Job Title Page Nos. Catalogue No. Customer Compact Disc ... · song might have accompanied the ball in the novel Le grand Meaulnes,and was pleased to have negotiated the tricky ‘font,font,font’passages

CTP Template: CD_DPS1Compact Disc Booklet: Double Page SpreadCustomerCatalogue No.Job Title Page Nos.

COLOURSCYANMAGENTAYELLOWBLACK

291.0mm x 169.5mm

40 1



291.0mm x 169.5mm

3

In his notorious little 1918 pamphlet Le Coq et l’Arlequin, Jean Cocteau pronouncedthat ‘a composer always has too many notes on his keyboard.’ This was a lesson theyoung Francis Poulenc took to heart and observed throughout his career; and nowhere

more tellingly than in the piano parts of his songs – far better written, he thought, thanhis works for piano solo.

After the First World War, the ethos of French art across the board lay in the direction ofclarity and simplicity. Cocteau further cried for ‘an end to clouds, waves, aquariums, waternymphs, an end to fogs’, and Erik Satie, the cultural godfather of the new French music,warned that fogs had been the death of as many composers as sailors. Another target wasthe ‘music one listens to head in hands’ – Wagner most notably, but also Schumann. ForPoulenc then, in quest of song texts, the 19th century was largely to be avoided and onlyone of his texts,Théodore de Banville’s Pierrot, was published during it, while Jean Moréas’sfour poems forming the Airs chantés were printed in the first decade of the 20th.OtherwisePoulenc sought either distancing through pre-Romantic poetry or immediacy throughpoetry of his own time. The present volume begins with the Airs chantés and continueswith settings of poems entirely by Poulenc’s contemporaries.

It is not always wise to take composers at their word. Poulenc was not alone in occasionallyliking to tease his readers, so his claim, that he loathed the poetry of Jean Moréas (YannisPapadiamantopoulos, 1856-1910) and chose these poems as being suitable for mutilation,should probably be taken with a slight pinch of salt, as should his condemnation of ‘Airgrave’ as ‘certainly my worst song’, though it may be true that he was more successfulelsewhere in imitating ‘ancient’ textures. He professed to be annoyed by the success of thesecond and last songs of the set, and the only one to escape censure was the opening ‘Airromantique’, where he concentrates the music around the tonic E minor, in parallel withthe unvarying tempo.

2 3

Airs chantés [SF]1. Air romantique .............................................[1.38]2. Air champêtre................................................[1.20]3. Air grave ..........................................................[2.38]4. Air vif................................................................[1.08]

5. Colloque [TO] and [LA]........................[3.13]

6. Mazurka [TO] ............................................[3.45]

7. La grenouillère [AM].............................[2.10]

8. Montparnasse [TO].................................[3.12]

9. Hyde Park [TO]........................................[0.55]

Deux mélodies10. i. Le pont [RM]...........................................[1.39]11. ii. Un poème [TO] .....................................[1.15]

12. Le portrait [JMA] .....................................[1.52]

Miroirs brûlants [SF]13. i. Tu vois le feu du soir ..............................[4.14]14. ii. Je nommerai ton front...........................[1.15]

15. …Mais mourir [JMA]............................[1.38]

16. Main dominée par le cœur [TO]....[1.12]

La fraîcheur et le feu [JMA17. i. Rayons des yeux .....................................[1.17]18. ii. Le matin les branches attisent............[0.45]19. iii. Tout disparut ............................................[1.52]20. iv. Dans les ténèbres du jardin ................[0.29]

21. v. Unis la fraîcheur et le feu ....................[1.25]22. vi. Homme au sourire tendre .................[2.08]23. vii. La grande rivière qui va.....................[0.53]

Calligrammes [TO]24. i. L’espionne ..................................................[1.48]25. ii. Mutation.....................................................[0.44]26. iii. Vers le sud..................................................[1.52]27. iv. Il pleut.........................................................[1.12]28. v. La grâce exilée..........................................[0.39]29. vi. Aussi bien que les cigales ....................[1.52]30. vii. Voyage ........................................................[2.49]

31. La souris [LM] ...........................................[0.54]

32. Monsieur Sans Souci [JL] ...................[3.05](Il fait tout lui-même)

33. Nous voulons unepetite sœur [LA]........................................[5.08]

Total timings: ................................................[61.59]

Lorna Anderson [LA]

John Mark Ainsley [JMA]

Sarah Fox [SF]

Jonathan Lemalu [JL]

Lisa Milne [LM]

Ann Murray [AM]

Robert Murray [RM]

Thomas Oliemans [TO]

Malcolm Martineau piano



291.0mm x 169.5mm

3

In his notorious little 1918 pamphlet Le Coq et l’Arlequin, Jean Cocteau pronouncedthat ‘a composer always has too many notes on his keyboard.’ This was a lesson theyoung Francis Poulenc took to heart and observed throughout his career; and nowhere

more tellingly than in the piano parts of his songs – far better written, he thought, thanhis works for piano solo.

After the First World War, the ethos of French art across the board lay in the direction ofclarity and simplicity. Cocteau further cried for ‘an end to clouds, waves, aquariums, waternymphs, an end to fogs’, and Erik Satie, the cultural godfather of the new French music,warned that fogs had been the death of as many composers as sailors. Another target wasthe ‘music one listens to head in hands’ – Wagner most notably, but also Schumann. ForPoulenc then, in quest of song texts, the 19th century was largely to be avoided and onlyone of his texts,Théodore de Banville’s Pierrot, was published during it, while Jean Moréas’sfour poems forming the Airs chantés were printed in the first decade of the 20th.OtherwisePoulenc sought either distancing through pre-Romantic poetry or immediacy throughpoetry of his own time. The present volume begins with the Airs chantés and continueswith settings of poems entirely by Poulenc’s contemporaries.

It is not always wise to take composers at their word. Poulenc was not alone in occasionallyliking to tease his readers, so his claim, that he loathed the poetry of Jean Moréas (YannisPapadiamantopoulos, 1856-1910) and chose these poems as being suitable for mutilation,should probably be taken with a slight pinch of salt, as should his condemnation of ‘Airgrave’ as ‘certainly my worst song’, though it may be true that he was more successfulelsewhere in imitating ‘ancient’ textures. He professed to be annoyed by the success of thesecond and last songs of the set, and the only one to escape censure was the opening ‘Airromantique’, where he concentrates the music around the tonic E minor, in parallel withthe unvarying tempo.

2 3

Airs chantés [SF]1. Air romantique .............................................[1.38]2. Air champêtre................................................[1.20]3. Air grave ..........................................................[2.38]4. Air vif................................................................[1.08]

5. Colloque [TO] and [LA]........................[3.13]

6. Mazurka [TO] ............................................[3.45]

7. La grenouillère [AM].............................[2.10]

8. Montparnasse [TO].................................[3.12]

9. Hyde Park [TO]........................................[0.55]

Deux mélodies10. i. Le pont [RM]...........................................[1.39]11. ii. Un poème [TO] .....................................[1.15]

12. Le portrait [JMA] .....................................[1.52]

Miroirs brûlants [SF]13. i. Tu vois le feu du soir ..............................[4.14]14. ii. Je nommerai ton front...........................[1.15]

15. …Mais mourir [JMA]............................[1.38]

16. Main dominée par le cœur [TO]....[1.12]

La fraîcheur et le feu [JMA17. i. Rayons des yeux .....................................[1.17]18. ii. Le matin les branches attisent............[0.45]19. iii. Tout disparut ............................................[1.52]20. iv. Dans les ténèbres du jardin ................[0.29]

21. v. Unis la fraîcheur et le feu ....................[1.25]22. vi. Homme au sourire tendre .................[2.08]23. vii. La grande rivière qui va.....................[0.53]

Calligrammes [TO]24. i. L’espionne ..................................................[1.48]25. ii. Mutation.....................................................[0.44]26. iii. Vers le sud..................................................[1.52]27. iv. Il pleut.........................................................[1.12]28. v. La grâce exilée..........................................[0.39]29. vi. Aussi bien que les cigales ....................[1.52]30. vii. Voyage ........................................................[2.49]

31. La souris [LM] ...........................................[0.54]

32. Monsieur Sans Souci [JL] ...................[3.05](Il fait tout lui-même)

33. Nous voulons unepetite sœur [LA]........................................[5.08]

Total timings: ................................................[61.59]

Lorna Anderson [LA]

John Mark Ainsley [JMA]

Sarah Fox [SF]

Jonathan Lemalu [JL]

Lisa Milne [LM]

Ann Murray [AM]

Robert Murray [RM]

Thomas Oliemans [TO]

Malcolm Martineau piano



291.0mm x 169.5mm

1945, and the whole put together in May and July 1946. He hoped, even so, that the songflowed in one long wave, and insisted it should catch the burbling of the water and of theconversation going on above it. In ‘the postage stamp’ of Un poème, he admired Apollinaire’sability to ‘suggest silence and emptiness in so few words’ and his music, balanced on the edgeof atonality, is the soul of emptiness, redeemed (or is it?) by a final, unforeseen major chord.

The novelist Colette was a friend of Poulenc’s from the early 1930s until her death in 1954but, despite his frequent entreaties, she gave him only one poem – inscribed on a large gauzehandkerchief and handed to him from her hospital bed in 1938. In Le portrait Colette paintsa version, perhaps, of herself – ‘beautiful, unkind, deceitful, unfair’, she was certainly the firstand could, at times, be the rest – and Poulenc responds with a song of wilful eccentricity,beginning ‘very violent and impassioned’ and only at the end finding resolution, as thehankerchief reveals ‘the very portrait of your heart’. Its own qualities aside, the composerfelt that this song, to his own surprise, constitutes the perfect lead-in to…

… ‘Tu vois le feu du soir’, the first of the pair of Miroirs brûlants, composed in 1938-9 topoems by Paul Eluard. Poulenc had first met the poet in Adrienne Monnier’s bookshop atthe end of the First World War, but did not set any of his poetry until 1935. Of the twosongs making up Miroirs brûlants, he was severe on the second, but reckoned that ‘Tuvois…’ might well be the one song of his that he would take to his desert island. It is nothard to see why. There are the usual pulsing chords, some on, some off the beat; apredominance of minor chords, with or without attendant 7ths and 9ths; a wonderfullightening of the mood (major chords) at ‘Tu vois un bel enfant…’; and in the voice a linethat seems utterly natural and yet utterly individual.

The two settings of the poet he made just after the war are barely less impressive. Hededicated …mais mourir to the memory of Nusch, Eluard’s second wife, who died suddenly

5

‘Colloque’, composed in 1940, was Poulenc’s only setting of words by Paul Valéry.After theplain opening in octaves the piano, as often in Poulenc’s love songs, then proceeds largelyin pairs of pulsing chords, leading to one of his favourite descending sequences on thewords ‘Si ton désir…’ ‘Mazurka’, his last setting of words by Louise de Vilmorin, wascommissioned by the bass Doda Conrad in 1949 as one of a set of seven songs entitledMouvements de coeur to mark the 100th anniversary of the death of Chopin. Poulenc felt hissong might have accompanied the ball in the novel Le grand Meaulnes, and was pleased tohave negotiated the tricky ‘font, font, font’ passages to his own satisfaction.

He once said that he would be happy to have inscribed on his tombstone:‘Here lies FrancisPoulenc, the musician of Apollinaire and Eluard’.The order there is not just alphabetical but,in Poulenc’s life, chronological. Starting with the tiny poems of Le bestiaire (to follow in thetwo final volumes of this series), he employed his own technique, essentially traditional butalso flexible, to mirror the apparent simplicities of Guillaume Apollinaire’s poetry, beneathwhich flow powerful currents of humour and nostalgia. He had had in mind to set Lagrenouillère for years before finally turning to it in 1938, reminding him as it did of happychildhood hours spent on the banks of the Marne and of the paintings by Monet and Renoirdepicting boatmen and lazy Sunday afternoons (he admitted that the piano’s floating,undirected thirds on the line ‘Petits bateaux vous me faites bien de la peine’ were borrowedfrom Mussorgsky). With Apollinaire, he wrote, ‘irony is always veiled by tenderness andmelancholy’, and this song must be delivered straight, without knowing winks.

The more he read Apollinaire, the more he realised the poetic importance of Paris in his workand in Montparnasse the composer looks back to the ‘discovery’ of the Left Bank 30 yearsearlier by Picasso, Braque, Modigliani… and Apollinaire. Hyde Park, in contrast, is nostalgia-free – one of Poulenc’s scatty, fast numbers. Le pont, like Montparnasse and many other of hissongs, was written piecemeal: the line ‘qui va de loin qui va si loin’ in 1944, the next line in

4

4 5



291.0mm x 169.5mm

1945, and the whole put together in May and July 1946. He hoped, even so, that the songflowed in one long wave, and insisted it should catch the burbling of the water and of theconversation going on above it. In ‘the postage stamp’ of Un poème, he admired Apollinaire’sability to ‘suggest silence and emptiness in so few words’ and his music, balanced on the edgeof atonality, is the soul of emptiness, redeemed (or is it?) by a final, unforeseen major chord.

The novelist Colette was a friend of Poulenc’s from the early 1930s until her death in 1954but, despite his frequent entreaties, she gave him only one poem – inscribed on a large gauzehandkerchief and handed to him from her hospital bed in 1938. In Le portrait Colette paintsa version, perhaps, of herself – ‘beautiful, unkind, deceitful, unfair’, she was certainly the firstand could, at times, be the rest – and Poulenc responds with a song of wilful eccentricity,beginning ‘very violent and impassioned’ and only at the end finding resolution, as thehankerchief reveals ‘the very portrait of your heart’. Its own qualities aside, the composerfelt that this song, to his own surprise, constitutes the perfect lead-in to…

… ‘Tu vois le feu du soir’, the first of the pair of Miroirs brûlants, composed in 1938-9 topoems by Paul Eluard. Poulenc had first met the poet in Adrienne Monnier’s bookshop atthe end of the First World War, but did not set any of his poetry until 1935. Of the twosongs making up Miroirs brûlants, he was severe on the second, but reckoned that ‘Tuvois…’ might well be the one song of his that he would take to his desert island. It is nothard to see why. There are the usual pulsing chords, some on, some off the beat; apredominance of minor chords, with or without attendant 7ths and 9ths; a wonderfullightening of the mood (major chords) at ‘Tu vois un bel enfant…’; and in the voice a linethat seems utterly natural and yet utterly individual.

The two settings of the poet he made just after the war are barely less impressive. Hededicated …mais mourir to the memory of Nusch, Eluard’s second wife, who died suddenly

5

‘Colloque’, composed in 1940, was Poulenc’s only setting of words by Paul Valéry.After theplain opening in octaves the piano, as often in Poulenc’s love songs, then proceeds largelyin pairs of pulsing chords, leading to one of his favourite descending sequences on thewords ‘Si ton désir…’ ‘Mazurka’, his last setting of words by Louise de Vilmorin, wascommissioned by the bass Doda Conrad in 1949 as one of a set of seven songs entitledMouvements de coeur to mark the 100th anniversary of the death of Chopin. Poulenc felt hissong might have accompanied the ball in the novel Le grand Meaulnes, and was pleased tohave negotiated the tricky ‘font, font, font’ passages to his own satisfaction.

He once said that he would be happy to have inscribed on his tombstone:‘Here lies FrancisPoulenc, the musician of Apollinaire and Eluard’.The order there is not just alphabetical but,in Poulenc’s life, chronological. Starting with the tiny poems of Le bestiaire (to follow in thetwo final volumes of this series), he employed his own technique, essentially traditional butalso flexible, to mirror the apparent simplicities of Guillaume Apollinaire’s poetry, beneathwhich flow powerful currents of humour and nostalgia. He had had in mind to set Lagrenouillère for years before finally turning to it in 1938, reminding him as it did of happychildhood hours spent on the banks of the Marne and of the paintings by Monet and Renoirdepicting boatmen and lazy Sunday afternoons (he admitted that the piano’s floating,undirected thirds on the line ‘Petits bateaux vous me faites bien de la peine’ were borrowedfrom Mussorgsky). With Apollinaire, he wrote, ‘irony is always veiled by tenderness andmelancholy’, and this song must be delivered straight, without knowing winks.

The more he read Apollinaire, the more he realised the poetic importance of Paris in his workand in Montparnasse the composer looks back to the ‘discovery’ of the Left Bank 30 yearsearlier by Picasso, Braque, Modigliani… and Apollinaire. Hyde Park, in contrast, is nostalgia-free – one of Poulenc’s scatty, fast numbers. Le pont, like Montparnasse and many other of hissongs, was written piecemeal: the line ‘qui va de loin qui va si loin’ in 1944, the next line in

4

4 5



291.0mm x 169.5mm

6 7

of a cerebral haemorrhage in 1946 at the age of just 40.Here the piano chords pulse in groupsof three rather than two, but the elegance and suppleness of the vocal line remain. Referringto the ‘mains lasses retournant leurs gants’, Poulenc remembered that ‘Nusch’s hands were sobeautiful, this poem seemed to me especially made to evoke them’ (they can be seen andadmired in Francis Poulenc, Music, Art and Literature, ed. Sidney Buckland and MyriamChimènes, Aldershot, Ashgate, 1999, Plate 12). In Main dominée par le coeur, the composeradmitted a further borrowing, this time from himself in ‘Plume d’eau claire’ from his 1935Eluard set, but was proud of the song’s tonal construction: C major – D major (‘...habite...’)– C major – D major (‘...rien...’) – C major, mirroring the double wave of the poem.

