: I J__^

Tinor "^h ‘ - i ‘ - I - - «

“，、,.. •， ^ en diminuant

V.”『二 .丨• 二 ^ S ~~-v— ii. - --i： g- L； • - — j« jgr dim. …” \\r- ^ iH i__IS g I g _ Alt. I 佳 -f$： T：劝 dim. I , U f ' _! - I _i 'Li ； Jj dim, c B. EEj： J . h^ 三二— 丨，, ‘ [；

11之 廿

•�“； I III I 仏 — t^ I ‘*' I'. I二 I会. ^ • p "br^i ! • • , ；

V I - _H-" I 卜 三= rjj•� I • I • ^^-L：U~~L卜 I f~U I …—•一 - ： III ： I ：=：：======—— p - ' « - I g>£it i. • I ！ ••‘ "'"T"""“ '-； h peu ‘ 产國 • s• • v.. ^ !••� -I. ，产� • ! . xu. V -4— k ^ I ‘ I I T 厂」-P! - � l� ：：——[i-zirr- p • ”—~‘

画——

I-*:. I):-1！ ^ . :.� I . 75

(b) Linear Chromaticism

In Example 42，the music passes through a chain of unresolved chromatic

chords that departs from the dominant seventh chord of G major in bar 97 and

reaches the dominant chord of B major in bar 107. Most notes of the cello part

in bars 98-101 are in descending motion.

Example 42 Harmonic reduction of “La Fleur des Eaux," bars 97-108.

气 s-气气 loo lol toz'S loC (of 「I * Ii ] h I , I ’I …II'. : b 五“琳对A 丨 xViL 6 令fi Y

In Example 43，the bass notes are arranged as a descending chromatic scale

moving from a G-sharp pedal note down to E-natural in bar 132. The E-natural

becomes the bass of the second inversion of a tonic chord in A minor which

prepares for the dominant seventh chord through the auxiliary chord of a half-

diminished seventh on D. The A-flat of the half-diminished chord

enharmonically becomes the G-sharp of the dominant seventh chord of A

minor.

Example 43 Harmonic reduction of "La Mort de rAmour,” bars 118-136.

_」；J I I; I …�卜,、 I g I "片丨| …：’ ^^ i^oy ‘ 1|U V ： M 丁 � II 《厂 巧阶 5/vi Of a^ikc. xyti 卢了 沿 \

\ 76

(c) Common tones

In Example 44，the concert F-shaip of the B minor tonic chord is played by trumpets in bars 149-150, followed by horns in bars 151-155. This note becomes the leading note of G minor in bar 149. The F-shaip remains as a pedal note with the G-flat of bassoon superimposed in bar 152. This F-sharp eventually becomes the leading note of G minor in bar 155 and resolves to the

G minor tonic chord in bar 156 with the change in key-signature.

Example 44 "La Fleur des Eaux," bars 147-156.

^ .j 义J , t . ' " f r ' • • ‘ _ . _ I ——^

Haotb. ^ * i " 三一 = =

-广厂叫"、丨 I - ‘ 11

“I . l/’ I …丨一

:丁I - __iliiL^'' I "丨广丨

i^i I j^t I t I I

V"' ~"“』: 二 _ ~【个、‘ I ^^ _」‘丨 I 丨.，•, V"l" iff； I j j t 1 -. I ~ j " i-；^ ." = ijg^iix. I C.B. I 「丨I - • • ‘ 1 ：^

• r，_ I ‘ I ^ 一' *•^一 un peu retenu Tres lent

‘,A? , I , . I I I • I I rr rTTT'：! II-, y.' > I _

‘''' _ - i _ / '：‘ zz^_.__ “ ；‘ ‘ • „ . QudsonUmtr. un peu retenu , Tres lent 雄 -- I ~；n— 1

. -一 I ‘ ‘ I = f |i 'Xen'^Tnmtexjfn jrflg^ _. ~

“ I - V • I • K^g ‘I 声 I.. S^igg^ rh^——！ .... -- I I • i p — ‘ , 77

Chapter Four: Text and Music

A. Integration of Musical Elements and Textual Content

In this song cycle, there are many passages tliat show Chausson's use of word painting and tone painting. Conventional materials are used in deliberate ways to create emotional emphasis, description or mood through choices and combinations of orchestral colour, dynamic changes, melodic contour, rhythm patterns, changes of texture and thematic reference. Some selected examples of these are considered here.

I. "La Fleur des Eaux"

In Example 1, solo woodwinds play wave-like figures' [from bar 29] derived from Theme A to provide the mobile feeling of the sea as the poem describes the sea that moves under the sun. Ascending thirds in the oboe part at piano

[bar 30-31] and cello part at mczzofoiie followed by cresccnch [bars 33-34] suggest the words ‘‘au grand soleil,, (under the grand sun).

‘The C-natural of the clarinet part should be printed as C-shaip in order to fit the harmony. . 78

Example 1 “La Fleur des Eaux," bars 27-35.

之 7 m ^ I • I i^''

I -4- I _ -! - . I • —_ II' I - 字- j f I j - = _p if ..1,1,1 I I T" J* J * I ^ » '. »| : » I f ‘ — ‘ j _ = .bauaaxlaelimuz im f_ . an. m .0 < . I , I ! , I . ,

J^V, i f .:!.!•��I I - Vi.

‘I" ‘ ’ —j—-

V’，I ； JTTj 1 I J …“广 ； 。.•. L/ -rH—^ . I —

• i n 一产 ggZr K r / *： , ii' I .__j•厂 ^ 一 —- 一 CI", "一 . I • ^ ^ I I_，. ^ CO. I' i "p^ _ —I •• ‘

遍 I ‘ •• j . I I -, I ••丨

Trh.:”< = —

TImh. - ：‘ • _ _

广 I ““ I

I" I , 二 |丨 � h ‘ -J ‘ ‘ I - - , ； I I —•^ ^-JZ：

^ I ‘ ：

V”. P 為 I I I 1.1 - - 』 4「^ 、__ I — ^^ ‘

C.B. I I •""• I I 三 廣 pi"' p 79

In Example 2, the string section takes up the wave-like figures as the dynamic level gradually rises to mezzofonc in bars 36-41 suggesting the waves rolling ashore that 'kiss" the sand. In bars 42-43, the violins' tremolos and the arpeggios in the harp that play against the woodwinds suggest the 'Wave- sparkles." In bar 44，the dynamic level drops to suggest the subsiding waves.

Example 2 "La Fleur des Eaiix," bars 36-43.

U 一 en auarinentq.nt .j^i . ^^• _ Q' I_~f S » itf—f I S t - • ‘ - I ^

书"“h., I TT^r

• , 一 L W - • ~ .i - ^-t^^VTIk ^^ -i t > - _ _ 』 I {三 上； . I IJ^ ‘： U ‘ ‘ - i“ ‘ 'V �•• ‘ I, “ ^ ^ - - • , - ^^ • I . I Tib. ijia 一丨一 i ~ I ‘ = -fmb. 1 • ' • '

I•丨會广广j

—•，重•，, •丄fj •；I uJ^ tf^j

丨*•口厂 {； i'fl K M m fff .* iV J -j r = V , : y 一厂 ,广广• , , 二 .Mr Bt _ lur to i%. bto fin yi，• ne& . Dot bai. s«r en ausrmentant fW簡

mmuii II I ' I I I I iU I I—； gj^B^g釀“_丨 0 t .CTr.rT^.rTTr. -r^-'TZUT^. IfOl；TTtL'TT*! f'T^r ‘ ^arnm teM'�—r ，^mmmm�n「严「 'mmm i 1！1 rr !mmam • Tr^l iT"immrnd! f 'rv\ )mmmi�圭� ；「 i*\mmmm.•n「！ i iT*T [^tmmm mmmHSBsr

III! W'llBllJ —— WKCSsi '•••y •HMT" •SBTiSbBiSiSB' "^•••••""•OBEMrtSBSSS" 、小 ^ —广 � - L^r-— �•••• " ‘ r j - \if • •nrr � ^^ 、• L^ = c.n 11 I “ r

iiTO cr^nr,

/ . 80

iO .

。卞 _ .丨’� r 11 •

C丨I'^jrTTv^卞•，I广』 广》 cur.力 I'丨_____Ij - � ’I • r I ‘ ^ i ^ ,，；： i

••” - 「 ；/ _ J I . r* i i I"-/ .. ： 丨供/ I CO. jJi I > dy^ • • — r Trp. - - —‘ 一 ；‘‘ • 厂 一芬 I ；、 -t-^ . 「-^ •. Trb. 仁 - ： ；^ * , ~ "“ ~，~ • I pp-

Timh. h ~ ； 一 I 一 ‘丨一

ii^——^^

,〜「•- > •丨、i 0 t, ；. ._ - Ttnnr rfr, > — ‘ | i , i ^ I' 1 ' 單 • f j

Rou - Uai d'i • blou . it « sin.Us U • • mcs.

ft^ ^teSSBSBt^^M^B^trtBBaBBlF f! •• i •' J- • • . ”.-J _ — - ,Mil 111 le—P^Mi 囲 i" L11 caa—Z3B5—= ^ • — • ^^ I lldl 蹄卜，“⑨。^^ 供f ‘ • ^ 今 ill , V'Hm • p* “•三J I ) .i j _ * ‘ - 7 -"= , , ! ! • .- C.B. pyj—— � •• i I I,., — JM* • I 一 —‘ ^ ‘^ I —- mf 81

In Example 3，the undulating pianissimo triplets of the violins [bar 50] in high

register provide a light-hearted feeling as the poet uses the sky to describe the

colour of his beloved's eyes.

Example 3 “La Fleur des Eaux," bars 49-53.

