The French Version of the Art Song Genre Was Called

A mélodie (French: [melɔdi] ( heed )) is a form of French art song, arising in the mid-19th century. It is comparable to the German Lied. A chanson, past contrast, is a folk or popular French vocal.

The literal pregnant of the word in the French language is "tune".

Nature [edit]

The mélodie is often divers past comparison with the lied. Pierre Bernac provides this comparing in The Interpretation of French Song:

Debussy goes on to write that 'clarity of expression, precision and concentration of form are qualities peculiar to the French genius.' These qualities are indeed nearly noticeable when once again compared with the German language genius, excelling every bit it does in long, uninhibited outpourings, directly opposed to the French taste, which abhors overstatement and venerates concision and diversity.^{[ page needed ]}

Bernac writes that "the fine art of the greatest French composers is an art of suggestion",^[one] rather than explicit statement of feelings.

The mélodie is noted for its deliberate and close relationship between text and melody. To compose or interpret mélodies, one must have a sensitive cognition of the French linguistic communication, French poetry, and French poetic wording.^[2] Numerous books have been written near the details of French pronunciation specifically for mélodie singers, frequently featuring IPA transcriptions of songs with further notations for French-specific features like liaison and elision.^{[ citation needed ]}

History [edit]

The mélodie arose only before the middle of the 19th century in France.^[3] Though the lied had reached its top in the early on 19th century, the mélodie developed independently of that tradition. Instead, information technology grew more than directly from the before genre of French songs known as the romance. These songs, while apparently quite similar to the mélodie, were so as at present viewed as being of a lighter and less specific nature. The text of a mélodie was more than likely to be taken from contemporary, serious poetry and the music was also generally of a more than profound sort.^[4] Further, while most composers in this genre were Romantics, at to the lowest degree in chronology, certain features of mélodies have led many to view them every bit not properly Romantic.

Some of the kickoff mélodies were those of Hector Berlioz. He was amidst the kickoff to use the term to describe his own compositions,^[five] and his song bicycle Les nuits d'été (1841) is still considered an case of the genre. Whatever Berlioz' chronological precedence, Charles Gounod is often viewed equally the kickoff distinct composer of mélodies: his compositional style evolves imperceptibly and illustratively from romance to mélodie.^[6] He wrote over 200 mélodies, on texts by such poets equally Victor Hugo and Lamartine. His setting of Lord Byron's Maid of Athens, in English, is a perfect example of a romance that has become a mélodie.

Though numerous other composers, such as Massenet, wrote mélodies during Gounod's lifetime, a name that cannot be omitted is that of Gabriel Fauré. He wrote over 100 mélodies and has been called the French Schumann, though their styles and essential temperaments were very different. Fauré is all-time remembered for his settings of the verse of Paul Verlaine, including Clair de lune and the song cycles Cinq mélodies "de Venise" and La bonne chanson.^[7]

A contemporary of Fauré whose proper name has go practically synonymous with the mélodie, even though he left only a handful of them, is Henri Duparc.

Claude Debussy and Maurice Ravel are today best known for their instrumental compositions. However, they both wrote dozens of mélodies that are nevertheless closely studied and often performed. Debussy is noted for a item gift for marrying text and music, while Ravel based a number of his on folk song, in directly contradiction to the mutual practice for mélodies, transfiguring both forms.

Contemporaries of Ravel who were noted mélodie composers include Albert Roussel, Reynaldo Hahn and André Caplet. Though more famous as a composer for the organ, Louis Vierne wrote several collections of mélodies with texts from Baudelaire, Verlaine, and others.

Mélodies continue to be composed, though perhaps the last uncontestedly great composer of them was Francis Poulenc, who died in 1963. He wrote nigh 150 mélodies of all sorts.

References [edit]

1. ^ Bernac, Pierre (1997). The Interpretation of French Song. London: Kahn & Averill. p. 33. ISBN0393008789.
2. ^ Kimball, Carol (2006). Song: A Guide to Art Song Way and Literature. Milwaukee: Hal Leonard Corporation. p. 158. ISBN978-1-4234-1280-9.
3. ^ Davis, Peter (25 January 1981). "LISTENING TO THE MELODIE OF FRANCE". The New York Times . Retrieved ane December 2016.
4. ^ Richter, Maurice. "The Fine art of French Song — Three Collections". La Folia . Retrieved one December 2016.
5. ^ Berlioz, Hector. "Memoirs". The Hector Berlioz Website. Michel Austin. Retrieved ane December 2016.
6. ^ Delage, Roger. "GOUNOD CHARLES (1818-1893)". Encyclopædia Universalis . Retrieved one December 2016.
7. ^ Orledge, Robert (1979). Gabriel Fauré. London: Eulenburg Books. pp. 77–78. ISBN0-903873-40-0.

Bibliography [edit]

• Bernac, Pierre: The Estimation of French Vocal. New York, Praeger, 1970. Reprint by Norton, New York, 1978.
• Panzéra, Charles: L'amour de chanter. Bruxelles, H. Lemoine, 1957.
• Vocal on Record : V. 1 (Lieder); 5. two (Song, including mélodie). Alan Blyth, Editor [A history of Art Song and its interpretation, with a guide to available recordings.] Cambridge, Cambridge Academy Press, 1986–1988

rosenblumexplas1964.blogspot.com

Source: https://en.wikipedia.org/wiki/M%C3%A9lodie

Share this post