Poulenc’s next settings of Eluard were the seven short songs of La fraîcheur et le feu,composed in 1950. He described these as ‘mes mélodies les plus concertées’, using thatlast word in the sense of ‘unified’. The seven poems were published in Eluard’s 1940volume Le Livre ouvert I as a group entitled ‘Vue donne vie’, and Poulenc saw them asessentially making up a single work, ‘progressing wonderfully with the feeling of acrescendo’. His unified structure rests on the two distinct tempi, fast and slow, withnothing in between.As already mentioned in the opening paragraph, his piano writing istypically sparse, although in this case he was thinking specifically of Matisse’s sketches ofa swan to illustrate a volume of Mallarmé’s sonnets, where the lines are gradually reducedin number and complexity to form the final published drawings.The set is dedicated toStravinsky and the third song quotes from the latter’s neoclassical Serenade in A for piano.The climax comes, after a ‘très long silence’, in the penultimate song where Poulencresponds once more to Eluard’s ‘côté litanies’, as he had so memorably at the end of hischoral work Figure humaine.

Even if the songs in La fraîcheur et le feu were ‘ses plus concertées’, his concern for structurehad also been evident in the Calligrammes of two years earlier, again a group of seven songs,

this time by Apollinaire. From early in their gestation Poulenc settled on an overall tonalscheme: F minor – E flat major – E major – B major, then back through E major – E flatmajor – F minor. In the event F minor became F# minor, and what he called ‘the hingeof B major’ for ‘Il pleut’ became B flat minor, but the to-and-fro principle remained.Thepoems took him back to his youth and he dedicated each song to a friend from those years.In ‘L’espionne’, we hear again the syncopated chords that run through so many of hisEluard settings, but here the tone is ‘more sensual than lyrical’. ‘Mutation’ and ‘Aussi bienque les cigales’ are what he called ‘soldiers’ songs’, on the cusp between ditties and mélodiesproper, although at the end of the latter he turns on the dramatics for the final line, incapitals in the original poem. Finally, ‘Voyage’, ‘certainly one of the two or three songs Ivalue most… It goes from emotion to silence, passing through melancholy and love.’Thespare octaves of the piano epilogue, ‘very blurred and far away in a fog of pedals’, conjureup the noise of the trains Poulenc used to hear as a boy in July, taking people away onholiday. But surely not that alone: how better to paint ‘your face that I no longer see’…

The bass Doda Conrad was again the moving spirit behind La souris, one of 80compositions, dedications and letters he commissioned in 1956 for the 80th birthday ofhis mother, the soprano Marya Freund, the original wood dove in Schönberg’s Gurreliederand the speaker in the French premiere of Pierrot lunaire. Going back to Apollinaire’s Lebestiaire, Poulenc chose ‘La souris’ to mark the passing of time, gradually nibbled away bythe mouse. His dedication though is tactful:‘Dear Marya Freund, your heart will always be20 years old! Alas! The composer of Le bestiaire is a lot more than 28!’

Finally, the two Chansons pour enfants of 1934 (for their companions, see volume 2) againfind Francis Poulenc, alias Maurice Chevalier, on sparkling form.

© Roger Nichols

6 7



291.0mm x 169.5mm

6 7

of a cerebral haemorrhage in 1946 at the age of just 40.Here the piano chords pulse in groupsof three rather than two, but the elegance and suppleness of the vocal line remain. Referringto the ‘mains lasses retournant leurs gants’, Poulenc remembered that ‘Nusch’s hands were sobeautiful, this poem seemed to me especially made to evoke them’ (they can be seen andadmired in Francis Poulenc, Music, Art and Literature, ed. Sidney Buckland and MyriamChimènes, Aldershot, Ashgate, 1999, Plate 12). In Main dominée par le coeur, the composeradmitted a further borrowing, this time from himself in ‘Plume d’eau claire’ from his 1935Eluard set, but was proud of the song’s tonal construction: C major – D major (‘...habite...’)– C major – D major (‘...rien...’) – C major, mirroring the double wave of the poem.

Poulenc’s next settings of Eluard were the seven short songs of La fraîcheur et le feu,composed in 1950. He described these as ‘mes mélodies les plus concertées’, using thatlast word in the sense of ‘unified’. The seven poems were published in Eluard’s 1940volume Le Livre ouvert I as a group entitled ‘Vue donne vie’, and Poulenc saw them asessentially making up a single work, ‘progressing wonderfully with the feeling of acrescendo’. His unified structure rests on the two distinct tempi, fast and slow, withnothing in between.As already mentioned in the opening paragraph, his piano writing istypically sparse, although in this case he was thinking specifically of Matisse’s sketches ofa swan to illustrate a volume of Mallarmé’s sonnets, where the lines are gradually reducedin number and complexity to form the final published drawings.The set is dedicated toStravinsky and the third song quotes from the latter’s neoclassical Serenade in A for piano.The climax comes, after a ‘très long silence’, in the penultimate song where Poulencresponds once more to Eluard’s ‘côté litanies’, as he had so memorably at the end of hischoral work Figure humaine.

Even if the songs in La fraîcheur et le feu were ‘ses plus concertées’, his concern for structurehad also been evident in the Calligrammes of two years earlier, again a group of seven songs,

this time by Apollinaire. From early in their gestation Poulenc settled on an overall tonalscheme: F minor – E flat major – E major – B major, then back through E major – E flatmajor – F minor. In the event F minor became F# minor, and what he called ‘the hingeof B major’ for ‘Il pleut’ became B flat minor, but the to-and-fro principle remained.Thepoems took him back to his youth and he dedicated each song to a friend from those years.In ‘L’espionne’, we hear again the syncopated chords that run through so many of hisEluard settings, but here the tone is ‘more sensual than lyrical’. ‘Mutation’ and ‘Aussi bienque les cigales’ are what he called ‘soldiers’ songs’, on the cusp between ditties and mélodiesproper, although at the end of the latter he turns on the dramatics for the final line, incapitals in the original poem. Finally, ‘Voyage’, ‘certainly one of the two or three songs Ivalue most… It goes from emotion to silence, passing through melancholy and love.’Thespare octaves of the piano epilogue, ‘very blurred and far away in a fog of pedals’, conjureup the noise of the trains Poulenc used to hear as a boy in July, taking people away onholiday. But surely not that alone: how better to paint ‘your face that I no longer see’…

The bass Doda Conrad was again the moving spirit behind La souris, one of 80compositions, dedications and letters he commissioned in 1956 for the 80th birthday ofhis mother, the soprano Marya Freund, the original wood dove in Schönberg’s Gurreliederand the speaker in the French premiere of Pierrot lunaire. Going back to Apollinaire’s Lebestiaire, Poulenc chose ‘La souris’ to mark the passing of time, gradually nibbled away bythe mouse. His dedication though is tactful:‘Dear Marya Freund, your heart will always be20 years old! Alas! The composer of Le bestiaire is a lot more than 28!’

Finally, the two Chansons pour enfants of 1934 (for their companions, see volume 2) againfind Francis Poulenc, alias Maurice Chevalier, on sparkling form.

© Roger Nichols

6 7



291.0mm x 169.5mm

8 9

Airs Chantés [SF]Jean Moréas (1856-1910)

1. Air romantique

J’allais dans la campagne avec le vent d’orage,Sous le pâle matin, sous les nuages bas,Un corbeau ténébreux escortait mon voyageEt dans les flaques d’eau retentissaient mes pas.

La foudre à l’horizon faisait courir sa flammeEt l’Aquilon doublait ses longs gémissements;Mais la tempête était trop faible pour mon âme,Qui couvrait le tonnerre avec ses battements.

De la dépouille d’or du frêne et de l’érableL’Automne composait son éclatant butin,Et le corbeau toujours, d’un vol inexorable,M’accompagnait sans rien changer à mon destin.

2. Air champêtre

Belle source, je veux me rappeler sans cesse,Qu’un jour guidé par l’amitié Ravi,j’ai contemplé ton visage, ô déesse,Perdu sous la mousse à moitié.

Que n’est-il demeuré, cet ami que je pleure,O nymphe, à ton culte attaché,Pour se mêler encore au souffle qui t’effleure Et répondre à ton flot caché.

3. Air grave

Ah! fuyez à présent,malheureuses pensées! O! colère, ô remords! Souvenirs qui m’avez les deux tempes pressées,de l’etreinte des morts.

Sentiers de mousse pleins,vaporeuses fontaines,grottes profondes, voix des oiseaux et du vent lumières incertainesdes sauvages sous-bois.

Insectes, animaux,Beauté future,Ne me repousse pas Ô divine nature,Je suis ton suppliant

Ah! fuyez à présent,colère, remords!

4. Air vif

Le trésor du verger et le jardin en fête,Les fleurs des champs, des bois éclatent de plaisirHélas! et sur leur tête le vent enfle sa voix.

Mais toi, noble océan que l’assaut des tourmentes Ne saurait ravager,Certes plus dignement lorsque tu te lamentesTu te prends à songer.

Sung Airs

1. Romantic Air

I walked in the countryside with the storm wind,beneath the pallid morning, under the low clouds,a sinister raven followed me on my wayand my steps splashed in the puddles .

The lightning on the horizon forked its flameand the North Wind redoubled its long wailing;but the tempest was too weak for my soul,which drowned the thunder with its throbbing.

From the golden spoils of the ash and the mapleAutumn amassed her brilliant booty,and the raven still, with inexorable flight,bore me company changing nothing towards my fate.

2. Pastoral Air

Lovely spring, I will never cease to remember,that on a day, guided by friendship entranced,I gazed upon your face, O goddess,half hidden beneath the moss.

Had he but remained, this friend for whom I weep,o nymph, a devotee of your cult,to mingle once again with the breeze that caresses you,and to respond to your hidden waters.

3. Grave Air

Ah! begone now,unhappy thoughts! O! anger, O remorse! Memories that beset my two temples with the grip of the dead.

Moss-grown paths,vaporous fountains,deep grottoes, voices of birds and of the wind,fitful lightsof the wild undergrowth.

Insects, animals,beauty to come,do not repulse me O divine nature,I am your suppliant

Ah! begone now,anger, remorse!

4. Lively Air

The riches of the orchard and the festive garden,the flowers of the fields, of the woods burst forth with delight Alas! and above their head the wind's voice is rising.

But you, noble ocean whom the assault of tempestscannot ravage,most certainly with more dignity, when you lamentyou lose yourself in dreams.

8 9



291.0mm x 169.5mm

8 9

Airs Chantés [SF]Jean Moréas (1856-1910)

1. Air romantique

J’allais dans la campagne avec le vent d’orage,Sous le pâle matin, sous les nuages bas,Un corbeau ténébreux escortait mon voyageEt dans les flaques d’eau retentissaient mes pas.

La foudre à l’horizon faisait courir sa flammeEt l’Aquilon doublait ses longs gémissements;Mais la tempête était trop faible pour mon âme,Qui couvrait le tonnerre avec ses battements.

De la dépouille d’or du frêne et de l’érableL’Automne composait son éclatant butin,Et le corbeau toujours, d’un vol inexorable,M’accompagnait sans rien changer à mon destin.

2. Air champêtre

Belle source, je veux me rappeler sans cesse,Qu’un jour guidé par l’amitié Ravi,j’ai contemplé ton visage, ô déesse,Perdu sous la mousse à moitié.

Que n’est-il demeuré, cet ami que je pleure,O nymphe, à ton culte attaché,Pour se mêler encore au souffle qui t’effleure Et répondre à ton flot caché.

3. Air grave

Ah! fuyez à présent,malheureuses pensées! O! colère, ô remords! Souvenirs qui m’avez les deux tempes pressées,de l’etreinte des morts.

Sentiers de mousse pleins,vaporeuses fontaines,grottes profondes, voix des oiseaux et du vent lumières incertainesdes sauvages sous-bois.

Insectes, animaux,Beauté future,Ne me repousse pas Ô divine nature,Je suis ton suppliant

Ah! fuyez à présent,colère, remords!

4. Air vif

Le trésor du verger et le jardin en fête,Les fleurs des champs, des bois éclatent de plaisirHélas! et sur leur tête le vent enfle sa voix.

Mais toi, noble océan que l’assaut des tourmentes Ne saurait ravager,Certes plus dignement lorsque tu te lamentesTu te prends à songer.

Sung Airs

1. Romantic Air

I walked in the countryside with the storm wind,beneath the pallid morning, under the low clouds,a sinister raven followed me on my wayand my steps splashed in the puddles .

The lightning on the horizon forked its flameand the North Wind redoubled its long wailing;but the tempest was too weak for my soul,which drowned the thunder with its throbbing.

From the golden spoils of the ash and the mapleAutumn amassed her brilliant booty,and the raven still, with inexorable flight,bore me company changing nothing towards my fate.

2. Pastoral Air

Lovely spring, I will never cease to remember,that on a day, guided by friendship entranced,I gazed upon your face, O goddess,half hidden beneath the moss.

Had he but remained, this friend for whom I weep,o nymph, a devotee of your cult,to mingle once again with the breeze that caresses you,and to respond to your hidden waters.

3. Grave Air

Ah! begone now,unhappy thoughts! O! anger, O remorse! Memories that beset my two temples with the grip of the dead.

Moss-grown paths,vaporous fountains,deep grottoes, voices of birds and of the wind,fitful lightsof the wild undergrowth.

Insects, animals,beauty to come,do not repulse me O divine nature,I am your suppliant

Ah! begone now,anger, remorse!

4. Lively Air

The riches of the orchard and the festive garden,the flowers of the fields, of the woods burst forth with delight Alas! and above their head the wind's voice is rising.

But you, noble ocean whom the assault of tempestscannot ravage,most certainly with more dignity, when you lamentyou lose yourself in dreams.

8 9



291.0mm x 169.5mm

10 11

5. Colloque [LA] and [TO]Paul Valéry (1871-1945)

D’une rose mourante L’ennui se penche vers nous Tu n’es pas différente Dans ton silence doux De cette fleur mourante;Elle se meurt pour nous.Tu me sembles pareille À celle dont l’oreille Était sur mes genoux À celle dont l’oreille Ne m’écoutait jamais! Tu me sembles pareille À l’autre que j’aimais:Mais de celle ancienne Sa bouche était la mienne

Que me compares-tu quelque rose fanée? L’amour n’a de vertu que fraîche et spontanée Mon regard dans le tien Ne trouve que son bienJe m’y vois toute nue! Mes yeux effaceront Tes larmes qui seront d’un souvenir venues.Si ton désir naquit qu’il meure sur ma couche Et sur mes lèvres qui t’emporteront la bouche.

6. Mazurka [TO]Louise de Vilmorin (1902-1969)

Les bijoux ause poitrines,Les soleils aux plafonds,Les robes opalines,Miroirs et violons,

Font ainsi, font, font, font,

Des mains tomber l’aiguille,L’aiguille de raison,Des mains de jeunes fillesQui s’envolent et font,


D’un regard qui s’appuie,D’une ride à leur front,Le beau temps ou la pluie.Ed d’un soupir larron,


Du bal une tourmenteOù sage et vagabond,D’entendre l’inconstante,Dire oui, dire non,


Danser l’incertitudeDont les pas compteront.Oh! le doux pas des prudes,Leurs silences profonds,


5. Colloquy

Like to a dying roseweariness weighs upon us;you are not differentin your sweet silencefrom this dying flower:it dies for us …you seem to resembleher whose headI cradled in my lap,but who neverlistened to me!You seem to resemblethe other whom I loved:but the lips of this former lovewere one with my own.

Why do you compare meto some faded rose?Love’s one virtueis fresh and spontaneous.Gazing into your eyesI find only what is good.I see myself laid bare!My eyes will make you forget your tears flowing from a memory.If your desire is bornlet it die on my couchand on my lips_which will impassion your own.

6. Mazurka

The jewels on the breasts,the suns on the ceiling,the opaline gowns,mirrors and violins.

Make thus, make, make, make,

Hands let fall the needle,the needle of reason,from hands of young girlsthat fly past and make,


Of a stare that is fixed,of a wrinkle on the brow,fine weather or rain.And of a thievish sigh,


A tempest of the ballwhere the wise and the flighty,hear the fickle one,say yes, say no,


The uncertainty danceof which the steps will count.Oh! the soft steps of the prudes,their profound silences,


10 11



291.0mm x 169.5mm

10 11

5. Colloque [LA] and [TO]Paul Valéry (1871-1945)

D’une rose mourante L’ennui se penche vers nous Tu n’es pas différente Dans ton silence doux De cette fleur mourante;Elle se meurt pour nous.Tu me sembles pareille À celle dont l’oreille Était sur mes genoux À celle dont l’oreille Ne m’écoutait jamais! Tu me sembles pareille À l’autre que j’aimais:Mais de celle ancienne Sa bouche était la mienne

Que me compares-tu quelque rose fanée? L’amour n’a de vertu que fraîche et spontanée Mon regard dans le tien Ne trouve que son bienJe m’y vois toute nue! Mes yeux effaceront Tes larmes qui seront d’un souvenir venues.Si ton désir naquit qu’il meure sur ma couche Et sur mes lèvres qui t’emporteront la bouche.