44- 一__ "_广 �'�.II , '-III - I ^^^^r ~7~ ^ k—I ^_L p — . — 释 I f ii» I I' r IT^ I 目宇 �进 I II.. . II., I St SI 卜、丨 S! I.I Kl^Nl , Ki ；,, , I ,,丨”� 1 p • I •- .� r ^ r"r"r�^： •' • • ‘ ^ _ ' __ i:�;^""^sdl7T7^4 p, J rrti 「:「:： Ivi�•� L• • L « . ^ I •• -^vr '1% I" ；I'T W-h ：

气 ！. ： K . = . li . L , , ! . .1 .1 • i= 、-' — ^^ i

€ i i || ||| I I 丨目 r

�f e • I - I • j-j • II ；,,.,丨�.VJ . ‘ ‘‘ I I , * 0 . eitl too por. t« U ecu. leir,

、琴 II I I I 1，:=^. , I-一I '1111 鬥

^^ = ih r^ = -r ifr + ^^ ^^^ ^ LIJ Uu uL 丄 uSlL 一 • II I • * 、^^m^^^jrbj 丨一 ^^ 1 r —I ‘ :~ , — — ,丨二

ii III ^^ 82

In Example 4，the flutes play trills [from bar 67-72] against the triplets of

, violins and violas to suggest the word 'tressaillerez" (trembling) [bar 69] of

‘Verts sentiers" (green paths) that make way for her. The dynamic level

gradually reaches/or/e at bar 73 as the strings start to play bowed tremolos. A

clear G major chord is used here to support the phrase 'Faites moi voir ma bien

aimee" (Let me see my beloved). This chord is used after a progression of

chromatic chords. The relative simplicity of this chord paints the explicit

declaration of his longing to see his beloved.

Example 4 "La Fleur des Eaux；' bars 68-76. 6&

、^, _ ：： , “办: { i-^f- •• ^ i • , ^ I 丨• j 丨 ^^ ^^^ � ‘ • • 1 • 1 . I =;= • ,BsaSr* f ''^^^^ r» 丨 III Qir. . • • i . i - I.I . nir. ‘ ‘ � . .1 丨 I I I I ^^^^ ==r” M'i • • II • •’ .丨丨；, ,r! . L 11| 11 丨 ...[,_ \ • .1 ^ ? 1 -~H AI ,

”I 丨 K r ^ 1 1 Trp. •/‘�*• » • • • • ' - i • ' == Trp. j f | ‘ ‘i III • •

^^ 1 m^mt. L Tfb. V' • _ = • • =d Tfb. lui i I 丨，l^n ^^^ T(mb. V' “ ！ _ I 1’ ,1 _‘ = TImb. . . •丨…. 广 • ,丨， 1… ‘ 1 Birpc < » lUfpt •} • 1 , hU • I _ _ I ... \ MA ,一 V V OT) I I T"| • 1*1 * ^ ( * - = • ‘ ； 、、“. T * ~~‘ __ iL「. >- i. 二人- T ^ Ttnor ' J . > i _g_JI ['f "“ ' [I 'I I " » • I I , • T«n»r / I • - i' i ' ' ‘ I ‘‘ if' r-- y f I 与 ^'^H ；'ll... ^^

�^^ ^ , ‘~•: -~11 ^ feSs^ ‘ . . == f ^^ V’ • ： f 、I , I..一 I •一 ；' •• . /-V ——q

C.l. r,, I _ - ‘ • I nnu

k. 83

At bar 108, as the poet describes his encounter with his lover, the mood becomes light-hearted with the tempo changing to Simplement as the time- signature changes to 6/4. In Example 5, the texture of the accompaniment is chordal. The soft and stately chords played by the woodwinds suggest a static scene in which the poet's lover stands still and smiles to him shyly. The words

"clarte" (bright), "souriait" (smile) and ieve" (wake up) are highlighted by upward leaping wide intervals while a downward leap is used for the word

"sauvage" (shy).

Example 5 "La Fleur des Eaiix," bars 108-118.

m lYfi r" ‘ I' I ！

鼠：丨‘ ifii I “…! ij ！ '^-Irz：^ 。1%1| ‘‘ •”.‘ j 〒|”"|pej^rtmxf ' ‘L. ITT^ -'小\ II I . o .La vravM sourdine 一 »ourdin> • Trp. lP'丨"•‘ - '-r- r ‘‘ jj丨〜斯 / u丨_丨― T”-(…‘� k 、•，••」 ！-广厂— Et mun coeur s'est le.vt pirctmiUndei* SImplemenK Battez a 6) r ij I. , -= �‘' llii.iJ , •"� .. I Pll 广 ^^

AM. ^-'i f ' • ^ •

Vl" ^ yk g r' f f = - = “ 丨丨 . i 84

ill

...-~��rr , I r

:ifrffPr I「科丨、丨:^ng： •们丄•. ‘ i I • 'H i n , 'I • I i 1 -|!iVm���� ||iVi丨| II丨丨;•丨丨：ii”广 I — Cv uDtMliCD.fM •.UH furUrl . r% . Uis. nnt vnrwarmai m TcuxrUkvMtit*. I M I .1 . ”” nV j I I 丨 ；丨 I . ..：： I I, 11 ,1 i^S c... "A, •丨 I T

' / ‘Uii peu, plus antme 園广 ；

ffitiib.-MJ Ufftryi'^ -丨 _ - ! ' 丨I • I 11 “

Clir. , l.| j , I -M Jyj^^ M.

‘ ^ -- I "

Ttiior -fr^^jfl^ r T. 产T 一•__•，• ：-i—^― I -- “ . I . 1 • ‘ Et fuiiDtMunait dun Air tei*dre_^ tt uu . va • gt, In peu plus anime

V.:. , I 卜 S I 丨 ^ * 1 ~ I r— T � j

言 =1 r c... h岭 - • 85

In Example 6, long note-values and high pitch-levels are used for ‘toi” (you) at bar 120 and an ascending third interval for ‘hmoiir”（love) at bar 122 to show the importance of ‘you,'and the exclamation of 'love." The bowed tremolo of the violas and the descending triplets of the flutes are used to support the active word "transfiguraient" (transfigure).

Example 6 "La Fleur des Eaux," bars 120-122.

Fb我 • ^^^E 三 - _ ^ I 一 = ..L- = I ; I'f^n f ！ _ - _

• 1 T.. \ I' • I I I Trb.全M^^ J

TImK. V: _ ！ • = —

I ！ ：

W* fu ral«Bt T jjjiji, ^^~二•�h I- 11 • s. Tenor 內( 5 5 • ' * ** 丨T, •‘ i» * —^ ~^ �y " I ；' J • r I "i «u»lfimn.«u • nitnt UJcuncu* rx • mour, 丨MV声，，

• f ~ � .”. . ^ • y '' = _- J• 少 I' > I 丁 I ji I ,务

V"!" ？Pi^ — == I __： •y — -r “ 86

In Example 7，the dynamic level gradually drops to piano again in bar 126 to suggest the flight of his heart towards his beloved. The soft high notes of the vocal line and the trumpet solo against pianissimo violin tremolo in bars 129-

131 suggest the sky. The melody gradually drops as the voice sings 'jDleuvaient sur nous des roses" (roses rain upon us).

Example 7 "La Fleur des Eaux," bars 125-133.

I2S ,0 .1 I I I rioi s = ^^^ • Hiulb. feIf'i t -ttt^^^^^^^E =

• ^ Trh. V', ‘ 1 ====‘：

TImb. |[ 7' I ‘ ^^ '-f;::' I 丨 I ^^ I —— .—I V,.or I I 丨_ I ‘ ^^^ * cho . SH. Mnn cmir »oJiv««oi tu Ufmttni r.. 我.• ^., , : "^L：—I "i/ “ > 、•••，*/ ？]，• ~~ *

P' 、P j C.R. - •- I ‘ 87

I狄 ^ t ‘ . ,躲 * . ,ar‘ “r•邏 / ^O Animando uoco mosao •• tiLllii 、 丨•一 了“卜• ； • — ^^ . tani ^-fifff -丨 丨丨 . V'%010 L UP ‘ • • •

B 叫 — I _ — ： 丨 ‘ I .二二 — 1 “ ‘ 他 ijjj I • ； * ^n dfhon ^ I I � "|.! '� |:| ».’ 脚，-U^i'^r^— - - •.en I f -_�, 二 III ii '。'，fey • ‘ ^_ -1 Hifi ‘ I _ i *•_‘•' Cori fl.TIl I t 1 -” - : 1" sMii ^ •

-r ‘‘ -掩， 评 • IV V “ 、辨ji - - - = • • 、 |丨 L", _ ，” VJ I ^^ Trb. • I _ = Tiinb. j ~t -I I 1 = xii 丨 ‘ 金,• ， ！ ‘ ！ limb. _ I • = W - 丨 . —

广 . I I ： • ^ "’：I. I H.J - 丨‘丨丨'1丨'1 • I • I I丨〜、 ^ � - I Ml I ‘ -"� I - I 口 Rt Oct entr ou-vtrt pt«u. vaient sur nna to ro . its. r^ (Ba^z a deux temps) Animando poco monsio ifhr^ ^f 11 I I PT |' ”t -竺.，• V’ * 伊 jy ^ - ^ f ,丨,；-、•，广她 一 •

、、—丨•'丨丨| 7 „.广

‘——一 iL-* = v'l" __e.' .1 I -三 • ” jf I '•>• ~~<~~<_ = I • = • —1. ffJ ； I I I I C.B. 丨• - I 88

In Example 8, the tempo change to 'Tres lent" at bar 156 is probably because

the poem suggests a sad mood of parting. The slow and soft legato chords in

the low strings highlight the sadness. From bars 162, the fast ascending

figures in the woodwinds flee away after the phrase 'I'heure de 1'adieu" (time

for parting). The dynamic level drops as the music fades out to a rest with

fermata.

Example 8 “La Fleur des Eaux,” bars 156-164.

/外 _ k .flii 7 r - j*^ .^'~^ ，〜 • Tres lent o'.-n. tn^ _ j _ | _ j> 「一- j ‘‘ ^ j 巨 、麵/丨丨I ^ ^^ I 1 '叫：〜 卜，.一：[ I = Hiui� - - 丨 - I - 丨 - ~ � ‘ ‘ I — a., t I I 丨.丨杯•丨 I"丨。:

� I - I 一 ' .. QutlfonUiMr, i H^* • n 嘉丨丨：纟丨丨:r .J*~e，lent ^ »’ , | " " » ' ； "“ ； ^ � ‘ ‘ I J I I h , I IT— : I I一 f i — 一�—� •:� Trp. ；f . > - - - - - it I i M t f

' •； . • ； rs 、他11 圓画

^^ ‘ / I - _ ^ 4 IT — ^ Tireb. - I ~ "‘ 15 S • i 1 /W .-j I i I I I I S Tfitor ft '• •� g I J* \ 遍’，、Lj'l ^ I ' i 1 j ~ ! — 、i* - ir- - • ‘事 ‘ ^ • UW« ft ttu.T* • p V» tODDtr riwu • r« dt . di«u.

