Sandrine Piau: The complete "3 Poèmes de Stéphane Mallarmé L. 127" (Debussy)

3 Poèmes de Stéphane Mallarmé (L. 127):
I. Soupir 00:00
II. Placet futile 03:01
III. Éventail 05:39
Debussy, Claude (1862-1918) -composer
Sandrine Piau -soprano
Jos van Immerseel -piano
Score: petrucci.mus.auth.gr/imglnks/u...
Playlist "The art of French song: Faure, Debussy, Ravel, Poulenc, Satie...": • The art of French song...
These pieces, Debussy's last set of songs, were composed at a time when his health was in serious decline, the world was on the brink of war and revolution, and music itself was in the beginnings of great upheaval. The composer himself was starting to move into new directions and while the music here is not quite revolutionary, it is bold and innovative: melody does not flow, and the daring harmonies match the quirkiness of the text. Some have suggested that Debussy felt a duty to set texts by Stéphane Mallarmé, since it was that poet's work which inspired the composer's great breakthrough orchestral composition, Prélude à l'après-midi d'un faune (1892-1894). True, Debussy had already written the song Apparition (1884) using a Mallarmé text, but that was an early and not particularly strong effort.
The first song in this set, "Soupir" (Sigh), features a typical Debussy vocal line, but the accompaniment is appropriately cold in its sometimes mechanistic sounds. The mood is one of detachment and desolation, perfect for conveying the autumnal elements of Mallarmé's text. The second song, "Placet futile" (Futile Petition), has an intellectual air about it, and a dry sort of humor that effectively conveys the spirit of the text, which tells of the declaration of love to the figure of a shepherdess on a teacup. The last song, "Éventail" (Fan), has an almost off-the-wall manner in places, again appropriate for the text, which is said to lack a clear meaning. In sum, these songs are important works in Debussy's vocal output and represent some of his more inventive creations in any genre.
Source: www.allmusic.com/composition/p...
Buy the CD here: www.amazon.com/Sandrine-Piau-D...

[@HxhXnin9e]

tout ce que j'ai pu faire en 50 ans vient de là
vous chantez merveilleusement
Louis Latourre

[@user-no9jy3wt5m]

This is a real pleasure. Especially for those who love both Debussy and Mallarmé equally.

[@auricula]

Спасибо! Прекрасное исполнение чудесной музыки.

[@classy_dweller]

Adorable oeuvre ! Прекрасное творение !

[@karrriko]

Belle prosodie, et très belle interprétation... quelle profondeur

[@galas062]

Thank you!!!

[@Vidasonik]

love this

[@brearddidier454]

J'aime beaucoup la version de Ravel, mais je trouve plus de profondeur à celle de Debussy. "Soupir" me colle des frissons!

[@sonicsnap1173]

I really can't choose Between Mallarme's poems by Debussy or by Ravel. Both works are absolutely sublime (and actually very different)!

[@jacquelinesalvin7158]

sonicsnap117 1up to Debussy, Ravel influencé par Schoenberg est (dans cette oeuvre) moins lui-même, plus extérieur

[@Sam-zj6mw]

Both their ‘Soupir’ end in a similar way, I feel.

[@TheGedosix]

Sorry, Debussy, Imma let you finish, but Ravel had the best 'Soupir' of all time!

[@Polygor2]

Debussy is my favourite classical composer but I prefer Ravel's Trois Poèmes