6. Mazurka [TO]Louise de Vilmorin (1902-1969)

Les bijoux ause poitrines,Les soleils aux plafonds,Les robes opalines,Miroirs et violons,


Des mains tomber l’aiguille,L’aiguille de raison,Des mains de jeunes fillesQui s’envolent et font,


D’un regard qui s’appuie,D’une ride à leur front,Le beau temps ou la pluie.Ed d’un soupir larron,


Du bal une tourmenteOù sage et vagabond,D’entendre l’inconstante,Dire oui, dire non,


Danser l’incertitudeDont les pas compteront.Oh! le doux pas des prudes,Leurs silences profonds,


5. Colloquy

Like to a dying roseweariness weighs upon us;you are not differentin your sweet silencefrom this dying flower:it dies for us …you seem to resembleher whose headI cradled in my lap,but who neverlistened to me!You seem to resemblethe other whom I loved:but the lips of this former lovewere one with my own.

Why do you compare meto some faded rose?Love’s one virtueis fresh and spontaneous.Gazing into your eyesI find only what is good.I see myself laid bare!My eyes will make you forget your tears flowing from a memory.If your desire is bornlet it die on my couchand on my lips_which will impassion your own.

6. Mazurka

The jewels on the breasts,the suns on the ceiling,the opaline gowns,mirrors and violins.


Hands let fall the needle,the needle of reason,from hands of young girlsthat fly past and make,


Of a stare that is fixed,of a wrinkle on the brow,fine weather or rain.And of a thievish sigh,


A tempest of the ballwhere the wise and the flighty,hear the fickle one,say yes, say no,


The uncertainty danceof which the steps will count.Oh! the soft steps of the prudes,their profound silences,


10 11



291.0mm x 169.5mm

12 13

Du bal une contréeOù les feux s’uniront.Des amours recontréesAinsi la neige fond.

La neige fond, fond, fond.

7. La grenouillère [AM]Guillaume Apollinaire (1880-1918)

Au bord de l’île on voitLes canots vides qui s’entre-cognentEt maintenantNi le dimanche ni les jours de la semaineNi les peintres ni Maupassant ne se promènentBras nus sur leurs canots avec desfemmes à grosse poitrinesEt bêtes comme chou*

Petits bateaux vous me faites bien de la peineAu bord de l’île

* sweetly silly

8. Montparnasse [TO]Guillaume Apollinaire

O porte de l’hôtel avec deux plantes vertesVertes qui jamaisNe porteront de fleursOù sont mes fruits? Où me planté-je?O porte de l’hôtel un ange est devant toiDistribuant des prospectusOn n’a jamais si bien défendu la vertuDonnez-moi pour toujours unechambre à la semaineAnge barbu vous êtes en réalité

Un poète lyrique d’AllemagneQui voulez connaître ParisVous connaissez de son pavéCes raies sur lesquelles il ne faut pas que l’on marcheEt vous rêvezD’aller passer votre Dimanche à Garches

Il fait un peu lourd et vos cheveux sont longsO bon petit poète un peu bête et trop blondVos yeux ressemblent tant à ces deux grands ballonsQui s’en vont dans l’air pur A l’aventure

9. Hyde Park [TO]Guillaume Apollinaire

Les faiseurs de religionPrêchaient dans le brouillardLes ombres près de qui nous passionsJouaient à collin-maillard

A soixante-dix ansJoues fraîches de petits enfantsVenez venez EléonoreEt que sais-je encore

Regardez venir les cyclopesLes pipes s’envolaientMais envolez-vous-enRegards impénitentsEt l’Europe l’Europe

Regards sacrésMains énamouréesEt les amants s’aimèrentTant que prêcheurs prêchèrant

A country of the ballwhere fires will unite.From encountered lovesthus the snow melts.

The snow melts, melts, melts.

7. The Froggery

By the shore of the isle one seesthe empty boats that bump against each otherand nowneither on Sunday nor on weekdaysneither the painters nor Maupassant set outwith bare arms in their boats withtheir women friends full-bosomedand stupid as a cabbagelittle boats you make me very sadby the short of the isle

8. Montparnasse

O door of the hotel with two green plantsgreen which neverwill bear any flowerswhere are my fruits? where do I plant myself? O door of the hotel an angel stands in front of youdistributing prospectusesvirtue has never been so well defendedgive me for ever a roomby the weekbearded angel you are really

a lyric poet from Germany who wants to know Parisyou know on its pavementthese lines on which one must not stepand you dreamof going to pass your Sunday at Garches

it is rather sultry and your hair is longO good little poet a bit stupid and too blondyour eyes so much resemble these two big balloonsthat float away in the pure airat random.

9. Hyde Park

The promoters of religionswere preaching in the fogthe shadowy figures near us as we passedplayed blind man’s buff

at seventy years oldfresh cheeks of small childrencome along come along Eleonoreand what more besides

look at the Cyclops comingthe pipes were flying pastbut be offobdurate staringand Europe Europe

worshipping looks hands in loveand the lovers made loveas long as the preachers preached

12 13



291.0mm x 169.5mm

12 13

Du bal une contréeOù les feux s’uniront.Des amours recontréesAinsi la neige fond.

La neige fond, fond, fond.

7. La grenouillère [AM]Guillaume Apollinaire (1880-1918)

Au bord de l’île on voitLes canots vides qui s’entre-cognentEt maintenantNi le dimanche ni les jours de la semaineNi les peintres ni Maupassant ne se promènentBras nus sur leurs canots avec desfemmes à grosse poitrinesEt bêtes comme chou*

Petits bateaux vous me faites bien de la peineAu bord de l’île

* sweetly silly

8. Montparnasse [TO]Guillaume Apollinaire

O porte de l’hôtel avec deux plantes vertesVertes qui jamaisNe porteront de fleursOù sont mes fruits? Où me planté-je?O porte de l’hôtel un ange est devant toiDistribuant des prospectusOn n’a jamais si bien défendu la vertuDonnez-moi pour toujours unechambre à la semaineAnge barbu vous êtes en réalité

Un poète lyrique d’AllemagneQui voulez connaître ParisVous connaissez de son pavéCes raies sur lesquelles il ne faut pas que l’on marcheEt vous rêvezD’aller passer votre Dimanche à Garches

Il fait un peu lourd et vos cheveux sont longsO bon petit poète un peu bête et trop blondVos yeux ressemblent tant à ces deux grands ballonsQui s’en vont dans l’air pur A l’aventure

9. Hyde Park [TO]Guillaume Apollinaire

Les faiseurs de religionPrêchaient dans le brouillardLes ombres près de qui nous passionsJouaient à collin-maillard

A soixante-dix ansJoues fraîches de petits enfantsVenez venez EléonoreEt que sais-je encore

Regardez venir les cyclopesLes pipes s’envolaientMais envolez-vous-enRegards impénitentsEt l’Europe l’Europe

Regards sacrésMains énamouréesEt les amants s’aimèrentTant que prêcheurs prêchèrant

A country of the ballwhere fires will unite.From encountered lovesthus the snow melts.

The snow melts, melts, melts.

7. The Froggery

By the shore of the isle one seesthe empty boats that bump against each otherand nowneither on Sunday nor on weekdaysneither the painters nor Maupassant set outwith bare arms in their boats withtheir women friends full-bosomedand stupid as a cabbagelittle boats you make me very sadby the short of the isle

8. Montparnasse

O door of the hotel with two green plantsgreen which neverwill bear any flowerswhere are my fruits? where do I plant myself? O door of the hotel an angel stands in front of youdistributing prospectusesvirtue has never been so well defendedgive me for ever a roomby the weekbearded angel you are really

a lyric poet from Germany who wants to know Parisyou know on its pavementthese lines on which one must not stepand you dreamof going to pass your Sunday at Garches

it is rather sultry and your hair is longO good little poet a bit stupid and too blondyour eyes so much resemble these two big balloonsthat float away in the pure airat random.

9. Hyde Park

The promoters of religionswere preaching in the fogthe shadowy figures near us as we passedplayed blind man’s buff

at seventy years oldfresh cheeks of small childrencome along come along Eleonoreand what more besides

look at the Cyclops comingthe pipes were flying pastbut be offobdurate staringand Europe Europe

worshipping looks hands in loveand the lovers made loveas long as the preachers preached

12 13



291.0mm x 169.5mm

14 15

Deux melodiesGuillaume Apollinaire

10. i. Le pont [RM]

Deux dames le long de fleuveElles se parlent par-dessus l’eau Et sur le pont de leurs parolesLa foule passe et repasse en dansant

un dieu c’est pour toi seule que le sang couletu reviendras Hi! oh! là-bas

Tous les enfants savent pourquoiPasse mais passe doncNe te retourne pasHi! oh! là-bas

Les jeunes filles qui passent sur le pont légerportent dans leurs mainsle bouquet de demainEt leurs regards s’écoulentDans ce fleuve à tous étrangerQui vient de loin qui va si loinEt passe sous le pont léger de vos parolesÔ bavardes le long de fleuveÔ bavardes ô folles le long du fleuve

11. ii. Un poème [TO]

Il est entréIl s’est assisIl ne regarde pas le pyrogène aux chevaux rougesL’allumette flambeIl est parti

12. Le portrait [JMA]Sidonie-Gabrielle Colette (1873-1954)

Belle, méchante, menteuse, injuste, plus changeanteque le vent d’Avril, tu pleures de joie, tu ris decolère, tu m’aimes quand je te fais mal, tu temoques de moi quand je suis bon.Tu m’as à peine dit merci lorsque je t’ai donné le beaucollier, mais tu as rougi de plaisir, comme unepetite fille, le jour où je t’ai fait cadeau de cemouchoir et tous disent de toi : ‘C’est à n’y riencomprendre!’ Mais je t’ai, un jour, volé cemouchoir que tu venais de presser sur ta bouchefardée. Et, avant que to ne me l’aies enlevé d’uncoup de griffe, j’ai eu le temps de voir que tabouche venait d’y peindre, rouge, naïf, dessiné àravir, simple et pur, le portrait même de ton cœur.

Miroirs brûlants [SF]Paul Eluard (1895-1952)

13. i. Tu vois le feu du soir

Tu vois le feu du soir qui sort de sa coquilleEt tu vois la forêt enfouie dans sa fraîcheur

Tu vois la plaine nue aux flancs du ciel traînardLa neige haute comme la merEt la mer haute dans l’azur

Pierres parfaites et bois doux secours voilésTu vois des villes teintes de mélancolieDorée des trottoirs pleins d’excusesUne place où la solitude a sa statueSouriante et l’amour une seule maison

Two Melodies

10. i. The Bridge

Two women along the riverthey speak to each other across the waterand upon the bridge of their wordsthe crowd passes to and fro dancing

a god it is for you alone that the blood flowsyou will come backHi! Oh! over there

all the children know whygo on but go on thendo not turn backHi! Oh! over there

The young girls who cross over the airy bridgecarry in their handsthe bouquet of tomorrowand their gaze poursinto this river stranger to allthat comes from far away that goes so far awayand passes under the airy bridge of your wordsO chatterers along the riverO chatterers O foolish ones along the river

11. ii. A Poem

He came inhe sat downhe did not look at the pyrogenewith its red hairthe match flamedhe went

12. The Portrait

Beautiful, wicked, lying, unjust, more changeable thanthe April wind, you weep for joy, you laugh in anger,you like me when I treat you badly, you mock mewhen I am kind.You scarcely thanked me when I gave you the beautiful necklace, but you blushed with pleasure, like a little girl, when I gave you thishandkerchief as a present and everyone said of you:“It is beyond me!” But one day I stole this handkerchiefwhen you had just pressed it against your rouged lips.And, before you snatched it away as a cat with its claws,I had time to see that your mouth had just paintedupon it, red, naïve, designed to delight, simple and pure,the very portrait of your heart.

Burning Mirrors

13. i. You see the fire of evening

You see the fire of evening emerging from its shelland you see the forest buried in its coolness

You see the bare plain at the edges of the straggling skythe snow high as the seaand the sea high in the azure

Perfect stones and sweet woods veiled succoursyou see cities tinged with gilded melancholypavements full of excusesa square where solitude has its statuesmiling and love a single house

14 15



291.0mm x 169.5mm

14 15

Deux melodiesGuillaume Apollinaire

10. i. Le pont [RM]

Deux dames le long de fleuveElles se parlent par-dessus l’eau Et sur le pont de leurs parolesLa foule passe et repasse en dansant

un dieu c’est pour toi seule que le sang couletu reviendras Hi! oh! là-bas

Tous les enfants savent pourquoiPasse mais passe doncNe te retourne pasHi! oh! là-bas

Les jeunes filles qui passent sur le pont légerportent dans leurs mainsle bouquet de demainEt leurs regards s’écoulentDans ce fleuve à tous étrangerQui vient de loin qui va si loinEt passe sous le pont léger de vos parolesÔ bavardes le long de fleuveÔ bavardes ô folles le long du fleuve

11. ii. Un poème [TO]

Il est entréIl s’est assisIl ne regarde pas le pyrogène aux chevaux rougesL’allumette flambeIl est parti

12. Le portrait [JMA]Sidonie-Gabrielle Colette (1873-1954)

Belle, méchante, menteuse, injuste, plus changeanteque le vent d’Avril, tu pleures de joie, tu ris decolère, tu m’aimes quand je te fais mal, tu temoques de moi quand je suis bon.Tu m’as à peine dit merci lorsque je t’ai donné le beaucollier, mais tu as rougi de plaisir, comme unepetite fille, le jour où je t’ai fait cadeau de cemouchoir et tous disent de toi : ‘C’est à n’y riencomprendre!’ Mais je t’ai, un jour, volé cemouchoir que tu venais de presser sur ta bouchefardée. Et, avant que to ne me l’aies enlevé d’uncoup de griffe, j’ai eu le temps de voir que tabouche venait d’y peindre, rouge, naïf, dessiné àravir, simple et pur, le portrait même de ton cœur.

Miroirs brûlants [SF]Paul Eluard (1895-1952)

13. i. Tu vois le feu du soir

Tu vois le feu du soir qui sort de sa coquilleEt tu vois la forêt enfouie dans sa fraîcheur

Tu vois la plaine nue aux flancs du ciel traînardLa neige haute comme la merEt la mer haute dans l’azur

Pierres parfaites et bois doux secours voilésTu vois des villes teintes de mélancolieDorée des trottoirs pleins d’excusesUne place où la solitude a sa statueSouriante et l’amour une seule maison

Two Melodies

10. i. The Bridge

Two women along the riverthey speak to each other across the waterand upon the bridge of their wordsthe crowd passes to and fro dancing

a god it is for you alone that the blood flowsyou will come backHi! Oh! over there

all the children know whygo on but go on thendo not turn backHi! Oh! over there

The young girls who cross over the airy bridgecarry in their handsthe bouquet of tomorrowand their gaze poursinto this river stranger to allthat comes from far away that goes so far awayand passes under the airy bridge of your wordsO chatterers along the riverO chatterers O foolish ones along the river

11. ii. A Poem

He came inhe sat downhe did not look at the pyrogenewith its red hairthe match flamedhe went

12. The Portrait

Beautiful, wicked, lying, unjust, more changeable thanthe April wind, you weep for joy, you laugh in anger,you like me when I treat you badly, you mock mewhen I am kind.You scarcely thanked me when I gave you the beautiful necklace, but you blushed with pleasure, like a little girl, when I gave you thishandkerchief as a present and everyone said of you:“It is beyond me!” But one day I stole this handkerchiefwhen you had just pressed it against your rouged lips.And, before you snatched it away as a cat with its claws,I had time to see that your mouth had just paintedupon it, red, naïve, designed to delight, simple and pure,the very portrait of your heart.

Burning Mirrors

13. i. You see the fire of evening

You see the fire of evening emerging from its shelland you see the forest buried in its coolness

You see the bare plain at the edges of the straggling skythe snow high as the seaand the sea high in the azure

Perfect stones and sweet woods veiled succoursyou see cities tinged with gilded melancholypavements full of excusesa square where solitude has its statuesmiling and love a single house

14 15



291.0mm x 169.5mm

16 17

Tu vois les animauxSosies malins sacrifiés l’un à l’autreFrères immaculés aux ombres confonduesDans un désert de sang

Tu vois un bel enfant quand iljoue quand il ritIl est bien plus petitQue le petit oiseau du bout des branches

Tu vois un paysage aux saveurs d’huile et d’eauD’où la roche est exclue où la terre abandonneSa verdure à l’été qui la couvre de fruits

Des femmes descendant de leur miroir ancienT’apportent leur jeunesse et leur foi en la tienneEt l’une sa clarté la voile qui t’entraîneTe fait secrètement voir le monde sans toi.

14. ii. Je nommerai ton front

Je nommerai ton frontJ’en ferai un bûcher au sommet de tes sanglotsJe nommerai reflet la douleur qui te déchireComme une épeé dans un rideau de soie

Je t’abattrai jardin secretPlein de pavots et d’eau précieuseJe te ligoterai de mon fouet

Tu n’avais dans ton cœur que lueurs souterrainesTu n’auras plus dans tes prunelles que du sang

Je nommerai ta bouche et tes mains les dernièresTa bouche écho détruit tes mainsmonnaie de plombJe briserai les clés rouillées qu’ellescommandent

Si je dois m’apaiser profondément un jourSi je dois oublier que je n’ai pas suvaincreQu’au moins tu aies connu la grandeurde ma haine.

15. …Mais mourir [JMA]Paul Eluard

Mains agitées aux grimaces nouéesUne grimace en fait une autreL’autre est nocturne le temps passeOuvrir des boîtes casser des verrescreuser des trousEt vérifier les formes invisibles du videMains lasses retournant leurs gantsPaupières des couleurs parfaitesCoucher n’importe oùEt garder en lieu sûrLe poison qui se compose alorsdans le calme mais mourir.