丨广 V， •—-L- • • •

All. {^'/.n... —— ^ =4^ T=—^ I' ； ‘ "T ^ I I 丄 --Jr r^~ ^^^ r |f 1 ‘ 1丨^ � c.B. jj V � - • i_J. 丨。 声 Jf、 一 — 89

Solo clarinet and first violas play a counter-melody (derived from Theme A)

against the low strings in bar 165 to recall '1a iner" (the sea). Longer note-

values are used in bars 171-173 for the second appearance of the phrase

Theure de I'adieu" to further emphasise the unhappy mood of parting. The

I 产

dynamic level gradually rises at the end of this phrase and underlines the

restless feeling of the poet before his 'Raiting" with his lover. See examples 9a

and 9b.

Example 9a "La Fleur des Eaux," bars 160-162.

Teiior I ^ I* �� ,• : ； V» toiucr llteu _ rt I'x . dim.

Example 9b "La Fleur des Eaux," bars 165-173.^ Us

�•^^^ ^ I T ——I, f „

、^||丨 1�丨I丨 III_i' �i��� B.. •• irv^. K . [IJ L* mar rouJt sur 1* ri . v». moqueu _ sc, et «soucL»iit peu cut ct snit ^ ^ i [ jP — I ^ ^^ I • I - I I I � “‘‘ . I �

！ • = ‘ • ‘ T.晰J • I�严丨丨 、 i = = ~ I I - “ de r» - iita. I ^j-i f^: KrI L op i^ss^^ais^ � I - ^^B^^S 'kffiL f^ LOJl rb^L，Ir：__...

T^-—jXTZZZ^-y I c.B. j � -iHj [, I I \ ^ I 」.

2The key-signature of the clarinet is misprinted at bar 165. 90

In Example 10, the voice becomes more legato with fewer repeated notes, when

singing 'Mon ame unique m,est ravie" (My soul has been taken from me).

With the change of time-signature, nine-and-a-half beats are given to the word

"ravie" to represent the loss of spirit.

Example 10 “La Fleur des Eaux," bars 191-196.

M ‘ I ^^ /= i*^^^ B»ulb. � . I� � i .� • .1 — y

J —• � r' ^^ K- ‘ r_ ^ • r I J ! ^ J 1 :• � J i _ mf IT __ ~ i �L “ ^_ L • _！ y—= I —= ‘‘ ly r c� "^ ' • ===^ ‘ ifi^ 一 p } _ Trp. • - ^^^^^ • . - ： : i_Z I I I

Trb. >v'' j g j • 丨 • ' =

Tirob. yi I j j • J » I —Z i I ===

T一 •fii ‘ I , r ^~TT" ~ • �:2 I 譯 ^

Mon iiDc u - ni . mat ra . v| _ • •

SS frrM "yjrpw/ r,V > 、-• 、-^^ 1、^"^ 三 ^ ‘ — r 丄 t - , ^ ^― VI ‘ J • —===~— •

“ f ‘ • 一 I 写

1 V - . _ _ , ircn _ . C.B. • ！々 • “ U I, ~~^ — ‘兰 91

In Example 11, the music is marked un pen rc/cnii at bar 200 with the change

of texture. The voice is doubled by clarinets against sustaining horns as the

voice sings ‘Couvre le bruit de mes sanglots” (cover the sound of my sobs). In

bar 201，the horns are marked cxprcs; this short fragment paints the word 'hies

sanglots" (my sobs). As the voice sings "celte mer cruelle" (this cruel sea) at

bar 204, the texture of the accompaniinent changes with the undulating

semiquavers played by the upper strings to suggest the currents.

Example 11 “La Fleur des Eaux,” bars 199-205.

un peu ^ retenu |15lMouv< 會[j _�”~~-~~~M： 4 ‘� I I I _

0 I ""“： .-—— •

, I CUr. ^ V 一 ' t -- "'•JIV. g^ijl^ - === . __Z*

• —“ ；rr .1 -I 二 一 h _ , j� B.” 丨，'‘’',, •；； ：‘" ！'••… i “ ‘ C". i, '1 j 1 j 1 . j — 一 , .... i��“ ？I - -III PP p L j. , _ - I I '=； tr?, A'. ''il - - = Tenor fn f ； il, ‘ ‘ ‘ ‘ i ‘ ‘‘ ‘‘ “ � ！‘‘ “= ~ [ • - met ian . glott. Qui nil Ji CH. U mer cni. <1 • 1» 'I retenu [15]Mohv« Trt. -V''/ ;i j - === 01'. _ . • I j i I ~1 ——v..：. 卜 ^~—1 r—1 1 ，’ -m~U — ？ ！_ rrr—n 1 i i ii =jas8^=» i i i ! , , _• i as=c :'i i _ fi)， I ； ： ' j M J J ijj I ,,厂,,',i ' ' JJ ' 'Jr 字 ^^ tt S； ‘ j '•^"aa' "33" I I 畔 F=» — W (•” I•丨• I 至真“._ r • .广,,�：：,厂•J^jl^,!

- _ •"命 I 丨 I ,1 I

.(丨‘ 一 � I I

一 ‘ -."W、 C.B. I * I " ！ “ j ~ Ttnor a.u ...rj ^•! , t� , ,I " ,B mf . V -

.Cou.m It bniU 4*

un peu 通 . — I pi" CB ^yy^i-M-^^ 92

In Example 12, the clarinets and the violas play busy arpeggios against violin

tremolos at mezzoforte in bars 217-221 to support the vocal passage 'La mer

chante et le vent moqiieur" (the sea sings and the wind mocks). The music

reaches forte at bar 222 with the liilli chord to highlight the word 'kngoisse"

(angry) sustained on high G by the voice. The downward leap of a minor ninth

paints the words "de mon coeur” (my heart) at bar 224, suggesting the sinking

of his heart and deepening the degree of anger and sadness.

Example 12 "La Fleur des Eaux," bars 217-225.

力7

…I •

Hxutb. I f • 三 _ 丨 _ .二

i_j 乂 B-f - I - I — « -

0 ^ -L. • — J ： Ci.n 厂 丨 I:. In' = I*"i”'. ‘ l" �'j. Trp ！‘!" 一 一 ‘ '•，•’ .1 I I 'z • Mr：^. Li^ I'T •• »/ I Trb. . •广/ _ I - •=

Tlmb.、” • - • 一

ji'' ‘ I • Rarpi< 、！

• •".瞻 ] _i‘ V ‘•. ‘丨 I "「‘‘‘,‘ — — nwr Chan • u n UvnlDo. (uaur

V’ ^^ p I 放广 ^ -_^ ^ 、 Q’ I 'n I =; a I i"巨^

V.'l" = = ^ ‘ ~~r I' 93

Calme

一厂 . “~-I ！“ „ • ‘ | L ； ‘ ‘ ^^

•？J , "I Mmr^ I, • . — II J^S ^^

Con = »； -•»[ j = 里〉•

t __i：-g J~~~~- Trb. II I •

(T^^ I _ llii—— �

T蘭 j''、 ，_i • ."-^r 11 I , ^ • r«n . soil • „ .MD "fe- , ‘ SiCAlme

” / Y~~__ "^，j^^^Mfef " I -ni. I C.- _ -1:1' ^-r � f ^ -if ~i

VI!- .丨. =5；=^；=== j.” 似。” , 。_•. L ‘ >丨 丨 94

II. “La Mort de rAmour"

In Example 13，the first word of this song, 'Bientot" (soon), is sung with upward leaping fourth against the recuiTence of altered Theme A in the violins.

This simple arrangement is used to declaim the word ‘boon” and to describe the

island of memory which is blue and joyful. The harmony shifts to a flattened-

mediant chord in the key of E major when the voice sings 'Vocs" (rocks) in bar

37，suggesting the hindrances or difficulties on the way to the joyful island (of

memory).

Example 13 "La Mort de 1'Amour," bars 32-39.

fi'-' FI. ^^ _： - I L' I li iS^SE

H»"ll». ^^� -= • I : i 目

32. c>„. • ^ n '• • . ^ Mouv. I , — • .‘ : 卜/二 :f]ri. I ^^ .- ^ . r

-irn"“」，�丨I V III hi" ... ^ Bi^Dtrtt_ n. U bltu« et joy . cu . s« Fknni les �� " j ^^ ~ Mouv! > * 自圓寒

，__圍圓圍^ "i; I ^^^^^ C.B. ^jj--—V-l_-— I - I - I __

Tii,。r ^"if^ Pp ^ Pr' I

m'ftp.pa.nl . tn.

mf tn tUKon |

•f 95

In Example 14，the rhythm of the voice is written in duplets, notes longer than the basic pulse, and the vocal motion becomes less active at the words Teau silencieuse" (silent water). The violas play a counter-melody derived from

Theme A against wave-like figures in the clarinets and ripples in the violins played tremolo.

Example 14 “La Mort de rAmoui.’” bars 43-48.

45 ^ r� ，' ‘ ‘ B議 • — - • •

B，• = • 二 •三 E _

Con •-‘ E ”， 三=i、， ； ••目 • jf - ‘ ‘ .'� I • —TH

T.. t^U .三 ^^^ I •兰 •

Trb fM^I ‘= ： 三- I ——

Timfc. tL - I • I •三• I -；

�,� I • I • I • I - I • i -j败I 厂 I I I

T J f •‘ ‘‘ I； ^ ； ~r,i ‘ 'fi 卜卜 Ui • U lur I'wi si . . l«a . ei . . lu s*

Ph 广 f.厂"广 ^ p ~ V” HA ifr-j-,, = fO'r •， 守.,曲 1 -15J. 1•「；品

- ‘ I —— —____ V«".•‘ ~•人」• = 一r^ *"廷 i r=i=== “^^ ^ -、 一 一

C.B. V 三 - ^^^ -三.- —- I 1,1 I

N 96

In Example 15, as the voice sings "comme un nenuphar flottera" (like a floating lily) in bars 49-53, the range of the voice part is narrowed to four notes (F- sharp, F-natural, E-natural and D-natural); high register is used to suggest the lightness of the lily，as the floating island has no direction. Duplets are used in bar 51 to show the motion of the floating.

