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MelodieTreasury Translations - Poème d'un Jour
Why not buy the whole Album? Your selections total more than the whole disc price. Please login to post a review. And I say, taking leave of your charms, Without tears, Almost at the moment of my avowal, Farewell! In this fickle world we see our dreams Change more swiftly than waves on the shore, Our hearts change more swiftly than frosted flowers! And I say, taking leave of your charms, without tears, Almost at the moment of my avowal, Farewell! Adieu is the best song of the three.
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It is part of the amorous game to part from a lady with expressions of tender regret. We can only hope that his erstwhile partner is equally philosophical we sense that her feelings are not even taken into account. Les plus longs amours Sont courts!
BBC Music, Vol.15 , No. 9: French Chamber Classics
In this fickle world we see Our dreams Change more swiftly than waves On the shore, Our hearts change more swiftly than patterns Of frosted flowers! Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin. Don't show me this message again. It has nothing of the architecture of the densely organized La bonne chanson with its network of cyclic borrowings and self-quotation.
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This fact alone limits the emotional range of the music; passion is illusory and impermanent, the rueful farewell marks the end of an affair so short that it cannot be taken any more seriously by the listener than it has been by the lovers themselves. Malcolm Martineau piano. Graham Johnson piano. Dame Janet Baker mezzo-soprano , Geoffrey Parsons piano. Michael Schade tenor , Malcolm Martineau piano. John Mark Ainsley tenor , Graham Johnson piano.
Charles Grandmougin I was sad and pensive when I met you, Today I feel less my persistent pain; O tell me, could you be the long hoped-for woman, And the ideal dream pursued in vain?
English: Richard Stokes. This is music of the greatest urbanity and elegance. It spins a line as surely as the young man spins his, a progression of murmured endearments with artfully placed climactic moments of ardour. How many young men have told a girl they have just met that a strange and mysterious chemistry inexplicably binds them? We have the impression that he has said these words, or words like them, many times before. The purling progress of the music seems to be on automatic pilot.
Poème d'un Jour
The ceaseless flow of semiquavers, seraphically shared between the hands, adds to this impression. There are high notes for the singer, but for all its mellifluous progress the music lacks depth, one feels deliberately: the music is as dapper as the elegantly attired young man who sings it.
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He is not exactly a Don Giovanni; he lacks the diabolical energy for heartless seduction. No, this lover has convinced himself of his sincerity, as far as it goes; but singers are well-advised not to push the boat out in an attempt to match the gushing hyperbole of the verse. After all, this is not yet Verlaine in La bonne chanson , hell-bent on marriage, and contemplating connubial bliss. The inevitable parting is already foretold in the beginning of this liaison.
John Chest baritone , Malcolm Martineau piano. I was sad and pensive when I met you, Today I feel less my persistent pain; O tell me, could you be the unhoped-for woman, And the ideal dream pursued in vain? You ask me to be silent, To flee far from you for ever And to go my way alone, Forgetting whom I loved! You ask me to be silent, to escape far from you for ever, and to leave, alone, without reminding myself of the one I loved!