You see animalsmalign doubles sacrificed one to anotherimmaculate brothers with intermingled shadowsin a wilderness of blood

you see a beautiful child when he plays when he laughshe is smallerthan the little bird on the tip of the branches

you see a countryside with its savourof oil and of waterwhere the rock is excluded where the earth abandonsher greenness to the summer which covers her with fruit

women descending from their ancient mirrorbring you their youth and their faith in yoursand one of them veiled by her clarity who allures yousecretly makes you see the worldwithout yourself.

14. ii. I will name your brow

I will name your browI will make of it a stake at the summitof your sobsI will name reflection the sorrowwhich rends youlike a sword in silken curtain

I will destroy your secret gradenfull of poppies and precious waterI will bind you with my whip

In your heart you had nothing butsubterranean gleamsyou will have nothing in the pupils of your eyes but blood

I will name your mouth and yourhands the lastyour mouth destroyed echo yourhands leaden coinsI shall break the rusted keys that they command

If the day comes when I amcompletely calmedif I must forget that I have not knownvictoryat least let it be that you have knownthe extent of my hate.

15. …But to Die

Restless hands with twisted expressionsone expression brings anotherthe other is nocturnal time passesto open boxes break glassesdig holesand verify the useless forms of empty spacetired hands turning down their gloveseyelids of perfect coloursto lie no matter whereand to keep in a safe placethe poison which is engendered thenin the stillness but to die.

16 17



291.0mm x 169.5mm

16 17

Tu vois les animauxSosies malins sacrifiés l’un à l’autreFrères immaculés aux ombres confonduesDans un désert de sang

Tu vois un bel enfant quand iljoue quand il ritIl est bien plus petitQue le petit oiseau du bout des branches

Tu vois un paysage aux saveurs d’huile et d’eauD’où la roche est exclue où la terre abandonneSa verdure à l’été qui la couvre de fruits

Des femmes descendant de leur miroir ancienT’apportent leur jeunesse et leur foi en la tienneEt l’une sa clarté la voile qui t’entraîneTe fait secrètement voir le monde sans toi.

14. ii. Je nommerai ton front

Je nommerai ton frontJ’en ferai un bûcher au sommet de tes sanglotsJe nommerai reflet la douleur qui te déchireComme une épeé dans un rideau de soie

Je t’abattrai jardin secretPlein de pavots et d’eau précieuseJe te ligoterai de mon fouet

Tu n’avais dans ton cœur que lueurs souterrainesTu n’auras plus dans tes prunelles que du sang

Je nommerai ta bouche et tes mains les dernièresTa bouche écho détruit tes mainsmonnaie de plombJe briserai les clés rouillées qu’ellescommandent

Si je dois m’apaiser profondément un jourSi je dois oublier que je n’ai pas suvaincreQu’au moins tu aies connu la grandeurde ma haine.

15. …Mais mourir [JMA]Paul Eluard

Mains agitées aux grimaces nouéesUne grimace en fait une autreL’autre est nocturne le temps passeOuvrir des boîtes casser des verrescreuser des trousEt vérifier les formes invisibles du videMains lasses retournant leurs gantsPaupières des couleurs parfaitesCoucher n’importe oùEt garder en lieu sûrLe poison qui se compose alorsdans le calme mais mourir.

You see animalsmalign doubles sacrificed one to anotherimmaculate brothers with intermingled shadowsin a wilderness of blood

you see a beautiful child when he plays when he laughshe is smallerthan the little bird on the tip of the branches

you see a countryside with its savourof oil and of waterwhere the rock is excluded where the earth abandonsher greenness to the summer which covers her with fruit

women descending from their ancient mirrorbring you their youth and their faith in yoursand one of them veiled by her clarity who allures yousecretly makes you see the worldwithout yourself.

14. ii. I will name your brow

I will name your browI will make of it a stake at the summitof your sobsI will name reflection the sorrowwhich rends youlike a sword in silken curtain

I will destroy your secret gradenfull of poppies and precious waterI will bind you with my whip

In your heart you had nothing butsubterranean gleamsyou will have nothing in the pupils of your eyes but blood

I will name your mouth and yourhands the lastyour mouth destroyed echo yourhands leaden coinsI shall break the rusted keys that they command

If the day comes when I amcompletely calmedif I must forget that I have not knownvictoryat least let it be that you have knownthe extent of my hate.

15. …But to Die

Restless hands with twisted expressionsone expression brings anotherthe other is nocturnal time passesto open boxes break glassesdig holesand verify the useless forms of empty spacetired hands turning down their gloveseyelids of perfect coloursto lie no matter whereand to keep in a safe placethe poison which is engendered thenin the stillness but to die.

16 17



291.0mm x 169.5mm

18 19

16. Main dominée par le cœur [TO]Paul Eluard

Main dominée par le cœurCœur dominé par le lionLion dominé par l’oiseau

L’oiseau qu’efface un nuageLe lion que le désert griseLe cœur que la mort habiteLa main refermée en vain

Aucun secours tout m’échappeJe vois ce qui disparaîtJe comprends que je n’ai rienEt je m’imagine à peine

Entre les murs une absencePuis l’exil dans les ténèbresLes yeux purs la tête inerte.

La fraîcheur et le feu [JMA]Paul Eluard

17. i. Rayons des yeux

Rayons des yeux et des soleilsDes ramures et des fontainesLumière du sol et du cielDe l’homme et de l’oubli de l’hommeUn nuage couvre le solUn nuage couvre le cielSoudain la lumière m’oublieLa mort seule demeure entièreJe suis une ombre je ne vois plusLe soleil jaune le soleil rougeLe soleil blanc le ciel changeant

Je ne sais plusLa place du bonheur vivantAu bord de l’ombre sans ciel ni terre.

18. ii. Le matin les branches attisent

Le main les branches attisentLe bouillonnement des oiseauxLe soir les arbres sont tranquillesLe jour frémissant se repose.

19. iii. Tout disparut

Tout disparut même les toits même le cielMême l’ombre tombée des branchesSur les cimes des mousses tendresMême les mots et les regards bien accordés

Sœurs mirotières de mes larmesLes étoiles brillaient autour de ma fenêtreEt mes yeux refermant leurs ailes pour la nuitVivaient d’un univers sans bornes.

20. iv. Dans les ténèbres du jardin

Dans les ténèbres du jardinViennent des filles invisiblesPlus fines qu’à midi l’ondée.

Mon sommeil les a pour amiesElles m’enivrent en secretDe leurs complaisances aveugles.

16. Hand ruled by the Heart

Hand ruled by the heartheart ruled by the lionlion ruled by the bird

The bird that a cloud effacesthe lion intoxicated by the desertthe heart where death abidesthe hand closed in vain

No help all escapes meI see that which disappearsI realize that I have nothingand I barely imagine myself

An absence between the wallsthen the exile into the darknessthe eyes pure the head inert.

The Coolness and the Fire

17. i. Beams of eyes

Beams of eyes and of sunsof branches and of fountainslight of earth and of skyof man and man’s obliviona cloud covers the eartha cloud covers the skysuddenly the light is unmindful of medeath alone remains completeI am a shadow I see no longerthe yellow sun the red sunthe white sun the changing sky

I know no longerthe place of living happinessat the edge of the shadow with neithersky nor earth.

18. ii. In the morning the branches stir up

In the morning the branches stir upthe effervescence of the birdsat evening the trees are peacefulthe rustling day is resting.

19. iii. All disappeared

All disappeared even the roofs even the skyeven the shade fallen from the branchesupon the tips of the soft mosseseven the words and the concordant looks

Sisters mirroring my tearsthe stars shone around my windowand my eyes closing their wingsagain for the nightlived in a boundless universe.

20. iv. In the darkness of the garden

In the darkness of the gardencome some invisible girlsmore delicate than the shower at midday.

My sleep has them for friendsthey elate me secretlywith their blind complaisance.

18 19



291.0mm x 169.5mm

18 19

16. Main dominée par le cœur [TO]Paul Eluard

Main dominée par le cœurCœur dominé par le lionLion dominé par l’oiseau

L’oiseau qu’efface un nuageLe lion que le désert griseLe cœur que la mort habiteLa main refermée en vain

Aucun secours tout m’échappeJe vois ce qui disparaîtJe comprends que je n’ai rienEt je m’imagine à peine

Entre les murs une absencePuis l’exil dans les ténèbresLes yeux purs la tête inerte.

La fraîcheur et le feu [JMA]Paul Eluard

17. i. Rayons des yeux

Rayons des yeux et des soleilsDes ramures et des fontainesLumière du sol et du cielDe l’homme et de l’oubli de l’hommeUn nuage couvre le solUn nuage couvre le cielSoudain la lumière m’oublieLa mort seule demeure entièreJe suis une ombre je ne vois plusLe soleil jaune le soleil rougeLe soleil blanc le ciel changeant

Je ne sais plusLa place du bonheur vivantAu bord de l’ombre sans ciel ni terre.

18. ii. Le matin les branches attisent

Le main les branches attisentLe bouillonnement des oiseauxLe soir les arbres sont tranquillesLe jour frémissant se repose.

19. iii. Tout disparut

Tout disparut même les toits même le cielMême l’ombre tombée des branchesSur les cimes des mousses tendresMême les mots et les regards bien accordés

Sœurs mirotières de mes larmesLes étoiles brillaient autour de ma fenêtreEt mes yeux refermant leurs ailes pour la nuitVivaient d’un univers sans bornes.

20. iv. Dans les ténèbres du jardin

Dans les ténèbres du jardinViennent des filles invisiblesPlus fines qu’à midi l’ondée.

Mon sommeil les a pour amiesElles m’enivrent en secretDe leurs complaisances aveugles.

16. Hand ruled by the Heart

Hand ruled by the heartheart ruled by the lionlion ruled by the bird

The bird that a cloud effacesthe lion intoxicated by the desertthe heart where death abidesthe hand closed in vain

No help all escapes meI see that which disappearsI realize that I have nothingand I barely imagine myself

An absence between the wallsthen the exile into the darknessthe eyes pure the head inert.

The Coolness and the Fire

17. i. Beams of eyes

Beams of eyes and of sunsof branches and of fountainslight of earth and of skyof man and man’s obliviona cloud covers the eartha cloud covers the skysuddenly the light is unmindful of medeath alone remains completeI am a shadow I see no longerthe yellow sun the red sunthe white sun the changing sky

I know no longerthe place of living happinessat the edge of the shadow with neithersky nor earth.

18. ii. In the morning the branches stir up

In the morning the branches stir upthe effervescence of the birdsat evening the trees are peacefulthe rustling day is resting.

19. iii. All disappeared

All disappeared even the roofs even the skyeven the shade fallen from the branchesupon the tips of the soft mosseseven the words and the concordant looks

Sisters mirroring my tearsthe stars shone around my windowand my eyes closing their wingsagain for the nightlived in a boundless universe.

20. iv. In the darkness of the garden

In the darkness of the gardencome some invisible girlsmore delicate than the shower at midday.

My sleep has them for friendsthey elate me secretlywith their blind complaisance.

18 19



291.0mm x 169.5mm

20 21

21. v. Unis la fraîcheur et le feu

Unis la fraîcheur et le feuUnis tes lèvres et tes yeuxDe ta folie attends sagesseFais image de femme et d’homme

22. vi. Homme au sourir tendre

Homme au sourir tendreFemme aux tenres paupièresHomme aux joues rafraîchiesFemme aux bras doux et fraisHomme aux prunelles calmesFemme aux lèvres ardentesHomme aux paroles pleinesFemme aux yeux partagésHomme aux deux mains utilesFemme aux mains de raisonHomme aux astres constantsFemme aux seins de durée

Il n’est rien qui vous retientMes maîtres de m’éprouver.

23. vii. La grande rivière qui va

La grande rivière qui vaGrande au soleil et petite à la lunePar tous chemins à l’aventureNe m’aura pas pour la montrer du doigt

Je sais le sort de la lumièreJ’en ai assez pour jouer son éclatPour me parfaire au dos de mes paupièresPour que rien ne vive sans moi.

Calligrammes [TO]Guillaume Apollinaire

24. i. L’espionne

Pâle espionne de l’AmourMa mémoire à peine fidèleN’eut pour observer cette belleForteresse qu’une heure un jourTu te déguisesA ta guiseMémoire espionne du cœurTu ne retrouves plus l’exquiseRuse et le cœur seul est vainqueur

Mais la vois-tu cette mémoireLes yeux bandés prête à mourirElle affirme qu’on peut l’en croireMon cœur vaincra sans coup férir

25. ii. Mutation

Une femme qui pleuraitEh! Oh! Ah!Des soldats qui passaientEh! Oh! Ah!Un éclusier qui pêchaitEh! Oh! Ah!Les tranchées qui blanchissaientEh! Oh! Ah!Des obus qui pétaientEh! Oh! Ah!Des allumettes qui ne prenaient pasEt toutA tant changéEn moiTout sauf mon amourEh! Oh! Ah!

21. v. Unite the coolness and the fire

Unite the coolness and the fireunite your lips and your eyesawait wisdom from your follymake a likeness of woman and of man.

22. vi. Man of the tender smile

Man of the tender smilewoman of the tender eyelidsman of the freshened cheekswoman of the sweet fresh armsman of the calm eyeswoman of the ardent lipsman of the plenitude of speechwoman of the shared eyesman of the useful handswoman of the sensible handsman of the steadfast starswoman of the enduring breasts

there is nothing that prevents youmy masters from testing me.

23. vii. The great river that flows

The great river that flowsbig under the sun and small under the moonin all directions at randomwill not have me to point it out

I know the spell of the lightI have enough of it to play with its brillianceso that I may perfect myself behind my eyelidsso that nothing lives without me.

Calligrams

24. i. I Spy

Pale spy of lovemy memory scarcely to be trustedhaving watched this beautifulfortress for but one hour one daydisguise yourselfas you willmemory spy of the heartyou find no longer the exquisitetrickery and the heart alone is victorious

but do you see this memoryeyes blindfolded at the point of deathit affirms that it can be believedmy heart will conquer without a shot

25. ii. Mutation

A woman who weptEh! Oh! Ah!Soldiers who passedEh! Oh! Ah!A lock-gate keeper who was fishingEh! Oh! Ah!The trenches that grew whiteEh! Oh! Ah!Shells that burstEh! Oh! Ah!Matches that did not strikeAnd allHas so much changed in meAll but my loveEh! Oh! Ah!

20 21



291.0mm x 169.5mm

20 21

21. v. Unis la fraîcheur et le feu

Unis la fraîcheur et le feuUnis tes lèvres et tes yeuxDe ta folie attends sagesseFais image de femme et d’homme

22. vi. Homme au sourir tendre

Homme au sourir tendreFemme aux tenres paupièresHomme aux joues rafraîchiesFemme aux bras doux et fraisHomme aux prunelles calmesFemme aux lèvres ardentesHomme aux paroles pleinesFemme aux yeux partagésHomme aux deux mains utilesFemme aux mains de raisonHomme aux astres constantsFemme aux seins de durée

Il n’est rien qui vous retientMes maîtres de m’éprouver.

23. vii. La grande rivière qui va

La grande rivière qui vaGrande au soleil et petite à la lunePar tous chemins à l’aventureNe m’aura pas pour la montrer du doigt

Je sais le sort de la lumièreJ’en ai assez pour jouer son éclatPour me parfaire au dos de mes paupièresPour que rien ne vive sans moi.

Calligrammes [TO]Guillaume Apollinaire

24. i. L’espionne

Pâle espionne de l’AmourMa mémoire à peine fidèleN’eut pour observer cette belleForteresse qu’une heure un jourTu te déguisesA ta guiseMémoire espionne du cœurTu ne retrouves plus l’exquiseRuse et le cœur seul est vainqueur

Mais la vois-tu cette mémoireLes yeux bandés prête à mourirElle affirme qu’on peut l’en croireMon cœur vaincra sans coup férir

25. ii. Mutation

Une femme qui pleuraitEh! Oh! Ah!Des soldats qui passaientEh! Oh! Ah!Un éclusier qui pêchaitEh! Oh! Ah!Les tranchées qui blanchissaientEh! Oh! Ah!Des obus qui pétaientEh! Oh! Ah!Des allumettes qui ne prenaient pasEt toutA tant changéEn moiTout sauf mon amourEh! Oh! Ah!

21. v. Unite the coolness and the fire

Unite the coolness and the fireunite your lips and your eyesawait wisdom from your follymake a likeness of woman and of man.

22. vi. Man of the tender smile

Man of the tender smilewoman of the tender eyelidsman of the freshened cheekswoman of the sweet fresh armsman of the calm eyeswoman of the ardent lipsman of the plenitude of speechwoman of the shared eyesman of the useful handswoman of the sensible handsman of the steadfast starswoman of the enduring breasts

there is nothing that prevents youmy masters from testing me.

23. vii. The great river that flows

The great river that flowsbig under the sun and small under the moonin all directions at randomwill not have me to point it out

I know the spell of the lightI have enough of it to play with its brillianceso that I may perfect myself behind my eyelidsso that nothing lives without me.