Example 15 "La Mort de I'Amour," bars 49-53.

牛吁 m, (i-h

pp

^___jjj____.�-- I pp ., •，计*"AI—=———^^^^—•三 _ -齐•——

T..：錯，‘ • ^^^^^^.：^^：丨

TrO •—^^ - = - = = - h -•

T'm‘.-、 I•丨 I”丨； ^Cr—I I t 3

oonwMun nt . nu . ftot • U r»

i�p . Q I".?"广iJZ!!:;!

走II. ^r ——^———： ^^^^^ 〜\i 声 _ , It di^ / KHZ 1 ！ *rco 一 m^r ，卜-1 _ ly 门•�

V 97

In Example 16, the composer uses a half-diminished chord at bar 63 to support

the word 'kmethyst" in order to suggest the mysterious and introverted

character of the colour. Ascending scales that run from low register to high

register in the strings at pianissimo against a seascape of woodwinds (theme A)

are used to suggest the sea. In bars 67-68, the ascending chromatic scales of

the violins create an active picture for the words "glisse le bateau" (glides the

boat).

Example 16 “La Mort de PAmour," bars 60-69.

• =xri I “ • 1� riT -t-4- I ‘、厂 - 二 cur. j^l • _ -、， _• g ••” " = 、 三 —: : ；- • 丨*^ 二 _ _ _ 1,1. . Con fn i'i - - - • I

• ” I 丨 I 厂_

Tisb. ”；： - E — I — — I —

-丨,h I丨丨^^

T•浙I, .- “1. • • • •• • K tn.Twi Im Mr 4'ajM . thy* ,‘圃Mouv? ^

J.

砂� f 丨

• It i IIIS •身*

I i|‘i、’p H “ 98

— I - I - I 目

-III.

丨"1 -J. . —— B"!." FMr^a = .. 二- - _J — -——丄 • m— - - m • ———^―_ r-im-t I !m I — -一 r^i^ Ji* • = mp I r. ：： 丨， == —-——一至 I— r -"” = , I 一

Timb. ^ _ •二 • - I _

.1 , I~~ . H I" I I __.

A u a , . - '9 iit^ h \ I k , I 1,1 _ V I t Teiiur tf» V -j-V '： D J, � ^^ • • Dou • e« _ mtnt glis • ic U ba ..

J^^^f I I

A". J ：

VP

C .B. — • ； • ^ —

V 99

In Example 17，theme A’ recurs at bars 69-78 played by flutes against the

voice, providing a simple diatonic melody over diminished chords to show the

mixed feelings of joy. A half-diminished chord is used to support the

downward leaping minor 7th of the voice at bar 74, which paints the word

'triste" (sad). An altered version of theme A, played by solo clarinets and

second flute over the chords in minor mode in bars 76-77，highlights the

unhappy flavouring of the word 'Souvenir" (memory). As the poet continues

his thinking, the music returns to a clear E major again at bar 79 for the setting

of'Bientot" (soon).

Example 17 "La Mort de 1'Amour,” bars 69-79.

fe-^H—'1 丨丨，，；丨• f�.

、"二了 卜—H~一。"：

'•'^：； I I I I — - ^ _ • I�-；_丨 1I； ) I • �� Co=„ I … ^wu Et jt s« ni joy nxx = Enievi iM iOunliDes f> � I I i ^^ 坤I.I. ^^ ^^ ？ ’ EnUvti Iw imirdiw« _ \ �oufdin« 、结丨."•,、|一:— I • I T— I, II

——I ‘ 1 j!^' I •eTbTb ^m^ ^^ sa自 feiBi—r^ ^ 邦丨丨 - 1 - 1 _ I - I

trts U___ “ tutf iM toun . nlr lUu - uj: ^^ 一^ i 、輕 -I - I,, - I - I - —[fc

、.i I.目賽—譯 � S s I » s _ 1 丨—L I i� 100

In Example 18, the vocal range expands to a tenth (from E in bar 149 to high

G-sharp in bar 155) to suggest the poet's rolling thoughts. An augmented chord

is used to support the augmented fifth interval highlighting the word ‘hiortes”

(dead) at bar 155. Longer note values and a dimimiendo to piano are used to

paint the phrase 'Dans la niiit" (In the night) in bars 156-157. The ascending

thirds with simultaneous crcscenclos in the clarinets and oboes suggest the

processes of remembering and relate thoughts to the tossing of leaves.

Example 18 “La Mort de I'Amour’” bars 146-158. \ (HpIus yite G'^n.^br-^^ i-L^. J"r|- J j j ； . [M ； j . I ~ .1 “ ~ - ~=- =— ". L—\ ‘—‘ fsolo H»ulb.亲—- - ==L " = ~ 三“ 三- 4f ['-— mf expresnf' Le=：

• ”： . ‘ j j .」，,�jj ；, . I i -_ _ ——_ I _ — -

c。„ I 7 ‘ If

I I 1 1 l-^tt .

I I II I I 讀

一 I � - I -~I - Ih J jil•； J •, •丨乂 J I -��丨丨卞

L«vcnt nu.UitdnfcuiUM mor . tti； MM p«n. SM« RouUicnl vlto h _ m ^ I 丨 f �1 h • I , I 資 • • •

- - 丨p <1；^ •【尸 “� JI h，�� I 厂 - iIJ I " I “ I >• — 1 - 1 ^―^ ？r •代。J；^

Ii >

.. .. ifll I" I _ I _ ^

— £ ——, —if •• ；；g - e- -<4— «t ^ i ， ，^^亏，p h '.-.—f _ I d “.A I ^^^^ 三-11 ： P trj丄气厂^ I ^丨 妥 ^^ linu una Ml • ion svpf^j np •urmos

.. I ‘ , ‘： — 'I ‘ ‘“ 4丨

• I -~h ) ydJtB _ I I � . < • I — - I qwjx :~irJimzzzzi^ 丨 _ ‘ __=— jt ‘ I : “ - J — ‘I 曲 —J•"‘ , 二 •‘ “ ‘‘ •~~- , W

.^^^^^^^ Z^； ^ ；

^ ； ：丨- 丨

lOI 102

In Example 19, the pianissimo accompaniment of bowed tremolos in the violins, syncopations in the flutes, and sustained notes in the horns and trumpets suggests the picture of '^i dcnicement an del noir" (so sweetly in the black sky). The descending arpeggios in the harp and the pizzicato arpeggios in the violins prepare for the phrase "tombent les rosees" (falling dew).

Example 19 “La Mort de rAmoiir," bars 159-165.

m _ j -t f 产 * if f f 严 ^ f if f f f f ^p,' “ r I k I I r- V I I— I V I I ^ HiutV 广• �I f _ - • ： — TT I ； - CUr.知 ‘ I • • j _ I - • ‘ I If ^ • 三 • = = - = “ - J ill I — Cor» A ： g -j * 'j 三 • r r ^^ i" i" Trp. M I = '；

• ’; I' f 一

Trb. � JI • • 三 _ 三 • 三

Ti«b. ”； • 三 _ ： • 三= _ ！}^ 龄 x>v ^ ^^^^^ t：丨丨：：：' I I I I _ I . ._. 一 Tenor ^ _ 华 广」 ^ m 0 羅 # 0 • ， I! JJJ， •一 • ~ 丄 I 1 ^ ^ fJ/i ^ y ^ ^ r ‘ . m&it si 4ou . f • mem au eiel noir a'av&it liil Im nil.Ii ro.tcs m ？ S 5 s 4 5 JE 5 5 ~~pj I 巨 -U V，ij^.i-S � 广；Ty • ^^^^ uU' 山I……L

V •，丨 =：二

»‘ — ； — ^ ^ ^^ 一 > C.i. 1� — = — 103

163

i m ‘ • r IVJ^ f I：: ： ^r fr |‘r > I • ？ ；—I—I—r~ / i I V • “ _, =

• - 7 ^

： l「，• I ” i E - it" _ i[M 1 - . • ^ |i'i|

Trp. 兰—.. 三i I,! • . E ^ fu • £ = Trb. V- - • 三 • 三 • 三

Timb. ’ Jl - • - - ：

一丨^^ thb

Tenor fJ • # I T * " I » 0 f I • 1 了 I I ‘ ‘ 'I ‘ i I ‘ ‘ *…- 4'or d'o'ii torn . bcnl Us ro . m . • ts. V.i t 國 主 - § PS % Y g fi^ yg .W _

• V - ‘ 'H …二.目 • cJ^''^— “，、 人 1 JH ^f) ^D^nC 广广〜jf^� - —niri • I —• !••!• mil L-oi J uIl—i a__i u—i u—u i i Li—i um * "f

V>>1«| V _ _ _ 三 . V If i!户 j �� • 三‘ 符 -？ —‘‘ ^ J mf "f

In Example 20, a leap of a diminished 5th is used in the melody over a half- diminished seventh chord to paint the feeling suggested by the word

"effrayante"(frightful). In bar 168, a short and accented upward leaping perfect fourth is played by clarinets, bassoons and cellos at forte to reinforce the feeling of fright. The upward leaping fourths in bar 169 highlight the words

'feuilles froissees" (crumpled leaves). Pizzicato cellos and double-basses and detached chords in the woodwinds at Jbric are used to paint the word I 104

'hietallique" (metallic) in bar 170. The word 'Gemir" (sigli) at bar 172 and

‘经toiles”（stars) at bar 173 are highlighted by half-diminished seventh chords.

Woodwinds in bar 173 echo the ‘Wgli.” The dynamic level drops to piano and

the violins start to play tremolos to support the active word 'Valsaient" (they

waltz).

Example 20 "La Mort de I'Ainour，” bars 167-173.

• I _ I n 广「I 厂广 二 J � ' f A K ,_^ « 一af .，：」》_ 小,-—，. 卜一 ‘ p ^^ ‘ I 'M •广- I “�“^平广，

ji ‘、 I , I • /' • 1:1 1 M , I. — I I 二II, •—-'ti • • ——K I"/ r '广 -f" Trp.人… —I I …“ ‘ I - ,,, , • . I _ ———-^t- -Vf .

T'�I, " =圍 I I Tirab. • T • I . ‘ 1 “ = “ “ I 自

4 丨 I I ^r^l I I a -0_ I 1, I, i„ 1 V � I-. - � _, jiai^'m i,. •. I • rr; i 、••''， i''"'“� i“ ^^ w ji, . ." " I •丨— ，•丨 I ‘ i J 11,丨 I 1,' -j [i ji P J ~ > '丨 I ‘ ^ f ' ~7 • 一 .’.- .1 l«fbUi«ts. . mir 脚丨� •.如. en augmei

^_ - T- I ^ ra fc -

^ 卜 div. unis I I ：^~~^ I s, , i I _11_jji^ I “ L� l.j E ff t I - c B, - •~I l|「|| I . , ‘ “ ；，I I ^^

* 105

In Example 21，the melodic upward leap at bar 175 sustains the word "disaient"

(speaking) at for I a. Then the composer declaims Tinexprimable horreur des

amours" (inexpressible horror of faded love). Besides the high notes,

chromatic chords are used to support this climax. The dynamic level and the

melodic curve drop simultaneously as the voice sings 'Amours Repasses"

(faded love) and the liannony reaches a more stable D ininor chord in bar 180.

Example 21 “La Mort de 1'Amour," bars 174-180.

IT^ 一 . •

. J—；；•… •丨 ；j Rinlk ~~•~~I:， p. =• =i= t F - “ • - P ^ ‘ — Biuib. • > , ',[— !,L ；r • ! . ； « 一 ^ U_=£>' '1 1- cu. ^^ 三 ^ I「； r..水“ j,

—CO. 三 -^ ‘ * p • , = “ ==i — ‘ ^ • Hi Xr,. fe • I • I .! . = . ‘ - J ‘ I— ： T'b. — '' ‘ • I i 丨 J

I TimV. i “ i “ i 一 ？I —g • '•‘ • • I "' > ；

Timb. • j igg -=丨 彬

^ 了^^^ ‘ 丨 1 丨 I • .‘.."i'-1 i I ； H- I I ^^^ T r ‘ h h' I ‘ I "1 • ,^ I .~. Tenor fri ( |r， ^ • ' ‘ •‘ I Tinof ；.Ij I f M ！ ： J 'T I 1 ‘ ,「， I .mir dei • • n»«« tn. pw sm. V '' • It ii - SAMOt tiotipri - maU« her • • , , II, f 广 =M .1 - , I ^ I ! .a- I i h £ i ^ ( I _ 厂 iv I . ^ I 一 - ; . ‘ =7 • E V.ft” 知n \yaL • — 仰 f r ' I i I ==

J i.n II* I* |,塵 ^ ：——

如 i 1”： 5 ；丨 j .主

“ ： .� f 产 丨 • ,_••“•• i 3 * 1 •• • • • • ••細 � I _ = .• “ ^ * S .. ^ # I J ••• • . . |T._ •丨 I I — 7 ！ Urea � ^ - i •• I I - CI.卜” - I • “ ^^ f 106 •

In Example 22, changes of time-signnlures at bars 184 and 185, use of disjunct intervals, and an augmented chord are used to emphasise the word 'Spectres"

(ghosts), which is further reinforced by a succeeding bar of rest for the voice.

Example 22 "La Mort de 1'Amour," bars 184-185.

c^ F1 『 Builb. E 2 “ ^

0 ,... I —^ peg

A ‘ • _ 口J 11 LI if '1 " " ll二-马 1

.—；;. I ,v' J^l Con IA 'Ifr “ ilg^ f _ ^

Trp. -fo" jS lU “ ‘

Timb. lis -f " =： k Uarp«<

Tenor 及 It^，m'i^ ^^ 11 jj i'^ i t 目 BUientdcs tp«c . • Irw.

£ M ；!‘‘- 圓 --去 > ‘ V*5* 戶 一 j-r� _I I Ml. j '厂声 i … ^ pp ’ 1 丨

！ 尸 ：

C.‘‘ P 二 107

In Example 23, the dynamic level drops dramatically to pianissimo at bar 187， preparing for the cool and static mood of the words 'tout mon sang se glagait"

(all my blood freezes). The word "glagait" is painted by a sudden E-flat minor chord at bar 189. The tension increases as both the dynamic level and the melodic pitches rise to the high long note c^i fonissimo for the word '^ourire"

(smile) at bar 192.

Example 23 "La Mort de l’Ainour,” bars 187-192.

丨打

-—* • * * 4. * 11 * • •T• —

CO" —— J ^ 1 ~ “ 三 ‘~~ • jp ^^ —--� ‘ Tiiior JL - I !•} _S S m J) 二 f ' I itr r! r,‘ = .:•-. , ‘ ‘ ‘ ‘ r Y ‘ ‘ y r = Mot loutmonsinff sc 灿.exit tn voy • uit man ai^n [1 •• !•• =H|| ^ ‘ >rr. • \pp . A div. — UDH ； > — ~ I" Alt. u ^ |丨,,7^ � if 打 = 二 ^ ~ __^^ .『 V'' I - • -j-v J, I f ^ =

一一 广 ；“〜^^ C.B. lb ；h 一 ‘ |||.| “v.; i 讲 PP .

r,*Ti. ！^ - 厂一- Hftutb. ^ =三 J * -

Con •vM - I jh^

* . "'f Tenor 各 � � •，广 ‘‘ | f ^^ 9 (nn.^. mmt sou . ri • n. 幽r

: •- JT All. K - 二 jJ j -三

三切‘ 好 C.B. At' L, z^l _ I 108

In Example 24，as the tempo changes to 'Lent et solonnel” (Slow and Solemn)

at bar 200, repeated notes in a mm.ow range are used to accommodate the phrase "Comme des fronts des morts" (Like the heads of the dead).

Example 24 "La Mort de 1’Amour，” bars 200-202.

义00

Lent et solennel G^r丨.I I ,� p Haulb. 1 • - i _ • "3 P ；i', CUr. == ~- ••

Con 1 I — • PP

Teiior C II ~. I I I " ^ 1i== ^ = I " Comnw d es fronu di mortj

• Lent et goleimel � 丨_ • ~1 —

^^^^^^ dirfpiii)^ ； j W J -JW- 『丨丨,I |i r 丨^； 109

In Example 25, rests are used after the word "iniiet" (mute) at bar 206. The repeated notes in bars 210-211 suggest the word 'fatal." The silent bar 214 for voice well prepares for the word 1'oubli" (forgetfiilness) in bar 215. This is supported by an unresolved half-diminished seventh chord at pianissimo scored in a low orchestral register to bring out the negative implication of this word.

Example 25 “La Mort de I'Amour," bars 204-217. 辦 一 j • I- I ‘ , I'； ,, •’ ^^ ** .U, , It, mu.tl ptn . chint r%r% tl - - V ^ ^ ^^^^^^ y .， V

..I, T T^ 产一- tH' r

^I n 一 I -^r -^LJ c.B. ：；' i r ' . t \\ i . '： > I t ， •’• » . I ‘ ‘ 1 ‘ I,- ‘ ‘ ^ 山。 CUr ^[y-, ^ I • I , I . I I • • 1 I; »：： Trb. I • I _ -]—•_!—— VP? -； ...... mr. Tenor I i V' .. , i 'v-tpnrrrac�|� ~|~- ' - I == Jt pui li . r« nmol tual • • ehtiUits sesgruKU ywix: L.ouiU j n & T X . Oi« Ik snintin fe^卜 •�" 一• - . I I “ -i 1 II I �丨、 - _[ 一 joiuli Murdim* ！ ？P 9 ^ I _ I 如〔 - -! ^ ‘ .. ‘ - ^ • JTT. — I ，I 夕 ^ » 1 v.••“ - i ‘ j I • * 1 ‘ �=‘ ‘ I~ 臣• : I ./MIL^^^-U r r I " 丨 I III

.；,i •i4i - 11 ,

^ •• . . I I • • 巨 • -, C, _, , I Teiirtr -YM f * ~ | " ••一 1 ‘ 110

III. "Le Temps des Lilas”

The music starts in D minor to suggest the mood of sadness. From bar 19

[Example 26]，the texture of the accompaniment changes with the busy figures added by violins. This change paints the phrase 'Le vent a change" (The wind has changed).

Example 26 “Le Temps des Lilas," bars 19-22.

19

• pp —-«=: =— B&ulb. fik >'• > ‘ _f]~ ^ * ^ Jf • ，’ f ^^ I �^^ ^ 一T :丨 1 •连

Cort 足— f I ‘ " ’ “ — ^^^^

^ • ‘ I _ _• -r-~ Tenor ) ’ I ~ ，— 丨… si L« •«Qt h chui. g

ii �1�__�7，T 1「 •,:；_ _〜〜

v...-产 •=» ™ Ei^Ld^

*n dehors ^ I ^^^^ j

Y••！- N'V I : I ^ ^^ • 三

C.B. 'J'v • = _ : • 三

( Ill

In Example 27，the texture of the accoinpaniment and return to the original key centre help to resume the mood of "Jjad spring" of the opening. At bar 31 the voice sings 'Le printemps est triste et ne pent fleurir” (The spring is sad and flowers cannot bloom). In the vocal line, a minor 3rd interval is used to suggest the word "triste” (sad), but a major 3rd paints tlie word "fleurir" (to bloom).

Example 27 "Le Temps des Lilas；' bars 29-33.