Calligrams

24. i. I Spy

Pale spy of lovemy memory scarcely to be trustedhaving watched this beautifulfortress for but one hour one daydisguise yourselfas you willmemory spy of the heartyou find no longer the exquisitetrickery and the heart alone is victorious

but do you see this memoryeyes blindfolded at the point of deathit affirms that it can be believedmy heart will conquer without a shot

25. ii. Mutation

A woman who weptEh! Oh! Ah!Soldiers who passedEh! Oh! Ah!A lock-gate keeper who was fishingEh! Oh! Ah!The trenches that grew whiteEh! Oh! Ah!Shells that burstEh! Oh! Ah!Matches that did not strikeAnd allHas so much changed in meAll but my loveEh! Oh! Ah!

20 21



291.0mm x 169.5mm

22 23

26. iii. Vers le sud

ZénithTous ces regretsCes jardins sans limiteOù le crapaud module un tendre cri d’azurLa biche du silence éperdu passe viteUn rossignol meurtri par l’amour chante surLe rosier de ton corps dont j’ai cueilli les rosesNos cœurs pendent ensemble au même grenadierEt les fleurs de grenade en nosregards éclosesEn tombant tour à tour ont jonché le sentier

27. iv. Il pleut

Il pleut des voix de femmes comme si elles étaient mortes mêmes dans le souvenirC’est vous aussi qu’il pleutmerveilleuses rencontres de ma vie ô gouttelettesEt ces nuages cabrés se prennent àhennir tout un univers de villesauriculairesEcoute s’il pleut tandis que le regret etle dédain pleurent une ancienne musiqueEcoute tomber les liens qui te retiennenten haut et en bas

28. v. La grâce exilée

Va-t’en va-t’en mon arc-en-cielAllez-vous-en couleurs charmantesCet exil t’est essentielInfante aux écharpes changeantes

Et l’arc-en-ciel est exiléPuisqu’on exile qui l’iriseMais un drapeau s’est envoléPrendre ta place au vent de bise

29. vi. Aussi bien que les cigales

Gens du midi gens du midivous n’avez donc pas regardé les cigalesque vous ne savez pas creuserque vous ne savez pas vous éclairer ni voirQue vous manque-t’il donc pour voiraussi bien que les cigalesMais vous savez encore boire commeles cigalesô gens du midi gens du soleilgen qui devriez savoir creuseret voir aussi bienpour le moins aussi bien que les cigalesEh quoi! Vous savez boire et ne savezplus pisser utilement comme les cigalesle jour de gloire sera celui où voussaurez creuser pour bien sortir au soleilcreusez buvez pissez comme les cigalesgens du midi il faut creuser voir boirepisser aussi bien que les cigales pour chanter comme elles‘La joie adorable de la paix solaire’

26. iii. Towards the South

Zenithall these regretsthese limitless gardenswhere the toad modulates a tender cry of bluethe doe in bewildered silence passes quicklya nightingale anguished by love sings on the rose bush of your body from which I have gathered the rosesour hearts hang together on thesame pomegranate treeand the pomegranate flowers openedin our sightfalling one by one have strewn our path

27. iv. It rains

It is raining women’s voices as thoughthey were dead even in memoryit is you also that it is raining marvelousencounters of my lifeO dropletsand these rearing clouds begin to neigha whole universe of auricular citieslisten if it is raining while regret anddisdain are weeping anancient musichear the bonds falling that hold youhigh and low

28. v. Exiled Grace

Away, go away my rainbowaway charming coloursthis exile is essential for youInfanta of the changing scarves

and the rainbow is exiledsince she is exiled who gives it iridescencebut a flag is flyingto take your place in the North wind

29. vi. As well as the cicadas

Folk of the south folk of the southso you have not watched the cicadassince you cannot digsince you cannot make light or seeWhat are you lacking that you cannotsee as well as the cicadasBut yet you can drink likethe cicadasO folk of the south folk of the sunfolk who should know how to digand see as wellat least as well as the cicadasWhat! You can drink and no longerknow how to pee to some purposelike the cicadasthe day of glory will come when youknow how to dig your way outinto the sundig see drink pee like the cicadasfolk of the south you must dig seedrink pee as well as the cicadas tosing like they do‘The adorable joy of the sun-filled peace’

22 23



291.0mm x 169.5mm

22 23

26. iii. Vers le sud

ZénithTous ces regretsCes jardins sans limiteOù le crapaud module un tendre cri d’azurLa biche du silence éperdu passe viteUn rossignol meurtri par l’amour chante surLe rosier de ton corps dont j’ai cueilli les rosesNos cœurs pendent ensemble au même grenadierEt les fleurs de grenade en nosregards éclosesEn tombant tour à tour ont jonché le sentier

27. iv. Il pleut

Il pleut des voix de femmes comme si elles étaient mortes mêmes dans le souvenirC’est vous aussi qu’il pleutmerveilleuses rencontres de ma vie ô gouttelettesEt ces nuages cabrés se prennent àhennir tout un univers de villesauriculairesEcoute s’il pleut tandis que le regret etle dédain pleurent une ancienne musiqueEcoute tomber les liens qui te retiennenten haut et en bas

28. v. La grâce exilée

Va-t’en va-t’en mon arc-en-cielAllez-vous-en couleurs charmantesCet exil t’est essentielInfante aux écharpes changeantes

Et l’arc-en-ciel est exiléPuisqu’on exile qui l’iriseMais un drapeau s’est envoléPrendre ta place au vent de bise

29. vi. Aussi bien que les cigales

Gens du midi gens du midivous n’avez donc pas regardé les cigalesque vous ne savez pas creuserque vous ne savez pas vous éclairer ni voirQue vous manque-t’il donc pour voiraussi bien que les cigalesMais vous savez encore boire commeles cigalesô gens du midi gens du soleilgen qui devriez savoir creuseret voir aussi bienpour le moins aussi bien que les cigalesEh quoi! Vous savez boire et ne savezplus pisser utilement comme les cigalesle jour de gloire sera celui où voussaurez creuser pour bien sortir au soleilcreusez buvez pissez comme les cigalesgens du midi il faut creuser voir boirepisser aussi bien que les cigales pour chanter comme elles‘La joie adorable de la paix solaire’

26. iii. Towards the South

Zenithall these regretsthese limitless gardenswhere the toad modulates a tender cry of bluethe doe in bewildered silence passes quicklya nightingale anguished by love sings on the rose bush of your body from which I have gathered the rosesour hearts hang together on thesame pomegranate treeand the pomegranate flowers openedin our sightfalling one by one have strewn our path

27. iv. It rains

It is raining women’s voices as thoughthey were dead even in memoryit is you also that it is raining marvelousencounters of my lifeO dropletsand these rearing clouds begin to neigha whole universe of auricular citieslisten if it is raining while regret anddisdain are weeping anancient musichear the bonds falling that hold youhigh and low

28. v. Exiled Grace

Away, go away my rainbowaway charming coloursthis exile is essential for youInfanta of the changing scarves

and the rainbow is exiledsince she is exiled who gives it iridescencebut a flag is flyingto take your place in the North wind

29. vi. As well as the cicadas

Folk of the south folk of the southso you have not watched the cicadassince you cannot digsince you cannot make light or seeWhat are you lacking that you cannotsee as well as the cicadasBut yet you can drink likethe cicadasO folk of the south folk of the sunfolk who should know how to digand see as wellat least as well as the cicadasWhat! You can drink and no longerknow how to pee to some purposelike the cicadasthe day of glory will come when youknow how to dig your way outinto the sundig see drink pee like the cicadasfolk of the south you must dig seedrink pee as well as the cicadas tosing like they do‘The adorable joy of the sun-filled peace’

22 23



291.0mm x 169.5mm

24 25

30. vii. Voyage

Adieu amour nuage qui fuit et n’a paschu pluie féconderefais le voyage de Dante

Télégrapheoiseau qui laisse tomber ses ailes partout

Où va donc ce train qui meurt au loinDans les vals et les beaux bois frais dutendre été si pâle?

La douce nuit lunaire et pleine d’étoilesC’est ton visage que je ne vois plus

31. La souris [LM]Guillaume Apollinaire

Belles journées, souris du temps,Vous rongez peu à peu ma vie.Dieu! Je vais avoir vingt-huit ans,Et mal vécus, à mon envie.

32. Monsieur Sans Souci [JL](Il fait tout lui-même)Jean Nohain (1900-1981)

Quand les gens Ont beaucoup d’argent,Pour leur service Ils ont, diton:Larbins, nourrices Et marmitons.Ce n’est pas ainsi,Chez Monsieur Sans-Souci…Il fait tout lui mêmeDans sa petit maison.C’est le bon système :Il a bien raison! Il frotte, il astiqué ;Pas de domestiqué.Son plancher reluit…Qu’on est bien chez lui!Les petits plats qu’il aime,Il se les fait lui même Et puis, ils ‘dit:“Merci”Monsieur Sans-Souci…

Au printemps,Il est bien content…Le jardinage Prend tout son temps…Malgré son âge C’est en chantantDes airs d’antan Qu’il se met à l’ouvrage…Il fait tout lui mêmeDans son petit jardin,Et les fleurs qu’il aimeIl les a pour rien.Il bêche, il arrosé,

30. vii. Journey

Farewell love cloud that flies and hasnot shed fertile raintake again the journey of Dante

telegraphbird who lets its wings fall everywhere

Where is this train going that diesaway in the distancein the vales and the lovely fresh woodsof the tender summer so pale?

The gentle night moonlit and full of starsit is your face that I no longer see

31. The Mouse

Lovely days, mouse of timelittle by little you nibble away my lifeHeavens! I shall soon be twenty-eight years old,and wasted years, I fear.

32. Mister Carefree(He does everything himself)

When someoneHas a lot of funds,It’s said that theyOften employ:A cook, a maid, andDelivery boyBut this just won’t beFor dear Mister Carefree.He’s found the perfect wayIn his little home.None he has to pay:He does it all on his own.He scrubs, he cleans, he plants.No need for servants.His floor really shines.His home is just sublime!If he likes a dish he’s tasted,He’ll go ahead and make it.Then he’ll tell himself “Thank ye.”Dear Mister Carefree.

Springtime comesHe has so much fun.GardeningBecomes his thingIn spite of his ageFrom him you’ll hearSongs of yesteryearAs he works awayAlone, the work he doesIn his garden, you seeThe flowers that he lovesHe gets them for free.He plants and weeds and hoses,

24 25



291.0mm x 169.5mm

24 25

30. vii. Voyage

Adieu amour nuage qui fuit et n’a paschu pluie féconderefais le voyage de Dante

Télégrapheoiseau qui laisse tomber ses ailes partout

Où va donc ce train qui meurt au loinDans les vals et les beaux bois frais dutendre été si pâle?

La douce nuit lunaire et pleine d’étoilesC’est ton visage que je ne vois plus

31. La souris [LM]Guillaume Apollinaire

Belles journées, souris du temps,Vous rongez peu à peu ma vie.Dieu! Je vais avoir vingt-huit ans,Et mal vécus, à mon envie.

32. Monsieur Sans Souci [JL](Il fait tout lui-même)Jean Nohain (1900-1981)

Quand les gens Ont beaucoup d’argent,Pour leur service Ils ont, diton:Larbins, nourrices Et marmitons.Ce n’est pas ainsi,Chez Monsieur Sans-Souci…Il fait tout lui mêmeDans sa petit maison.C’est le bon système :Il a bien raison! Il frotte, il astiqué ;Pas de domestiqué.Son plancher reluit…Qu’on est bien chez lui!Les petits plats qu’il aime,Il se les fait lui même Et puis, ils ‘dit:“Merci”Monsieur Sans-Souci…

Au printemps,Il est bien content…Le jardinage Prend tout son temps…Malgré son âge C’est en chantantDes airs d’antan Qu’il se met à l’ouvrage…Il fait tout lui mêmeDans son petit jardin,Et les fleurs qu’il aimeIl les a pour rien.Il bêche, il arrosé,

30. vii. Journey

Farewell love cloud that flies and hasnot shed fertile raintake again the journey of Dante

telegraphbird who lets its wings fall everywhere

Where is this train going that diesaway in the distancein the vales and the lovely fresh woodsof the tender summer so pale?

The gentle night moonlit and full of starsit is your face that I no longer see

31. The Mouse

Lovely days, mouse of timelittle by little you nibble away my lifeHeavens! I shall soon be twenty-eight years old,and wasted years, I fear.

32. Mister Carefree(He does everything himself)

When someoneHas a lot of funds,It’s said that theyOften employ:A cook, a maid, andDelivery boyBut this just won’t beFor dear Mister Carefree.He’s found the perfect wayIn his little home.None he has to pay:He does it all on his own.He scrubs, he cleans, he plants.No need for servants.His floor really shines.His home is just sublime!If he likes a dish he’s tasted,He’ll go ahead and make it.Then he’ll tell himself “Thank ye.”Dear Mister Carefree.

Springtime comesHe has so much fun.GardeningBecomes his thingIn spite of his ageFrom him you’ll hearSongs of yesteryearAs he works awayAlone, the work he doesIn his garden, you seeThe flowers that he lovesHe gets them for free.He plants and weeds and hoses,

24 25



291.0mm x 169.5mm

26 27

Il taille ses rosesEt dans sa villaC’est plein de lilas…Il a des chrysanthèmesQu’il cueille pour lui mêmeEt pour les dames aussi,Monsieur Sans-Souci…

Le bon vieuxN’est jamais envieux,Il se contenteToujours de peu…Rien ne le tente:Il est heureux…Son seul désir,C’est de vous faire plaisir…Il fait tout lui mêmePour qu’on soit content…Tout le monde l’aimeIl vivra longtemps…Il est centenaireEt déjà Saint-PierreL’attend, m’a t’on dit,Dans son paradis…Il entre ra sans peine,Et près du Bon Dieu lui mêmeNous le verrons assis,Monsieur Sans-Souci.

33. Nous voulons une petite sœur [LA]Jean Nohain

Madame Eustache a dix-sept filles,Ce n’est pas trop,Mais c’est assezLa jolie petite familleVous avez dû dû dû

Vous avez dû dû dûVous avez dû la voir passer.Le vingt décembre on les appelle:Que voulez-vous mesdemoisellesPour votre Noël?Voulez-vous une boite à poudre?Voulez-vous de petits mouchoirs?Un petit nécessaire à coudre?Un perroquet sur son perchoir?Voulez-vous un petit ménage?Un stylo qui tache les doigts? Un pompier qui plonge et qui nage?Un vase á fleurs presque chinois?Mais les dix-sept enfants en chœurOnt répondu: Non.

Ce n’est pas ça que nous voulonsNous voulons une petite sœurRonde et joufflue comme un ballonAvec un petit nez farceurAvec les cheveux blonds Avec la bouche en cœurNous voulons une petite sœur

L’hiver suivant, elles sont dix huitCe n’est pas trop,Mais c’est assezNoël approche et les petitesSont bien emba ba baSont bien emba ba baSont vraiment bien embarrassées.Madame Eustache les appelle:Décidez-vous mesdemoiselles Pour votre Noël:Voulez-vous un mouton qui frise?Voulez-vous un réveille matin?Un coffret d’alcool dentifrice?Trois petits coussins de satin?

And trims and prunes his roses.In his sitting roomLilacs are in bloom.Chrysanthemums a-plentyFor him should he want any,And for the ladies too, you see?Dear Mister Carefree.

This dear old sirEnvies no one ever.He is contentWith what he has,Impossible to tempt,He’s always glad.He wants onlyTo make you happy.He does it all himselfTo make our days a song.We all wish him good health.May his life be long!He’s lived a hundred years.Already Saint Peter,So they say, awaitsAt the pearly gates.His admission will be easyAnd by the Lord’s side we’ll seeHim sitting happily,Dear Mister Carefree.

33. We want a little sister [LA]

Madame Eustache has seventeen daughters,That’s not too many,But it’s just rightThe pretty little familyIt must have been, been, been

It must have been, been, beenYou must have seen her going byDecember comes and she inquires:Dear little girls, for Christmas time,What would you desire?Would you like a powder box?Would you like little handkerchiefs?Or how about little sewing blocks?Or a pretty little parakeet? Would you like a dollhouse?A ball pen that your fingers stains?A man that dives and swims around?A nearly Chinese flower vase?But as one the seventeen children Replied: No!

We would not like any of thatA little sister’s what we choseWith smiling lips and a little hatWith a cute little button noseWith golden hair at thatA little one for us to teaseWe would like a little sister please

Next winter comes and there are eighteenThat’s not too many,But that will doChristmas is coming and it would seemThat they don’t know know knowThat they don’t know know knowThat they don’t know what they should do.Their mother calls them and inquiresDear little girls, for Christmas time,What it is that you require?Would you like a curly sheep?Would you like an alarm clock?Pink toothpaste to clean your teeth?Or a brand-new satin clock?

26 27



291.0mm x 169.5mm

26 27

Il taille ses rosesEt dans sa villaC’est plein de lilas…Il a des chrysanthèmesQu’il cueille pour lui mêmeEt pour les dames aussi,Monsieur Sans-Souci…

Le bon vieuxN’est jamais envieux,Il se contenteToujours de peu…Rien ne le tente:Il est heureux…Son seul désir,C’est de vous faire plaisir…Il fait tout lui mêmePour qu’on soit content…Tout le monde l’aimeIl vivra longtemps…Il est centenaireEt déjà Saint-PierreL’attend, m’a t’on dit,Dans son paradis…Il entre ra sans peine,Et près du Bon Dieu lui mêmeNous le verrons assis,Monsieur Sans-Souci.