^ .g "一 if 亡— . • 00 「-叫•！*. — .1^-� I • ^ ^ _ I;�，^^^^zzm

.-、广r丄」 • 1 =

con I . . I I - 二 |i - pr r f Trp. - S I 11 = • =!/*-• I 4. ‘ IP Txb. th

Timb. iJI - 三 - ; -巨 ^^^^^^ = -i! I I ..

fV ‘ I�丨、‘‘丨上’� 'T‘ ” ro • • m； It phn-UmpsMttrisU tl da pMaOcunr r : , , ！M

A., mi, ‘ J I —‘ y ‘ ~~I 7- * ‘ � I j um> J V•‘如 1 I —=p= =!. = A^^' ^r • r ‘——= ire。 C.B.. Iv't • I • 1 • I , - f 112

In Example 28, the harp joins in the accompaniment with the change of texture

at bar 38. The tempo is ehanged to Phis animc and quadruplets are used to

create a smooth and flowing feeling for the phrase 'Joyeiix et doux printemps"

(joyful and sweet spring). The melody leaps up an octave with a crescendo

from pianissimo to mezzoforte to paint the word "ensoleiller" (to brighten up).

This word is supported by a half-cliininished chord and prepares for the

unhappy feeling of the next phrase.

Example 28 "Le Temps des Lilas；' bars 38-45.

39 Plus ttnlme 广k r—SSi^ •—‘. .——~ 脚7f- I伸1，丨_》%1 I蓉梦 ，•== I' , - ： L/— -|丨|| ！f~.編.� r^fi

丨 ‘和. ^^^― i Tj

饥“ ,^^^^丨. 「了..

TImh. ”I - I • - - 三 - = - I

.！广 ajpi'Tf 如 .1^1 u-| j'L' iif I I ••i 广 i^i-t, 11 I � I “n� - i“ „|'.|' 111一| |丨"I iiiTTjjji：'• [：誦 OhI joy - tux « doui prin • tunps d. I'xu. .“• Qui Tiu Van pxs • “ oous«a.so.Uil • Ur Plu3 onime .- rfefe |� 丨f. |f. I 轰 ^会^^^

I.工 V•丨“l ：一 ’ • I

e.'. ^^I I I 113

In Example 29, the flutes play undulating triplets softly against violin tremolos to support the unhappy announcement of the fading away of love -- 'Notre fleur d'amour est si bieii fanee" (Our flower of love has so fully faded). The second violins and the violas play syncopated repeated notes to paint the word

"fanee" (faded).

Example 29 “Le Temps des Lilas；' bars 46-49.

斗6

III I I II

二， :少=^丨 三 ^^^^ ‘ -

...• • B-9* ^'L _ = - =： _ = B.” ^ f I I 厂• -

CO. -

Trp.丨’ Trp. • = ‘ I _ .

Trk. 'r .-- Trb •：)!.. ‘ •• - . J==:

TImb. ill ‘ == Tlmb - === _ 一 _ •

r . I

* I 三

T.nor L , T咖r ；- ~f | , || .Na.tnn«ir U • »> hitn f恚.ot « .I〒丨 ^^m^m^m

VH.. J V•丨I" 'T ••= "I

c B. r."v ' I ^^ - I '

f 114

In Example 30，the highest note coincides with the loudest note {Jbrle) of this song in bar 50 where the voice exclaims 'Las" (Abbreviation of helas, meaning alas). The time-signature is temporarily changed to 4/4 to emphasize this exclamation.

Example 30 "Le Temps des Lilas," bar 50.

.c , J: Hiuib a'gr' j* “ =zi ~~^ I

Clir. “二 • “.章 I “”"^？ ‘““I 分 I B•”习丨•- j “

Con I ^^—I Trp. -Jk, '{j.. I

Trb 1 3I ‘p 1

TImb 卞 i - I

-丨：人• II ..

Tenor fti > ^ ‘ 卜’|| • U.I ！ I

v.. • 了

• 3

V•“•” i^J^L \ I

1'' V .t,

t * 115

I In Example 31, the tempo changes to Lent at bar 68; the tonality is clearly in D

minor again with the same accompaniment as at the beginning of this song. j

The dynamic level gradually falls to pianissimo as the poem sighs and laments

‘Le temps des lilas et le temps des roses avec notre amour est mort a jamais"

(The time of lilacs and the time of roses with our love is dead forever). The

word 'jamais" (never) is supported with the recurrence of Theme B in the

clarinet, then in the flute against syncopated clarinets that play until the end

with a further slowing of tempo.

Example 31 “Le Temps des Lilas,” bars 66-79.

I ^ uti peu retenu , = —、‘ J-—、众.

'' ^^^^丨 �:1: 一I. • ^ 二^^ cur. ” I I : ^― - -tjtl^

,’_. •，‘ I C. [ I I j. 1‘ I UUd.r«4«»ll . I" 4m r* • »•_ • | j |' ‘‘ • ^^^^ , .11 . T.,. - r~r rr —_- I . • I. ； .' • ^^^^^ I ‘气，J� l" 二'1 [' -� *I ^^^ ^ 加 II I I I 1，L：—-k：—l^c~ ‘ ', . III —丨‘ I I 〔^^^^^1、：一…、二 _ 'J ~、 — III 1, I I- ‘ ‘ r

^ "ftiMr Ml ** • • J -「 I I, I : • I 4 . I “ r V f V i • - , • • • m •• •' “ ' • ^ ' -•--•' 1,-1 T Ji - - •^一 - = — Muir tti m»n j鏖 ^/T" 一 uii pen menu tV I I • ,1 - �‘~、^= ^ 丨一I • —I—‘― - 口 “叫 I -- r - , I' 一

• 116

B. Formal Relationships Between the Poem and the Music

I. "La Fleur des Eaux"

Section Poem Section Music

Introduction (bars 1-17) Stanza 1 (lines 1-3) Period 1 (bars 17-28)

1 1 Bridge (bars 29-32) Stanza 2 (lines 4-6) Period 2 (bars 32-43)

Bridge (bars 44-49) Stanza 3 (lines 7-9) Period 3 (bars 49-76) and Stanza 4 (lines 10-12)

Interlude (bars 76-108) 2 Stanza 5 (lines 13-16) 2 Period 1 (bars 108-118) Stanza 6 (lines 17-20) Period 2 (bars 118-133)

Interlude (bars 133-155) Stanza 7 (lines 21-25) Period 1 (bars 156-172).. 3 Stanza 8 (lines 26-30) 3 Period 2 (bars 173-185) Stanza 9 (lines 31-35) Period 3 (bars 185-202)

Stanza 10 (lines 36-40) Period 4 (bars 202-225)

Postlude (bars 225-239)

«

«

f 117

II. "La Mort de l，Aim)ur”

Section Poem Section Music

Introduction (bars 1-31) 1 Stanza 1 (lines 1-4) 1 Period 1 (bars 32-53)

Bridge (bars 53-60)

Stanza 2 (lines 5-8) Period 2 (bars 60-89)

Interlude (bars 90-135) 2 2 Introduction (bars 136-148) Stanza 3 (lines 9-13) Period 1 (bars 149-166)

Stanza 4 (lines 14-17) Period 2 (bars 166-180) 3 Stanza 5 (lines 18-20) Period 3 (bars 180-199)

Stanza 6 (lines 21-23) Period 4 (bars 200-220)

Postlude (bars 220-235)

III. "Le Temps des Lilas"

Section Poem Section Music

Introduction (bars 1-4)^ 1 Stanza 1 (lines 1-4) 1 Period 1 (bars 5-19) Stanza 2 (lines 5-8) Period 2 (bars 19-33)

Interlude (bars 33-37) 2 Stanza 3 (lines 9-12) 2 Period 1 (bars 38-55) Stanza 4 (lines 13-16) Period 2 (bars 55-79)

3The actual upbeat starts from bar 235 of "La K4ort de l,Ainour.,’ 118

According to the formal analysis of the poem and the music, many similarities can be found between the two.

In 'La Fleur des Eaux," the poem and the music are divided into three sections.

In Section 1，the first two stanzas of the poem correspond to the first two periods of the music. Since Stanza 3 and 4 of 'La Fleur des Eaux" are relatively short, the composer grouped the two stanzas together to form period

3 of Section 1. The fonnal designs of Section 2 and Section 3 of the music coincide with the poem.

In 'La Mort de 1,Amour” the formal designs of the poem and the music are different. The poem is divided into three sections while the music is divided into two. Although the overall formal design is different, each stanza of the poem corresponds to each period of music.

In 'Le Temps des Lilas；' the formal designs of the poem and the music are identical. As the syllables, stanzas and rhymes are very uniform, the design of each musical period coincides with that of each stanza. ‘I i f 119

f

Chapter Five: Significant Differences between the Orchestral Score and the Piiino-vocal Score

A. Comparison between the orchestral score and the Piano-vocal Score

The following is a comparison between the orchesfral score published by

Rouart, Lerolle & Cie. of Paris in 1919 and the piano-vocal score published by

the International Music Company of New York in 1955. As the name of the

editor(s) caiinot be found on the score and since the original manuscript is not

accessible, it is impossible to specify exact reasons and causes for some of the

differences.