33. Nous voulons une petite sœur [LA]Jean Nohain

Madame Eustache a dix-sept filles,Ce n’est pas trop,Mais c’est assezLa jolie petite familleVous avez dû dû dû

Vous avez dû dû dûVous avez dû la voir passer.Le vingt décembre on les appelle:Que voulez-vous mesdemoisellesPour votre Noël?Voulez-vous une boite à poudre?Voulez-vous de petits mouchoirs?Un petit nécessaire à coudre?Un perroquet sur son perchoir?Voulez-vous un petit ménage?Un stylo qui tache les doigts? Un pompier qui plonge et qui nage?Un vase á fleurs presque chinois?Mais les dix-sept enfants en chœurOnt répondu: Non.

Ce n’est pas ça que nous voulonsNous voulons une petite sœurRonde et joufflue comme un ballonAvec un petit nez farceurAvec les cheveux blonds Avec la bouche en cœurNous voulons une petite sœur

L’hiver suivant, elles sont dix huitCe n’est pas trop,Mais c’est assezNoël approche et les petitesSont bien emba ba baSont bien emba ba baSont vraiment bien embarrassées.Madame Eustache les appelle:Décidez-vous mesdemoiselles Pour votre Noël:Voulez-vous un mouton qui frise?Voulez-vous un réveille matin?Un coffret d’alcool dentifrice?Trois petits coussins de satin?

And trims and prunes his roses.In his sitting roomLilacs are in bloom.Chrysanthemums a-plentyFor him should he want any,And for the ladies too, you see?Dear Mister Carefree.

This dear old sirEnvies no one ever.He is contentWith what he has,Impossible to tempt,He’s always glad.He wants onlyTo make you happy.He does it all himselfTo make our days a song.We all wish him good health.May his life be long!He’s lived a hundred years.Already Saint Peter,So they say, awaitsAt the pearly gates.His admission will be easyAnd by the Lord’s side we’ll seeHim sitting happily,Dear Mister Carefree.

33. We want a little sister [LA]

Madame Eustache has seventeen daughters,That’s not too many,But it’s just rightThe pretty little familyIt must have been, been, been

It must have been, been, beenYou must have seen her going byDecember comes and she inquires:Dear little girls, for Christmas time,What would you desire?Would you like a powder box?Would you like little handkerchiefs?Or how about little sewing blocks?Or a pretty little parakeet? Would you like a dollhouse?A ball pen that your fingers stains?A man that dives and swims around?A nearly Chinese flower vase?But as one the seventeen children Replied: No!

We would not like any of thatA little sister’s what we choseWith smiling lips and a little hatWith a cute little button noseWith golden hair at thatA little one for us to teaseWe would like a little sister please

Next winter comes and there are eighteenThat’s not too many,But that will doChristmas is coming and it would seemThat they don’t know know knowThat they don’t know know knowThat they don’t know what they should do.Their mother calls them and inquiresDear little girls, for Christmas time,What it is that you require?Would you like a curly sheep?Would you like an alarm clock?Pink toothpaste to clean your teeth?Or a brand-new satin clock?

26 27



291.0mm x 169.5mm

28 29

Voulez-vous une panoplieDe danseuse de l’Opéra?Un petit fauteuil qui se plieEt que l’on porte sous son bras?Mais les dix-huit enfants en chœurOnt répondu: Non.

Ce n’est pas ça que nous voulons…

Elles sont dix-neuf l’année suivanteCe n’est pas trop,Mais c’est assezQuand revient l’époque émouvanteNoël va de nou nou Noël va de nou nou Noël va de nouveau passer.Madame Eustache les appelle:Décidez-vous mesdemoiselles Pour votre Noël:Voulez-vous des jeux excentriquesAvec des piles et des moteurs?Voulez-vous un ours électrique?Un hippopotame à vapeur?Pour coller des cartes postalesVoulez-vous un superbe album?Une automobile à pédales?Une bague en aluminium?Mais les dix-neuf enfants en chœurOnt répondu: Non.

Ce n’est pas ça que nous voulonsNous voulons deux petites jumellesDeux sœurs exactement pareillesDeux sœurs avec des cheveux blonds!Leur mère a dit : c’est bien Mais il n’y a pas moyenCette année, vous n’aurez rien.

Would you like a dress-up kitTo have an opera dancer’s charmA little couch ‘pon which you can sitWhich folds and fits under your armBut as one the eighteen children Replied: No!

We would not like any of that…

There are nineteen girls the next year,That’s not too much,But it’s enoughWhen the time comes for season’s cheerChristmas is cu, cu cuChristmas is cu, cu cuOnce again Christmas is coming upTheir mother calls them and inquiresDear little girls, for Christmas time,What is it that you require?Would you like a toy that is eccentric?With batteries and an engine too?A teddy bear that is electric?An animal that steams for you?Would you like a beautiful albumThat you can put your postcards in?A pretty ring made of aluminum?A pedal car that you can ride in?But as one the nineteen children Replied: No!

For all those things we do not careWe would like twin sisters, if we mayTwo sisters that are just the sameTwo sisters with pretty golden hairThe mother said: I seeBut there’s no way this will beSo this year, you’ll get nothing.

28 29



291.0mm x 169.5mm

28 29

Voulez-vous une panoplieDe danseuse de l’Opéra?Un petit fauteuil qui se plieEt que l’on porte sous son bras?Mais les dix-huit enfants en chœurOnt répondu: Non.

Ce n’est pas ça que nous voulons…

Elles sont dix-neuf l’année suivanteCe n’est pas trop,Mais c’est assezQuand revient l’époque émouvanteNoël va de nou nou Noël va de nou nou Noël va de nouveau passer.Madame Eustache les appelle:Décidez-vous mesdemoiselles Pour votre Noël:Voulez-vous des jeux excentriquesAvec des piles et des moteurs?Voulez-vous un ours électrique?Un hippopotame à vapeur?Pour coller des cartes postalesVoulez-vous un superbe album?Une automobile à pédales?Une bague en aluminium?Mais les dix-neuf enfants en chœurOnt répondu: Non.

Ce n’est pas ça que nous voulonsNous voulons deux petites jumellesDeux sœurs exactement pareillesDeux sœurs avec des cheveux blonds!Leur mère a dit : c’est bien Mais il n’y a pas moyenCette année, vous n’aurez rien.

Would you like a dress-up kitTo have an opera dancer’s charmA little couch ‘pon which you can sitWhich folds and fits under your armBut as one the eighteen children Replied: No!

We would not like any of that…

There are nineteen girls the next year,That’s not too much,But it’s enoughWhen the time comes for season’s cheerChristmas is cu, cu cuChristmas is cu, cu cuOnce again Christmas is coming upTheir mother calls them and inquiresDear little girls, for Christmas time,What is it that you require?Would you like a toy that is eccentric?With batteries and an engine too?A teddy bear that is electric?An animal that steams for you?Would you like a beautiful albumThat you can put your postcards in?A pretty ring made of aluminum?A pedal car that you can ride in?But as one the nineteen children Replied: No!

For all those things we do not careWe would like twin sisters, if we mayTwo sisters that are just the sameTwo sisters with pretty golden hairThe mother said: I seeBut there’s no way this will beSo this year, you’ll get nothing.

28 29



291.0mm x 169.5mm

30 31

LORNA ANDERSON [LA]

Lorna Anderson has appeared in opera, concert and recital with majororchestras and festivals throughout Europe and elsewhere. As a renownedperformer of the baroque repertoire she has sung with the Orchestra of theAge of Enlightenment, Les Arts Florissants, The Sixteen, The EnglishConcert, St. James Baroque, London Baroque, Collegium Musicum 90,The King’s Consort, London Classical Players, La Chapelle Royale and theAcademy of Ancient Music under conductors which include WilliamChristie, Harry Christophers, Richard Egarr, Trevor Pinnock, RichardHickox, Nicholas McGegan, Robert King, and Sir Charles Mackerras.

In opera she has sung Morgana (Alcina) at the Halle Handel Festival, Sevilla (La Clemenza di Tito)with the Flanders Philharmonic Orchestra, Handel (Theodora) with Glyndebourne TouringOpera, Handel (Riccardo Primo) at the Göttingen Festival with Nicholas McGegan, Purcell (TheFairy Queen) with the English Concert and Monteverdi’s Il combattimento di Tancredi e Clorindawith Netherlands Opera which was also filmed.

Lorna Anderson has also established an important reputation in the standard concert repertoire,having sung with the BBC Orchestras, the Bach Choir, London Mozart Players, Royal LiverpoolPhilharmonic, Israel Camerata, RAI Turin (Les Noces), New World Symphony in Miami, HoustonSymphony Orchestra,Washington Symphony Orchestra, Scottish Chamber Orchestra, EnsembleIntercontemporain under Pierre Boulez, London Sinfonietta under Sir Simon Rattle and at theSalzburg, Edinburgh and Aldeburgh Festivals among others. She has recently toured in Libya andChina with the Academy of Ancient Music.

Her numerous recordings include; The Fairy Queen under Harry Christophers, Haydn Massesunder Richard Hickox, a disc of Portuguese love songs and for Hyperion she has recorded Brittenfolksong settings with Malcolm Martineau, Handel’s L’Allegro with Robert King and is an artiston Graham Johnson’s complete Schubert Edition. Recent releases include part of a long termproject to perform and record all of Haydn’s Scottish song arrangements for voice and piano triowith Haydn Trio Eisenstadt. Lorna Anderson also features in a recording of ‘Lament for MaryQueen of Scots’ which was commissioned from James MacMillan.

30 31

JOHN MARK AINSLEY [JMA]

John Mark Ainsley was born in Cheshire, began his musical training inOxford and continues to study in London with Diane Forlano.

A highly versatile concert singer, his international engagements includeappearances with the London Symphony under Sir Colin Davis,Rostropovich and Previn, the Concert D’Astrée under Haim, the LondonPhilharmonic under Norrington, Les Musiciens du Louvre underMinkowski, the Cleveland Orchestra under Welser-Möst, the BerlinPhilharmonic under Haitink and Rattle, the Berlin Staatskapelle underJordan, the New York Philharmonic under Masur, the Boston Symphony under Ozawa, the SanFrancisco Symphony under Tate and Norrington, the Vienna Philharmonic under Norrington,Pinnock and Welser-Möst, and both the Orchestra of the Maggio Musicale Fiorentino and theOrchestre de Paris under Giulini.

On the operatic stage he has sung Don Ottavio at the Glyndebourne Festival under Sir SimonRattle, directed by Deborah Warner, the Aix-en-Provence Festival under Claudio Abbado,directed by Peter Brook and for his debut at the Royal Opera House, Covent Garden, underMackerras. His many appearances at the Munich Festival include Bajazet (Tamerlano), Jonathan(Saul), the title role in a new production of Idomeneo at the Cuvilliestheater and as Orfeo, forwhich he received the Munich Festival Prize. He created the role of Der Daemon in the worldpremiere of Hans Werner Henze’s L’Upupa at the Salzburg Festival and Hippolyt in the worldpremiere of Henze’s Phaedra in Berlin and Brussels. He sang Skuratov in Janacek’s From the Houseof the Dead directed by Chereau and conducted by Boulez at the Amsterdam,Vienna and Aix-en-Provence Festivals and subsequently in his house debut at La Scala, Milan under Salonen.A DVDof this production has also been released. He sang his first Captain Vere in Billy Budd in Frankfurtdirected by Richard Jones and 2010 saw his first Captain Vere in the UK in Michael Grandage’sproduction of Billy Budd for the Glyndebourne Festival.

John Mark won the 2007 Royal Philharmonic Society Singer Award. He is a Visiting Professor atthe Royal Academy of Music.



291.0mm x 169.5mm

30 31

LORNA ANDERSON [LA]

Lorna Anderson has appeared in opera, concert and recital with majororchestras and festivals throughout Europe and elsewhere. As a renownedperformer of the baroque repertoire she has sung with the Orchestra of theAge of Enlightenment, Les Arts Florissants, The Sixteen, The EnglishConcert, St. James Baroque, London Baroque, Collegium Musicum 90,The King’s Consort, London Classical Players, La Chapelle Royale and theAcademy of Ancient Music under conductors which include WilliamChristie, Harry Christophers, Richard Egarr, Trevor Pinnock, RichardHickox, Nicholas McGegan, Robert King, and Sir Charles Mackerras.

In opera she has sung Morgana (Alcina) at the Halle Handel Festival, Sevilla (La Clemenza di Tito)with the Flanders Philharmonic Orchestra, Handel (Theodora) with Glyndebourne TouringOpera, Handel (Riccardo Primo) at the Göttingen Festival with Nicholas McGegan, Purcell (TheFairy Queen) with the English Concert and Monteverdi’s Il combattimento di Tancredi e Clorindawith Netherlands Opera which was also filmed.

Lorna Anderson has also established an important reputation in the standard concert repertoire,having sung with the BBC Orchestras, the Bach Choir, London Mozart Players, Royal LiverpoolPhilharmonic, Israel Camerata, RAI Turin (Les Noces), New World Symphony in Miami, HoustonSymphony Orchestra,Washington Symphony Orchestra, Scottish Chamber Orchestra, EnsembleIntercontemporain under Pierre Boulez, London Sinfonietta under Sir Simon Rattle and at theSalzburg, Edinburgh and Aldeburgh Festivals among others. She has recently toured in Libya andChina with the Academy of Ancient Music.

Her numerous recordings include; The Fairy Queen under Harry Christophers, Haydn Massesunder Richard Hickox, a disc of Portuguese love songs and for Hyperion she has recorded Brittenfolksong settings with Malcolm Martineau, Handel’s L’Allegro with Robert King and is an artiston Graham Johnson’s complete Schubert Edition. Recent releases include part of a long termproject to perform and record all of Haydn’s Scottish song arrangements for voice and piano triowith Haydn Trio Eisenstadt. Lorna Anderson also features in a recording of ‘Lament for MaryQueen of Scots’ which was commissioned from James MacMillan.

30 31

JOHN MARK AINSLEY [JMA]

John Mark Ainsley was born in Cheshire, began his musical training inOxford and continues to study in London with Diane Forlano.

A highly versatile concert singer, his international engagements includeappearances with the London Symphony under Sir Colin Davis,Rostropovich and Previn, the Concert D’Astrée under Haim, the LondonPhilharmonic under Norrington, Les Musiciens du Louvre underMinkowski, the Cleveland Orchestra under Welser-Möst, the BerlinPhilharmonic under Haitink and Rattle, the Berlin Staatskapelle underJordan, the New York Philharmonic under Masur, the Boston Symphony under Ozawa, the SanFrancisco Symphony under Tate and Norrington, the Vienna Philharmonic under Norrington,Pinnock and Welser-Möst, and both the Orchestra of the Maggio Musicale Fiorentino and theOrchestre de Paris under Giulini.

On the operatic stage he has sung Don Ottavio at the Glyndebourne Festival under Sir SimonRattle, directed by Deborah Warner, the Aix-en-Provence Festival under Claudio Abbado,directed by Peter Brook and for his debut at the Royal Opera House, Covent Garden, underMackerras. His many appearances at the Munich Festival include Bajazet (Tamerlano), Jonathan(Saul), the title role in a new production of Idomeneo at the Cuvilliestheater and as Orfeo, forwhich he received the Munich Festival Prize. He created the role of Der Daemon in the worldpremiere of Hans Werner Henze’s L’Upupa at the Salzburg Festival and Hippolyt in the worldpremiere of Henze’s Phaedra in Berlin and Brussels. He sang Skuratov in Janacek’s From the Houseof the Dead directed by Chereau and conducted by Boulez at the Amsterdam,Vienna and Aix-en-Provence Festivals and subsequently in his house debut at La Scala, Milan under Salonen.A DVDof this production has also been released. He sang his first Captain Vere in Billy Budd in Frankfurtdirected by Richard Jones and 2010 saw his first Captain Vere in the UK in Michael Grandage’sproduction of Billy Budd for the Glyndebourne Festival.

John Mark won the 2007 Royal Philharmonic Society Singer Award. He is a Visiting Professor atthe Royal Academy of Music.



291.0mm x 169.5mm

33

JONATHAN LEMALU [JL]

Jonathan Lemalu, a New Zealand born Samoan, is already at the veryforefront of today’s young generation of singers. He graduated from aPostgraduate Diploma Course in Advanced Performance on the LondonRoyal Schools Opera Course at the Royal College of Music and wasawarded the prestigious Tagore Gold Medal. He is a joint winner of the2002 Kathleen Ferrier award and the recipient of the 2002 RoyalPhilharmonic Society’s Award for Young Artist of the Year.

Jonathan’s debut recital disc was awarded the Gramophone Magazine DebutArtist of the Year award. He subsequently released his first solo recording, with the New ZealandSymphony Orchestra, and then a recital disc with Malcolm Martineau, featuring the Belcea Quartet.

He has performed at the Tanglewood Festival with the Boston Symphony Orchestra and at theRavinia Festival with the Chicago Symphony Orchestra under Conlon.At the Edinburgh Festivalhe has appeared under Runnicles and Mackerras.At the BBC Proms he has performed with theHallé Orchestra and with the New Zealand Symphony Orchestra. Other concert engagementsinclude The Flowering Tree with the Tokyo Symphony Orchestra, The Damnation of Faust with theToronto Symphony Orchestra under Dutoit, the Chicago Symphony Orchestra, the LondonSymphony Orchestra under Sir Colin Davis and with the Berlin Philharmonic Orchestra underDutoit, Mendelssohn’s Elijah with the Netherlands Philharmonic Orchestra, Mozart arias withthe Salzburg Camerata, Handel’s Messiah with the New York Philharmonic and the worldpremiere of Harbison’s Requiem with the Boston Symphony Orchestra under Bernard Haitink inBoston and New York.