1. “La Fleur des Eaux"

Bar number Difference Orchestral Score Pi a no-Vocal Score

b. 35-36 Tempo marking - cn augnicntantpeu

a pen

b. 37 Tempo marking en au^mcntant -

b. 60 Pitch (voice) F-sharp (wrong note) F-natiiral

b. 67 Tempo marking - cn pressant un peu

b. 68 Tempo marking en pressant im pen .二

b. 73 Tempo marking - mouvt

b. 76 Dynamic marking 已

b. 98 Peiforniaiice directions Trancjuillo tres calmc

(ires chux et chcmtc) 120

b. 120 Pitch (voice) 2 versions in orchestral score:

Orchcstml sc�rc:(^ 卜^ f f, f [ [ f =

Piano-vocal score: p ^ .

b. 131 Dynamic marking ^ mf

b. 138 Dynamic marking

b. 133 Tempo marking Animando poco -

mosso

b. 140 Tempo marking cn animaril en animant un pen

b. 146 Tempo marking cn migmenlant 1 er mouvt

hcaiicoiip

b.l64 Note Value (|�？ j ^

b. 166 Dynamic marking plm f for voice mf for voice

b. 173 Tempo marking Poco cmimalo -

b. 175 Tempo markin{> - . Trcs simplement

b. 180 Dynamic marking [_ mf

b. 185 Tempo marking (Allegro non troppo) -

b. 189 Tempo marking cwgmcrUarH -

b. 200-201 Tempo marking im pen relcmi -

b. 202 Tempo marking Mouvl, Un pen anime b. 214 - 216 Pitch (voice) Orchcsiml scorc: _ f f ~T~r~

Piano-vocal 广广 j�j�’^ • 121

b. 224 - 225 Rhythm (voice) �j JJ|JM J. J.|J.(

Interlude

Bar number Difference Orchestral Score Piano-vocal Score

b. 15 Tempo marking - retenu

b. 17 Tempo marking - ； er moiivt b. 26 Dynamic marking - sfz <

b. 28 Tempo marking re/cim rclcnu, Mouvt.

b. 29 Tempo marking Mouvt. _

b. 30 Dynamic marking ^ rnf

II. "La Mort de I'Amoiir"

Bar number Difierence Orchestral Score Piano-vocal Score

b. 30 Tempo marking im peu retenu -

b. 57 Dynamic marking £> mf>

b. 58 Tempo marking rctemi -

b. 60 Tempo inarki叩 Mouvt -

b. 78 Pitch (voice) (wrong note)

fe ^^

b.82 Note value (voice) ；^^ j

b. 91-92 Tempo marking aiigmcntant •

b. 94 Tempo marking - au^mcnlant 122

b. 96 Tempo marking au^mentanl -

b. 132 Tempo marking rctcmi -

b. 136 Tempo marking Sombre et solcnncl Lent el solcnnel b. 153 Dynamic marking mf (oboe solo) mf

： PP (sti-infis) b. 161 Rhythm (voice)�� J J (4) ^ j ^ j jsp

b. 172 Tempo marking - augmentcr

b. 173 Tempo marking cn augmentanf -

heaiicoup

Note value (voice) misprint (t)丄 ^ Ct) ^ J

b. 189 Tempo marking - en augmcntantpen a

peu b. 196-197 Dynamic marking - en dimimiant

b. 205 Pitch (voice) (wrong note) 、( r I -丨y ^ ..

b. 220 Performance directions trh expressif - b. 222 Dynamic marking plm f [_

b. 233 Tempo marking moiivt. -

III. “Le Temps des Lilas"

Bar number Difference Orchestral Score Piano-vocal Score

b. 19 Dynamic marking jdji p

b. 21 |- Dynamic markin.u mf (voice) - 123

b. 22 Tempo marking - au^nicnlcr un pen b. 24-28 Dynamic marking - < f >

b. 36 Tempo marking - en pressant tin pen Dynamic marking plm f

b. 38 Dynamic marking > p -

琴 ™ (州力’

b. 43 Dynamic marking crescendo - b. 44 Dynamic marking - /

b. 46 Dynamic marking - mains f b..49 Rhy- Jijni�i�"lcLrv|

b. 50 Dynamic marking [_ ^

b. 55 Dynamic marking pp p

Pitch (voice) (wrong note)

命 f t I ” I

b. 58 Tempo marking - simplcment

Dynamic marking /(voice) mf (voice)

b. 61 Dynamic mai.ki叩 - ££

b. 65 Tempo marking - au 1 er mouvement Dynamic marking - ^

b. 68 Pitch (voice) (wrong note)

b. 72 Dynamic marking - mf

b. 75 Dynamic marking irif -

b. 77 ‘ Tempo marking un pen rclcnii - 124

b. 79 Dynamic marking {pp) ppp Rhythm Syncopated A tied chord quavers are used followed by rests is until the end of used. . music

B. Summary of the differences

According to this writer's findings, the two scores mainly differ in the six aspects discussed as follows.

1. Dynamic markings

There are altogether forty-two differences in dynamic markings (only the significant ones are shown on the comparison table). As the possibility of dynamic contrast in orchestral settings is greater than in the piano, the dynamic markings may differ between orchesfral score and piano-vocal score. The contrasts in tone colour and dynamic level bring out melodic lines in an orchestral passage. In a piano-vocal score, melodic lines can be brought out by the contrasts in dynamic level, use of register, articulation and phrasing etc.

Therefore most of the differences in dynamic level between the orchestral and the piano-vocal version are slight. For example, in bar 138 of "La fleur des 125

Eaux", the oi.chestml score is marked forlc while the piano-vocal score is marked mczzoforlc followed by crescendo.

There are a few places where the differences are vast. For example, in bar 76 of "La Fleur des Eaux," it is marked forte on the orchestral score and followed by crescendo until fortissimo in bar 81，while the crescendo of the piano-vocal score starts from piano in bar 76. Perhaps the composer or the editor of the piano-vocal score, whose name was not mentioned on the score, believes the piano can make less crescendo than the orchestra (a reasonable thought) and thus makes the crescendo seem more effective by starting from piano.

In bar 131 of “La Fleur des Eaux," the dynamic level of the oboe solo is marked piano while the piano accompaniment is marked mezzoforte. This is perhaps due to the high penetrating power of the oboe (over pianissimo violin tremolo) which is already loud enough, while the sound of the piano at high register might be too soft. Therefore mezzoforte is marked on the piano accompaniment.

In bar 30 of the “Interlude,” the unison melody played by the first flute, the first bassoon and the first violins is marked piano over string tremolos (at piano) on the orchesfral score, while the melody on the piano score is marked mezzoforte over accompaniment at piano. This difference is probably because the difference in tone colour between the resultant sound of the flute, bassoon and 126 violins is sufficient while the melody of the piano score, might be marked mezzoforte in order to be heard.

The dynamic marking for the voice is missing in bar 191 before and after the

crescendo, while the orchestral accompaniment is marked pianissimo at bar 189

and followed by crescendo until fortissimo at bar 192. In the piano score, on

the contrary，the voice is marked pianissimo in bar 187，and forte in bar 192

after the crescendo in bar 191 along with the piano accompaniment.

2. Tempo Markings

There are thirty-five differences in tempo markings between the scores. Most

of the differences are location differences, i.e. the same direction is marked on

both scores but one bar earlier or later than in the other. Therefore the

difference would be slight, providing some accommodation to the particular

performance medium.

In the piano-vocal score, the tempo marking at bar 73 of "La Fleur des Eaux"

seems redundant. It is because niouvl normally appears after a passage marked

retenu (slower passage) instead of after a faster passage such as that marked en

pressent un pen previously.

There are some markings which appear only on the orchestral score. For

example, at bars 58 and 60 of "La Mort de 1, Amour，” the indications are retenu 127

and Mouvt respectively. These markings are just a normal treatment for phrase

endings and preparations for the next phrase. This kind of treatment also

I appears at bars 132 and 233 where re term is marked before a new phrase or a

new section. In bar 173 of "La Fleur des Eaux," Poco animato marks appear at

the beginning of a new section.

There are also some markings which appear only on the piano-vocal score. For

example, see bar 189 of "La Mort de rAmour" where en augmentant pen a peu

is found at the end of the phrase.

3. Performance Directions

The performance directions on the orchestral score seem to be more carefully

done. For example, in bar 108 of "La Fleur des Eaux," it is marked battez a 6

(beating in 6) when the time-signature changes to 6/4, which is primarily for the

conductor. Similar directions are also given at bar 133 of "La Fleur des Eaux,"

bars 1, 54, 56 and 76 of “La Mort de rAmour”

There are two other places where the performance directions appear only on the

orchestral score: bar 220 of "La Mort de rAmour" where it is marked tres

expressif and bar 1 of "Le Temps des Lilas" where theme B is marked hicn

chante, en dehors. 128

There is an occasion where the performance direction is different but similar in

meaning: in bar 98 of "La Fleur des Eaux," it is marked Tranquillo (tres doia

et chante) on the orchestral score while the piano-vocal score is marked Tres

calme, which is similar to tranquillo.

4. Notation

There are five places where the notation differs from the orchestral score to the

piano-vocal score, but this does not cause a difference in performance effect.

‘ The composer or the editor probably made these choices for the performers’

convenience in playing the subdivisions of rhythm. These alterations are

shown in the following table.

Place of OccuiTciicc Orchestral Score Piano Score

bar 135 of'La Fleur des Eaux" (6) j J J J [ r(c . j. ；. y j. I

bars 45-46 of'La Mort de 1'Amour" 3 . I . . . ^ k

bar 49 of “La Mort de 1，A_r，，《）^^已:, (| ) j-. f. f. f |

bar 51 of'La Mort de I'Amour" , ^ r^ 卜 1 , a�卜卜 i � i) iS 1 � r 1

bar 39 of "Le Temps des Lilas" (3) J J i J C^ ) J J ^ ^

5. Rhythm

There are nine places where the rhythm or the note values are different.

Among these some differ only in the length of the ending note of a phrase. For

example: in bar 164 of "La Fleur des Eaux," the quaver rest is prolonged with 129 the use of fcrmala, while there is a crotchet rest in the piano-vocal score after a minim.

In bars 82, 224-225 of "La Mort de 1, Amour” and bars 48-49 of "Le Temps des

Lilas," the use of rests in the-voice on the orchestral score is probably because the orchestral instruments can better sustain the final pitch of the phrase than can the piano.

In bar 161 of "La Mort de 1，Amour,” the different versions may be from an error of copying during the process of publication, but both versions work well.

The rhythm used at the end of the whole song-cycle is different between the two scores. On the orchestral score, the clarinets play syncopated quavers

over a sustaining chord until the music fades, while such rhythm does not

appear on the piano-vocal score.

6. Pitch

There are altogether seven differences in pitch. Most of tlie differences are due

to misprinting. The most interesting pitch difference is in bar 120 of "La Fleur

des Eaux" where an alternate version for voice is given. This version is not

found in the piano-vocal score; perhaps this is due to the high B being difficult

for the tenor to sing. 130

Chapter Six: Summary

Possibly because Chausson's works were badly received during his life time, his works are generally neglected by performers and musicologists. Through the

% analysis of Chausson's Pocme de 1'Amour et de la Mer, Op. 19，it is found that

Chausson basically follows the formal structure of the poem. The harmonic language he uses in the song cycle is chromatic; the overall key progression is

conventional. As discussed in Chapter Three, he uses two recurring themes to maintain the unity of the song cycle instead of using leitmotivs, a popular device in

late Romantic music. These two themes are used as both main melodies and

bridging materials of the songs.