His operatic engagements in the UK have included Figaro (Le Nozze di Figaro) and Don Basilio(The Barber of Seville) for English National Opera, Papageno (The Magic Flute) for theGlyndebourne Festival and Zoroastro (Orlando) and Colline (La Boheme) at the Royal OperaHouse, Covent Garden. In Europe, he has sung the title roles in Saul and Le Nozze di Figaro,Argante (Rinaldo) and Leporello (Don Giovanni) for the Bayerische Staatsoper, Leporello forHamburg Opera, Rodomonte (Orlando Palladino) and Papageno for the Theater an der Wien,Bottom for the Opera de Lyon, Bari and Rocco (Fidelio) under Gergiev at the Gergiev Festivalin Rotterdam and for the Cincinnati Opera and Queegueg in Jake Heggie’s world premiere basedon Moby Dick for Dallas Opera.

32 33

SARAH FOX [SF]

Sarah Fox studied at London University and the Royal College of Music.She won the Kathleen Ferrier Award in 1997 and the John Christie Awardin 2000.

For the Royal Opera Covent Garden, she has sung Woglinde (DasRheingold & Gotterdammerung),Waldvogel (Siefried), Zerlina (Don Giovanni),Lucy Lockitt (The Beggar’s Opera) and Asteria (Tamerlano). Her roles at theGlyndebourne Festival include Karolka (Jenufa), Zerlina (Don Giovanni)and Susanna (Le Nozze di Figaro). Further British engagements includeAnn Page (Sir John in Love) with ENO, Merab (Saul), Musetta and Mimi (La Boheme) with OperaNorth and Servilia (La Clemenza di Tito) with WNO. At the Edinburgh Festival, her roles haveincluded Iphis (Jephtha) and Cleofide (Poro).

Her European engagements include: Michal (Saul), Eurydice (Orphee et Euridice) and Asteria(Tamerlano) with the Bayerische Staatsoper Munchen; Ilia (Idomeneo) with De Vlaamse Opera;Susanna (Le Nozze di Figaro) for the Royal Danish Opera; and Second Niece (Peter Grimes)and Woglinde (Das Rheingold) at the Salzburger Festspiele. She has also sung Zerlina forCincinnati Opera.

She has recently toured throughout Europe and the USA as Josabeth (Athalia) with the KolnKonzert under the baton of Sir Ivor Bolton, and has performed in concert with the Bach Choir;Halle; CBSO and The English Concert. Other concert work has included tours to Japan andIsrael; BBC Proms; and performances with the COE and the San Francisco Symphony.

Her numerous recordings include Vivaldi’s Sacred Music with the Choir of Kings CollegeCambridge for EMI; Vaughan Williams’ Christmas Music with the City of London Sinfonia;Leighton’s 2nd Symphony for Chandos; and Owen Wingrave and The Beggar’s Opera also for Chandos.

32



291.0mm x 169.5mm

33

JONATHAN LEMALU [JL]

Jonathan Lemalu, a New Zealand born Samoan, is already at the veryforefront of today’s young generation of singers. He graduated from aPostgraduate Diploma Course in Advanced Performance on the LondonRoyal Schools Opera Course at the Royal College of Music and wasawarded the prestigious Tagore Gold Medal. He is a joint winner of the2002 Kathleen Ferrier award and the recipient of the 2002 RoyalPhilharmonic Society’s Award for Young Artist of the Year.

Jonathan’s debut recital disc was awarded the Gramophone Magazine DebutArtist of the Year award. He subsequently released his first solo recording, with the New ZealandSymphony Orchestra, and then a recital disc with Malcolm Martineau, featuring the Belcea Quartet.

He has performed at the Tanglewood Festival with the Boston Symphony Orchestra and at theRavinia Festival with the Chicago Symphony Orchestra under Conlon.At the Edinburgh Festivalhe has appeared under Runnicles and Mackerras.At the BBC Proms he has performed with theHallé Orchestra and with the New Zealand Symphony Orchestra. Other concert engagementsinclude The Flowering Tree with the Tokyo Symphony Orchestra, The Damnation of Faust with theToronto Symphony Orchestra under Dutoit, the Chicago Symphony Orchestra, the LondonSymphony Orchestra under Sir Colin Davis and with the Berlin Philharmonic Orchestra underDutoit, Mendelssohn’s Elijah with the Netherlands Philharmonic Orchestra, Mozart arias withthe Salzburg Camerata, Handel’s Messiah with the New York Philharmonic and the worldpremiere of Harbison’s Requiem with the Boston Symphony Orchestra under Bernard Haitink inBoston and New York.

His operatic engagements in the UK have included Figaro (Le Nozze di Figaro) and Don Basilio(The Barber of Seville) for English National Opera, Papageno (The Magic Flute) for theGlyndebourne Festival and Zoroastro (Orlando) and Colline (La Boheme) at the Royal OperaHouse, Covent Garden. In Europe, he has sung the title roles in Saul and Le Nozze di Figaro,Argante (Rinaldo) and Leporello (Don Giovanni) for the Bayerische Staatsoper, Leporello forHamburg Opera, Rodomonte (Orlando Palladino) and Papageno for the Theater an der Wien,Bottom for the Opera de Lyon, Bari and Rocco (Fidelio) under Gergiev at the Gergiev Festivalin Rotterdam and for the Cincinnati Opera and Queegueg in Jake Heggie’s world premiere basedon Moby Dick for Dallas Opera.

32 33

SARAH FOX [SF]

Sarah Fox studied at London University and the Royal College of Music.She won the Kathleen Ferrier Award in 1997 and the John Christie Awardin 2000.

For the Royal Opera Covent Garden, she has sung Woglinde (DasRheingold & Gotterdammerung),Waldvogel (Siefried), Zerlina (Don Giovanni),Lucy Lockitt (The Beggar’s Opera) and Asteria (Tamerlano). Her roles at theGlyndebourne Festival include Karolka (Jenufa), Zerlina (Don Giovanni)and Susanna (Le Nozze di Figaro). Further British engagements includeAnn Page (Sir John in Love) with ENO, Merab (Saul), Musetta and Mimi (La Boheme) with OperaNorth and Servilia (La Clemenza di Tito) with WNO. At the Edinburgh Festival, her roles haveincluded Iphis (Jephtha) and Cleofide (Poro).

Her European engagements include: Michal (Saul), Eurydice (Orphee et Euridice) and Asteria(Tamerlano) with the Bayerische Staatsoper Munchen; Ilia (Idomeneo) with De Vlaamse Opera;Susanna (Le Nozze di Figaro) for the Royal Danish Opera; and Second Niece (Peter Grimes)and Woglinde (Das Rheingold) at the Salzburger Festspiele. She has also sung Zerlina forCincinnati Opera.

She has recently toured throughout Europe and the USA as Josabeth (Athalia) with the KolnKonzert under the baton of Sir Ivor Bolton, and has performed in concert with the Bach Choir;Halle; CBSO and The English Concert. Other concert work has included tours to Japan andIsrael; BBC Proms; and performances with the COE and the San Francisco Symphony.

Her numerous recordings include Vivaldi’s Sacred Music with the Choir of Kings CollegeCambridge for EMI; Vaughan Williams’ Christmas Music with the City of London Sinfonia;Leighton’s 2nd Symphony for Chandos; and Owen Wingrave and The Beggar’s Opera also for Chandos.

32



291.0mm x 169.5mm

34 35

LISA MILNE [LM]

Scottish soprano Lisa Milne studied at the Royal Scottish Academy of Musicand Drama.

In opera, her appearances have included Pamina (Die Zauberflöte) andSusanna (Le nozze di Figaro) at the Metropolitan Opera, New York andPamina, Marzelline (Fidelio), Micäela (Carmen) and the title roles inRodelinda and Theodora at the Glyndebourne Festival. Her many roles atthe English National Opera have included Countess Almaviva (Le nozze diFigaro), the title role in Alcina and Anne Trulove (The Rake’s Progress). Atthe Welsh National Opera she has sung Servilia (La clemenza di Tito) and she created the role ofSian in the world premiere of James MacMillan’s opera The Sacrifice. For Scottish Opera she hassung the title role in Semele, Adèle (Die Fledermaus), Adina (L’Elisir d’Amore), Zerlina (DonGiovanni), Susanna, Ilia (Idomeno) and Despina (Così fan tutte). She has also appeared with theDallas Opera, Stuttgart Opera, Royal Danish Opera, at the Göttingen Handel Festival and on tourwith the Salzburg Festival.

A frequent guest at the major festivals, her many concert engagements have included appearanceswith the Boston Symphony Orchestra and Levine, the Berlin Philharmonic with Rattle, theRotterdam Philharmonic Orchestra with Gergiev, the Dresden Staatskapelle with Ticciati, theBudapest Festival Orchestra with Fischer and the New York and Vienna Philharmonic Orchestraswith Harding.

A renowned recitalist, she has appeared at the Aix-en-Provence, Edinburgh and City of LondonFestivals; the Oxford Lieder Festival; the Palais des Beaux Arts in Brussels and at theSchumannfeste in Dusseldorf. She is a regular guest at London’s Wigmore Hall.

Her many recordings include Ilia and Servilia with Mackerras, Atalanta (Serse) with McGegan,The Governess (The Turn of the Screw) with Hickox and Mahler’s Symphony No. 2 with Fischer– winner of a Gramophone Award.

She was awarded an MBE in the Queen’s Birthday Honours in 2005.

ANN MURRAY [AM]

Ann Murray was born in Dublin and studied with Frederick Cox at theRoyal Manchester College of Music. She has established close links withboth the English National Opera, for whom she has sung the title roles inHandel’s Xerxes and Ariodante and Donizetti’s Maria Stuarda, and with theRoyal Opera House, Covent Garden, where her roles have includedCherubino, Dorabella, Donna Elvira, Rosina, Octavian, and newproductions of L’Enfant et les Sortilèges, Ariadne auf Naxos, Idomeneo,Mitridate, Re di Ponto, Cosi fan Tutte, Mosé in Egitto, Alcina and Giulio Cesare.

Much sought after as a concert singer, she has sung with the Orchestre de Paris under Kubelik,the Philadelphia Orchestra under Sawallisch, the Berlin Philharmonic Orchestra under Muti, theChicago Symphony Orchestra under Solti, the Royal Concertgebouw Orchestra under Haitinkand in the Musikverein,Vienna under Sawallisch and Harnoncourt. She sings in Great Britainwith the leading orchestras, at the BBC Promenade Concerts (where she has sung at both theFirst and Last Nights of the Proms) and at the major festivals.

Her discography reflects not only her broad concert and recital repertoire but also many of hergreat operatic roles, including Purcell’s Dido under Harnoncourt, Dorabella under Levine,Cherubino under Muti, Hansel under Colin Davis, Sextus under Harnoncourt and Donna Elviraunder Solti.

Her operatic engagements have taken her to Hamburg, Dresden, Brussels, Paris, Berlin, Cologne,Zurich, Amsterdam, the Chicago Lyric Opera and the Metropolitan Opera, New York. At LaScala, Milan her roles have included Donna Elvira, Sextus, Dorabella and Cherubino under Muti.For the Bavarian State Opera, Munich she has sung Cherubino, Dorabella, Sextus, Elvira, theComposer, Octavian, Xerxes,Ariodante, Giulio Cesare and Rinaldo.

In 1997 Ann Murray was made an Honorary Doctor of Music by the National University ofIreland, in 1998 she was made a Kammersängerin of the Bavarian State Opera and in 1999 anHonorary Fellow of the Royal Academy of Music. In the 2002 Golden Jubilee Queen’s BirthdayHonours she was appointed an honorary Dame Commander of the Most Excellent Order of theBritish Empire. In 2004 she was awarded the Bavarian Order of Merit.

34 35



291.0mm x 169.5mm

34 35

LISA MILNE [LM]

Scottish soprano Lisa Milne studied at the Royal Scottish Academy of Musicand Drama.

In opera, her appearances have included Pamina (Die Zauberflöte) andSusanna (Le nozze di Figaro) at the Metropolitan Opera, New York andPamina, Marzelline (Fidelio), Micäela (Carmen) and the title roles inRodelinda and Theodora at the Glyndebourne Festival. Her many roles atthe English National Opera have included Countess Almaviva (Le nozze diFigaro), the title role in Alcina and Anne Trulove (The Rake’s Progress). Atthe Welsh National Opera she has sung Servilia (La clemenza di Tito) and she created the role ofSian in the world premiere of James MacMillan’s opera The Sacrifice. For Scottish Opera she hassung the title role in Semele, Adèle (Die Fledermaus), Adina (L’Elisir d’Amore), Zerlina (DonGiovanni), Susanna, Ilia (Idomeno) and Despina (Così fan tutte). She has also appeared with theDallas Opera, Stuttgart Opera, Royal Danish Opera, at the Göttingen Handel Festival and on tourwith the Salzburg Festival.

A frequent guest at the major festivals, her many concert engagements have included appearanceswith the Boston Symphony Orchestra and Levine, the Berlin Philharmonic with Rattle, theRotterdam Philharmonic Orchestra with Gergiev, the Dresden Staatskapelle with Ticciati, theBudapest Festival Orchestra with Fischer and the New York and Vienna Philharmonic Orchestraswith Harding.

A renowned recitalist, she has appeared at the Aix-en-Provence, Edinburgh and City of LondonFestivals; the Oxford Lieder Festival; the Palais des Beaux Arts in Brussels and at theSchumannfeste in Dusseldorf. She is a regular guest at London’s Wigmore Hall.

Her many recordings include Ilia and Servilia with Mackerras, Atalanta (Serse) with McGegan,The Governess (The Turn of the Screw) with Hickox and Mahler’s Symphony No. 2 with Fischer– winner of a Gramophone Award.

She was awarded an MBE in the Queen’s Birthday Honours in 2005.

ANN MURRAY [AM]

Ann Murray was born in Dublin and studied with Frederick Cox at theRoyal Manchester College of Music. She has established close links withboth the English National Opera, for whom she has sung the title roles inHandel’s Xerxes and Ariodante and Donizetti’s Maria Stuarda, and with theRoyal Opera House, Covent Garden, where her roles have includedCherubino, Dorabella, Donna Elvira, Rosina, Octavian, and newproductions of L’Enfant et les Sortilèges, Ariadne auf Naxos, Idomeneo,Mitridate, Re di Ponto, Cosi fan Tutte, Mosé in Egitto, Alcina and Giulio Cesare.

Much sought after as a concert singer, she has sung with the Orchestre de Paris under Kubelik,the Philadelphia Orchestra under Sawallisch, the Berlin Philharmonic Orchestra under Muti, theChicago Symphony Orchestra under Solti, the Royal Concertgebouw Orchestra under Haitinkand in the Musikverein,Vienna under Sawallisch and Harnoncourt. She sings in Great Britainwith the leading orchestras, at the BBC Promenade Concerts (where she has sung at both theFirst and Last Nights of the Proms) and at the major festivals.

Her discography reflects not only her broad concert and recital repertoire but also many of hergreat operatic roles, including Purcell’s Dido under Harnoncourt, Dorabella under Levine,Cherubino under Muti, Hansel under Colin Davis, Sextus under Harnoncourt and Donna Elviraunder Solti.

Her operatic engagements have taken her to Hamburg, Dresden, Brussels, Paris, Berlin, Cologne,Zurich, Amsterdam, the Chicago Lyric Opera and the Metropolitan Opera, New York. At LaScala, Milan her roles have included Donna Elvira, Sextus, Dorabella and Cherubino under Muti.For the Bavarian State Opera, Munich she has sung Cherubino, Dorabella, Sextus, Elvira, theComposer, Octavian, Xerxes,Ariodante, Giulio Cesare and Rinaldo.

In 1997 Ann Murray was made an Honorary Doctor of Music by the National University ofIreland, in 1998 she was made a Kammersängerin of the Bavarian State Opera and in 1999 anHonorary Fellow of the Royal Academy of Music. In the 2002 Golden Jubilee Queen’s BirthdayHonours she was appointed an honorary Dame Commander of the Most Excellent Order of theBritish Empire. In 2004 she was awarded the Bavarian Order of Merit.

34 35



291.0mm x 169.5mm

36 37

ROBERT MURRAY [RM]

Robert Murray studied at the Royal College of Music and the NationalOpera Studio. He won second prize in the Kathleen Ferrier awards 2003and was a Jette Parker Young Artist at the Royal Opera House CoventGarden. Operatic roles at the Royal Opera House include Tamino (DieZauberflote), Borsa (Rigoletto), Gastone (La Traviata), Harry (La Fanciulla delWest), Lysander (A Midsummer Night’s Dream), Agenore (Il re Pastore),Belfiore (La Finta Giardiniera), Jacquino (Fidelio) and Don Ottavio (DonGiovanni). He recently sang the title role in Albert Herring forGlyndebourne On Tour, Tom Rakewell (The Rake’s Progress) for Garsington Opera,The Simpleton (Boris Godunov),Tamino,Toni Reischmann (Henze’s Elegy For Young Lovers) andIdamante (Idomeneo) for ENO; Benvolio (Romeo et Juliette) at the Salzburg Festival and Ferrando(Cosi fan Tutte) for Opera North.