As discussed in Chapters Four and Five, Chausson's use of the orchestra meets the

dramatic demands of the poem. His achievements with instrumental colours and

textual possibilities provide an inteipretation of these demands significantly

different and, arguably, beyond the notable aesthetic attainment of the piano-vocal

version. 131

On the whole, Chausson demonstrated his experimental nature in developing this

genre of work -- song-cycle with orchestral accompaniment. His sensitivity to

poetry, tmd his mastery of using the orchestra highlight and even increase the

musicality of the poems.

•4

I “ 132

Selected Bibliography

Banicelli, Jean-Pierre，and Leo-Weinstein. Ernest Chausson: The Composer�s Life and Works. Norman:'University of Oklahoma Press, 1955.

Bemac, Pierre. The Interpretation of French Song. New York: W. W. Norton and Co. Inc., 1976.

Bietiy, Roland. Les Theories Poeliqucs a I 'Epoque Symbolistc 1883-1896. Bern: Editions Peter Lang, 1989.

Bouchor, Maurice. "Le Language de I'Esprit." Revue Musicalc i/2 (December 1， 1925): 180-190.

Brereton, Geoffrey. A Short History of French Literature. Middlesex: Penguin Books, 1954.

Broome, Peter and Graham Chesters. The Appreciation of Modern French Poetry (1850-1950). London: Cambridge University Press, 1976.

Buttrose, Charles. Words and Music. London: Angus & Robertson，1984.

Castelnuovo-Tedesco, M. "Music and Poetry: Problems of a Songwriter.” Musical Quarterly 30 (1944): 102.

Cazamian, L. A History of French Lileraliirc. London: Oxford University Press, 1955.

Chadwick，Charles. Symbolism. London: Methuen & Co. Ltd., 1971.

Chausson, Ernest. Poeme ck I'Amour ct de la Mcr, Op. 19, piano-voice score. New York: International Music Company, 1955.

.Poeme de I 'Amour el de la Mcr. Op. 19，orchestral score. Paris: Rouart, Lerolle&Cie, 1919. 133

Cooper, Martin. French Music: From the Deafli of Berlioz to the Death of Faiird. London: Oxford University Press, 1951.

Cruickshank, John. Ed. French LUcraturc and its Background. London: Oxford University Press, 1970.

Davies，Laurence. Char Franck and His Circle. Boston: Houghton Mifflin and Co., 1970. :

Dumesnil，Rene. Le Realisme et le Naturalisme. Paris: Duca, 1968.

Espina, Noni. Repertoire for the Solo Voice. Vol.1. New Jersey: The Scarecrow Press, Inc., 1977.

Evidon, R. "Poeme de 1'Am our et de la Mer." Musical Times (1975): 551.

Parish, Margaret, K. Ed. Orchestral Music In Print. Philadelphia: Musicdata, Inc., 1979.

Fowlie, Wallace. Mid-Cenlury French Pods. New York: Grove Press, 1955.

Galland. J. S. and Roger Ci.os. Ed. Ninclccnih Century French Verse. New York: Appleton-Centiiiy Crofts, Inc., 1931.

Galliard, J. "Qiielques opinions sur Ernest Chausson." Revue Miisicale i/2 (December 1，1925): 207-219.

Gallois, Jean. “Ernest Chausson." The New Grove Dictionary of Music, 20 vol., ., ed. Stanley Sadie. London: Macmillan Publishers Limited, 1980. 4: 181-4.

• Ernest Chausson: L 'hommc el son oeiivre. Paris: Editions Seghers. 1967.

Gibson, Robert. Ed. Modern French Poets on Poetry. London: Cambridge University Press, 1979.

Grente, Cardinal Georges. Ed. Diclionnaire des Le tires Frangaisc, Le 19e Sicclc. Paris: Librairie Artheme Fayard, 1971.

Grout, Donald Jay and Claude Palisca. A Hislcny of Western Music. 4th edition. New York: W. W. Norton and Company Inc., 1988. 134

Grover, Ralph Scott. Ernest Chausson: The Man and His Music. London: Associated University Presses, 1980.

Hall, J. The An Song. Norman: University of Oklahoma Press, 1953.

Hare, John. The Lilcralurc of France -- A Short Introduction. London: Macmillan, 1968.

Hartford, R. "Wagner, the French and Bayreuth." Opera 29 (August, 1978): 755- 62.

Hill，Edward Buiiingame. Modern French Music. Boston: Houghton Mifflin Co., 1924.

Hoeree, Ailhur. "Chausson et la Musique Fmngaise.” Revue Musicale i/2 (December 1, 1925): 191-206.

Jean-Aubiy, G. "A French Composer: Ernest Chausson." The Musical Times 59 (November 1, 1918): 500-501.

.French Music of Today. Translated by Edwin Evans. London: Kegan Paul, Trench, Trubner and Co., 1919.

Kagen, Sergius. Music for the Vuicc. Revised Edition. Bloomington: Indiana University Press, 1968.

Knight, Philip. Flower Poetics in Ninclcenlh-ccnliiry France. Oxford: Clarendon Press, 1986.

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Lalou, Rene. Histoirc dc la Pocsie Frangaise. Paris: Presses Universitaires de France，1943.

Lanson, G. Hisloire dc la Lillcradirc Fran(;aise. Paris: Librairie Hachette, 1951.

Lawler, James R. The Language of French Symbolism. New Jersey: Princeton University Press, 1969.

Lehmann, A. G. The Symholist Acsthclic in France ]885-1895. 2nd Ed. Oxford: Basil Blackwell, 1968. 135

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."Dix lettres d'Emest Chausson a C. Debussy." Revue de Musicale 17 (1962): 49.

Lockspeiser, Edward. “The French Song in the 19th Century.” The Musical Quarterly 26 (April 1940): 192-199.

Maclntyre, C. French Symbolist Poetry. Berkeley: University of California Press, 1964.

Marks, Elaine. Ed. French Poetry from Baudelaire to the Present. New York: Dell Publishing Co., 1962.

Maus, Madeleine-Octave. Trcnle Annces ck Lulte pour I 'Art (1884-1914). Brussels, Li bra ire I'Oiseau Bleu, 1926.

Meister, Barbara. Nineteenth Ccntiny French Song. Bloomington: Indiana University Press, 1980.

Mendes, Catulle. Ed. Dic/ionnairc BihJiographiquc et Critique des Principaux Pocles Frangais chi XlXe Siccle. Paris: Imprime Nationale, 1902.

Michaud, Guy. Message Pocliquc chi Symbolisme. Paris: Librairie Nizet, 1947.

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• H 137

Appendix English Translation of Poeme de I，Amour et de la Mer

I. "The Flower of the Waters" ("La Fleur des Eaux")

Stanza 1 The air is filled with an exquisite scent of lilacs Which, flowering to the heights of the walls below, Perfume the women's hair.

Stanza 2 The sea, in the heat of the sun, is all aflame, And over the fine sands which they kiss, Roll the sparkling waves.

Stanza 3 Oh, sky that mirrors the color of her eyes, Wind, that will sing among the lilacs in bloom, Only to emerge all saturated with perfume.

Stanza 4 Brooks, that will moisten her dress, Oh, green paths, You who will tremble beneath her dear little feet, Let me see my beloved!

Stanza 5 And my heart awakened on this summer mom, For a lovely child stood on the shore, Allowing her vibrant eyes to wander over me, And she smiled at me tenderly and shyly.

Stanza 6 You whom youth and love have transfigured, You appeared to me then like the soul of all things. My heart flew toward you, ~ you took it and held it, And from the open sky roses rained upon us.

Stanza 7 How doleful and wild a sound, Tolls the hour of parting! The sea rolls along the shore, Mocking, and caring not That this is the hour of parting!

Stanza 8 Birds pass with wings spread Over the abyss, almost joyfully In the heat of the sun the sea is green And I bleed silently, As I watch the sky, in all its brilliance.

Stanza 9 I bleed, thinking of my life That will vanish in the waves. My very soul has been taken from me, And the somber roar of the waves Covers the sound of my sobs.

Stanza 10 Who knows whether this cruel sea Will bring her back to my heart? My gaze is fixed upon her, The sea sings, and the mocking wind Jeers at my heart's anguish.

‘Tranlated by Waldo Lyman, quoted from the piano-vocal score of Chausson,s Poeme de I'Amour de de la Mer, Op. 19, (New York: International Music Company, 1955) 138

2. "The death of Love" ("La Mort de TAmour")

Stanza 1 Soon that blue and joyful island Will appear to me among the rocks That island, on the silent sea Will float like a water-lily.

Stanza 2 Across a sea the color of amethyst The boat softly glides And I shall be both'happy and sad Remembering so much so soon.

Stanza 3 The wind tosses about the dead leaves My thoughts too were tossed Like dead leaves in the night Never under the dark sky had they shone so sweetly, The thousand golden roses from which the dew was falling.

Stanza 4 A frightening dance, and the crumpled leaves, Which gave forth a metallic sound were waltzing, Seeming to sigh under the stars and to speak of The inexpressible horror of love that is dead.

Stanza 5 The large silvery beeches, caressed by the moon, Were hosts as for me, my blood froze When I saw my beloved so strangely smiling.

Stanza 6 Like the faces of the dead, Our faces had paled. And speechless, bending over her, I could read This fatal word written in her large eyes: oblivion.

3. "The Time of Lilacs" ("Le Temps des Lilas")

Stanza 1 The time of lilacs and the time of roses Will not come back again this spring. The time of lilacs and the time of roses Has passed and gone are the carnations too.

Stanza 2 The wind has changed, the skies are somber, And we shall never again hasten to gather The blooming lilacs and the lovely roses The spring is sad and cannot flourish.

Stanza 3 Oh joyful and sweet season of the year, Which came last year, to steep us in its sunlight, Our flower of love has so much faded, Alas! that your kiss cannot wake it up again!

Stanza 4 And you, what are you doing? No more budding flowers, No more gay sunshine nor cooling shades The time of lilacs and the time of roses With our love, is dead forever. ji

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