He has sung in concert with many of the leading early music specialists, including Sir John EliotGardiner for the BBC Proms, Sir Charles Mackerras, Emanuelle Haim and Harry Christophers.At the Aldeburgh Festival, he has performed Britten’s War Requiem with Simone Young, andBritten’s Our Hunting Fathers with the CBSO and Thomas Adès.At the Edinburgh Festival he hasperformed Strauss’s Elektra with the Royal Scottish National Orchestra and Edward Gardner,Vaughan Williams’s Serenade to Music with the Scottish Chamber Orchestra and David Jones,Schumann’s Manfred with the BBC Scottish Symphony Orchestra and Ilan Volkov and Haydn’sDie sieben letzten Worte des Erlösers am Kreuze with the SCO. In Europe he appeared with theRotterdam Philharmonic under Valery Gergiev and Yannick Nezet-Seguin; at the Gstaad Festivalwith the Gabrieli Consort under Paul McCreesh; in Paris under Esa-Pekka Salonen and inMadrid with the Orquesta y Coro Nacionales de Espana.

In recital he has performed at the Newbury,Two Moors, Brighton and Aldeburgh Festivals andat London’s Wigmore Hall. He has toured Die Schöne Müllerin extensively with MalcolmMartineau, and recorded a recital of Brahms, Poulenc and Barber with Simon Lepper for Voiceson BBC Radio 3.

THOMAS OLIEMANS [TO]

Born in Amsterdam in 1977, the Dutch baritone Thomas Oliemansgraduated from the Amsterdam Conservatory, coached by Margreet Honig.He continued his studies with KS Robert Holl, Elio Battaglia and DietrichFischer-Dieskau.

In 2005 he made his debut at the Salzburg Festival in Schreker’s DieGezeichneten conducted by Kent Nagano. Further important debutsfollowed in 2006 as Papageno in Mozart’s Die Zauberflöte with the Operaof Nantes and Angers, to great public and critical acclaim, and at theOpera de Genève as Guglielmo in Cosi fan Tutte.

Most recent appearances include Marcello (La Bohème) and Donner (Das Rheingold) at theNationale Reisopera, Figaro (Le Nozze di Figaro) and Figaro (Il Barbiere di Siviglia) Scottish Opera(both directed by Sir Thomas Allen), Hercule (Alceste) at the Aix-en-Provence Festival, Maximilian(Candide) and Tarquinius (The Rape of Lucretia) both at the Vlaamse Opera. Papageno (DieZauberflöte) at the Théâtre du Capitole in Toulouse, Harlequin (Ariadne auf Naxos) at the OperaNational du Rhin Strasbourg, Frank (Die tote Stadt) at the Opéra National de Lorraine. Hisstrong ties to De Nederlandse Opera have resulted in parts in Don Carlo, Un Ballo in Maschera andCastor et Pollux. He also sang leading roles in two world-premiere productions of contemporaryDutch operas by Wagemans and Zuidam.

Thomas Oliemans appears regularly on the concert stage and his repertoire includes nearly allmajor works by J.S. Bach, Mahler’s orchestral song cycles, Requiems of Brahms, Fauré andDuruflé, Rossini’s Petite Messe Solenelle, Honegger’s Le roi David as well as Mendelssohn’s Elijah.Recent concert appearances include Des Knaben Wunderhorn with the Norwegian RadioOrchestra in Oslo, Beethoven’s 9th Symphony with the Kioi Sinfonietta Tokyo and Mahler’s 8thSymphony with the Bochumer Symphoniker.

Oliemans has worked with such conductors as Ivor Bolton, Frans Brüggen, Hartmut Haenchen,Edo de Waart, Jaap van Zweden, Reinbert de Leeuw, Paul McCreesh, and Riccardo Chailly.

His discography includes Schubert’s Winterreise, as well as the CD ‘Mirages’ with song cycles byFrancis Poulenc and Gabriel Fauré and Schubert’s Schwanengesang, both with pianist MalcolmMartineau. In orchestral repertoire 2010 saw the release of a disc with works by Frank Martin forbaritone with the Stavanger Symphony Orchestra and conductor Steven Sloane.

36 37



291.0mm x 169.5mm

36 37

ROBERT MURRAY [RM]

Robert Murray studied at the Royal College of Music and the NationalOpera Studio. He won second prize in the Kathleen Ferrier awards 2003and was a Jette Parker Young Artist at the Royal Opera House CoventGarden. Operatic roles at the Royal Opera House include Tamino (DieZauberflote), Borsa (Rigoletto), Gastone (La Traviata), Harry (La Fanciulla delWest), Lysander (A Midsummer Night’s Dream), Agenore (Il re Pastore),Belfiore (La Finta Giardiniera), Jacquino (Fidelio) and Don Ottavio (DonGiovanni). He recently sang the title role in Albert Herring forGlyndebourne On Tour, Tom Rakewell (The Rake’s Progress) for Garsington Opera,The Simpleton (Boris Godunov),Tamino,Toni Reischmann (Henze’s Elegy For Young Lovers) andIdamante (Idomeneo) for ENO; Benvolio (Romeo et Juliette) at the Salzburg Festival and Ferrando(Cosi fan Tutte) for Opera North.

He has sung in concert with many of the leading early music specialists, including Sir John EliotGardiner for the BBC Proms, Sir Charles Mackerras, Emanuelle Haim and Harry Christophers.At the Aldeburgh Festival, he has performed Britten’s War Requiem with Simone Young, andBritten’s Our Hunting Fathers with the CBSO and Thomas Adès.At the Edinburgh Festival he hasperformed Strauss’s Elektra with the Royal Scottish National Orchestra and Edward Gardner,Vaughan Williams’s Serenade to Music with the Scottish Chamber Orchestra and David Jones,Schumann’s Manfred with the BBC Scottish Symphony Orchestra and Ilan Volkov and Haydn’sDie sieben letzten Worte des Erlösers am Kreuze with the SCO. In Europe he appeared with theRotterdam Philharmonic under Valery Gergiev and Yannick Nezet-Seguin; at the Gstaad Festivalwith the Gabrieli Consort under Paul McCreesh; in Paris under Esa-Pekka Salonen and inMadrid with the Orquesta y Coro Nacionales de Espana.

In recital he has performed at the Newbury,Two Moors, Brighton and Aldeburgh Festivals andat London’s Wigmore Hall. He has toured Die Schöne Müllerin extensively with MalcolmMartineau, and recorded a recital of Brahms, Poulenc and Barber with Simon Lepper for Voiceson BBC Radio 3.

THOMAS OLIEMANS [TO]

Born in Amsterdam in 1977, the Dutch baritone Thomas Oliemansgraduated from the Amsterdam Conservatory, coached by Margreet Honig.He continued his studies with KS Robert Holl, Elio Battaglia and DietrichFischer-Dieskau.

In 2005 he made his debut at the Salzburg Festival in Schreker’s DieGezeichneten conducted by Kent Nagano. Further important debutsfollowed in 2006 as Papageno in Mozart’s Die Zauberflöte with the Operaof Nantes and Angers, to great public and critical acclaim, and at theOpera de Genève as Guglielmo in Cosi fan Tutte.

Most recent appearances include Marcello (La Bohème) and Donner (Das Rheingold) at theNationale Reisopera, Figaro (Le Nozze di Figaro) and Figaro (Il Barbiere di Siviglia) Scottish Opera(both directed by Sir Thomas Allen), Hercule (Alceste) at the Aix-en-Provence Festival, Maximilian(Candide) and Tarquinius (The Rape of Lucretia) both at the Vlaamse Opera. Papageno (DieZauberflöte) at the Théâtre du Capitole in Toulouse, Harlequin (Ariadne auf Naxos) at the OperaNational du Rhin Strasbourg, Frank (Die tote Stadt) at the Opéra National de Lorraine. Hisstrong ties to De Nederlandse Opera have resulted in parts in Don Carlo, Un Ballo in Maschera andCastor et Pollux. He also sang leading roles in two world-premiere productions of contemporaryDutch operas by Wagemans and Zuidam.

Thomas Oliemans appears regularly on the concert stage and his repertoire includes nearly allmajor works by J.S. Bach, Mahler’s orchestral song cycles, Requiems of Brahms, Fauré andDuruflé, Rossini’s Petite Messe Solenelle, Honegger’s Le roi David as well as Mendelssohn’s Elijah.Recent concert appearances include Des Knaben Wunderhorn with the Norwegian RadioOrchestra in Oslo, Beethoven’s 9th Symphony with the Kioi Sinfonietta Tokyo and Mahler’s 8thSymphony with the Bochumer Symphoniker.

Oliemans has worked with such conductors as Ivor Bolton, Frans Brüggen, Hartmut Haenchen,Edo de Waart, Jaap van Zweden, Reinbert de Leeuw, Paul McCreesh, and Riccardo Chailly.

His discography includes Schubert’s Winterreise, as well as the CD ‘Mirages’ with song cycles byFrancis Poulenc and Gabriel Fauré and Schubert’s Schwanengesang, both with pianist MalcolmMartineau. In orchestral repertoire 2010 saw the release of a disc with works by Frank Martin forbaritone with the Stavanger Symphony Orchestra and conductor Steven Sloane.

36 37



291.0mm x 169.5mm

38

This recording was made with generous supportfrom Simon Yates and Kevin Roon.

Song texts are reproduced by kind permission of Kahn & Averill,from Pierre Bernac’s Francis Poulenc: The man and his songs,

with English translations by Winifred Radford.

The Steinway concert piano chosen and hired by Signum Records forthis recording is supplied and maintained by Steinway & Sons, London

Recorded at St Michael and All Angels in Summertown, Oxford,from 14-20 February and 6-10 September 2010.

Producer – John WestRecording Engineer & Editor – Andrew Mellor

Design - Darren Rumney

P2011 The copyright in this recording is owned by Signum Records Ltd.C2011 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd.

Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discsconstitutes an infringement of copyright and will render the infringer liable to an action by law. Licences for publicperformances or broadcasting may be obtained from Phonographic Performance Ltd.All rights reserved. No part

of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form or by any means,electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd.

SignumClassics,Signum Records Ltd, Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK.

+44 (0) 20 8997 4000 E-mail: [email protected]

www.signumrecords.com

38 39

MALCOLM MARTINEAU

Malcolm Martineau was born in Edinburgh, read Music at St Catharine'sCollege, Cambridge and studied at the Royal College of Music.

Recognised as one of the leading accompanists of his generation, he hasworked with many of the world’s greatest singers including Sir ThomasAllen, Dame Janet Baker, Olaf Bär, Barbara Bonney, Ian Bostridge,AngelaGheorghiu,Susan Graham,Thomas Hampson,Della Jones, Simon Keenlyside,Anna Netrebko, Frederica von Stade, Bryn Terfel and Sarah Walker.

He has presented his own series at St Johns Smith Square (the complete songs ofDebussy and Poulenc), the Wigmore Hall (a Britten and a Poulenc series broadcast by the BBC)and at the Edinburgh Festival (the complete lieder of Hugo Wolf). He has appeared throughoutEurope (including London’s Wigmore Hall, Barbican, Queen Elizabeth Hall and Royal OperaHouse; La Scala, Milan; the Chatelet, Paris; the Liceu, Barcelona; Berlin’s Philharmonie andKonzerthaus; Amsterdam’s Concertgebouw and the Vienna Konzerthaus and Musikverein),North America (including in New York both Alice Tully Hall and Carnegie Hall), Australia(including the Sydney Opera House) and at the Aix-en-Provence, Vienna, Edinburgh,Schubertiade, Munich and Salzburg Festivals.

Recording projects have included Schubert, Schumann and English song recitals with Bryn Terfel(for Deutsche Grammophon); Schubert and Strauss recitals with Simon Keenlyside (for EMI);recital recordings with Angela Gheorghiu and Barbara Bonney (for Decca), Magdalena Kozena(for DG), Della Jones (for Chandos), Susan Bullock (for Crear Classics), Solveig Kringelborn (forNMA); Amanda Roocroft (for Onyx); the complete Fauré songs with Sarah Walker and TomKrause; the complete Britten Folk Songs for Hyperion; and the complete Beethoven Folk Songsfor Deutsche Grammophon.

Recent engagements include appearances with Sir Thomas Allen, Susan Graham, SimonKeenlyside, Angelika Kirchschlager, Magdalena Kozena, Dame Felicity Lott, ChristopherMaltman, Kate Royal, Michael Schade, and Bryn Terfel.

He was a given an honorary doctorate at the Royal Scottish Academy of Music and Drama in2004, and appointed International Fellow of Accompaniment in 2009.



291.0mm x 169.5mm

38

This recording was made with generous supportfrom Simon Yates and Kevin Roon.

Song texts are reproduced by kind permission of Kahn & Averill,from Pierre Bernac’s Francis Poulenc: The man and his songs,

with English translations by Winifred Radford.

The Steinway concert piano chosen and hired by Signum Records forthis recording is supplied and maintained by Steinway & Sons, London

Recorded at St Michael and All Angels in Summertown, Oxford,from 14-20 February and 6-10 September 2010.

Producer – John WestRecording Engineer & Editor – Andrew Mellor

Design - Darren Rumney

P2011 The copyright in this recording is owned by Signum Records Ltd.C2011 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd.

Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discsconstitutes an infringement of copyright and will render the infringer liable to an action by law. Licences for publicperformances or broadcasting may be obtained from Phonographic Performance Ltd.All rights reserved. No part

of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form or by any means,electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd.

SignumClassics,Signum Records Ltd, Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK.

+44 (0) 20 8997 4000 E-mail: [email protected]

www.signumrecords.com

38 39

MALCOLM MARTINEAU

Malcolm Martineau was born in Edinburgh, read Music at St Catharine'sCollege, Cambridge and studied at the Royal College of Music.

Recognised as one of the leading accompanists of his generation, he hasworked with many of the world’s greatest singers including Sir ThomasAllen, Dame Janet Baker, Olaf Bär, Barbara Bonney, Ian Bostridge,AngelaGheorghiu,Susan Graham,Thomas Hampson,Della Jones, Simon Keenlyside,Anna Netrebko, Frederica von Stade, Bryn Terfel and Sarah Walker.

He has presented his own series at St Johns Smith Square (the complete songs ofDebussy and Poulenc), the Wigmore Hall (a Britten and a Poulenc series broadcast by the BBC)and at the Edinburgh Festival (the complete lieder of Hugo Wolf). He has appeared throughoutEurope (including London’s Wigmore Hall, Barbican, Queen Elizabeth Hall and Royal OperaHouse; La Scala, Milan; the Chatelet, Paris; the Liceu, Barcelona; Berlin’s Philharmonie andKonzerthaus; Amsterdam’s Concertgebouw and the Vienna Konzerthaus and Musikverein),North America (including in New York both Alice Tully Hall and Carnegie Hall), Australia(including the Sydney Opera House) and at the Aix-en-Provence, Vienna, Edinburgh,Schubertiade, Munich and Salzburg Festivals.

Recording projects have included Schubert, Schumann and English song recitals with Bryn Terfel(for Deutsche Grammophon); Schubert and Strauss recitals with Simon Keenlyside (for EMI);recital recordings with Angela Gheorghiu and Barbara Bonney (for Decca), Magdalena Kozena(for DG), Della Jones (for Chandos), Susan Bullock (for Crear Classics), Solveig Kringelborn (forNMA); Amanda Roocroft (for Onyx); the complete Fauré songs with Sarah Walker and TomKrause; the complete Britten Folk Songs for Hyperion; and the complete Beethoven Folk Songsfor Deutsche Grammophon.

Recent engagements include appearances with Sir Thomas Allen, Susan Graham, SimonKeenlyside, Angelika Kirchschlager, Magdalena Kozena, Dame Felicity Lott, ChristopherMaltman, Kate Royal, Michael Schade, and Bryn Terfel.

He was a given an honorary doctorate at the Royal Scottish Academy of Music and Drama in2004, and appointed International Fellow of Accompaniment in 2009.

SIGNUMCLASSICS

POULE

NC

CO

MPLET

E SO

NG

S VO

L.3

SIGCD272SIGN

UMCL

ASSI

CSPOULE

NC

CO

MPLET

E S

ON

GS

VO

L.3

SIGC

D272

Signum Records Ltd, Suite 14, 21 Wadsworth Road,Perivale, Middx UB6 7JD, United Kingdom LC15723www.signumrecords.com

CTP Template: CD_INL1Compact Disc Back InlayCustomerCatalogue No.Job Title


201.0mm x 167.8mm

SIGCD272 P 2011 Signum RecordsC 2011 Signum Records D

DDD24 bit digital recording

1-4. Airs chantés [SF]............................................................[6.44]

5. Colloque [TO] and [LA] ................................................[3.13]

6. Mazurka [TO]...................................................................[3.46]

7. La grenouillère [AM]..................................................[2.10]

8. Montparnasse [TO]......................................................[3.12]

9. Hyde Park [TO] .............................................................[0.55]

10. Le pont [RM]....................................................................[1.41]

11. Un poème [TO]..............................................................[1.15]

12. Le portrait [JMA] ...........................................................[1.52]

13-14. Miroirs brûlants [SF]..................................................[5.29]

15. …Mais mourir [JMA].................................................[1.39]

16. Main dominée par le cœur [TO]....................[1.12]

17-23. La fraîcher et le feu [JMA]....................................[8.48]

24-30. Calligrammes [TO] ...................................................[10.57]

31. La souris [LM]..................................................................[0.55]

32. Monsieur Sans Souci [JL]......................................[3.05]

33. Nous voulons une petite sœur [LA].............[5.08]

Total timings: ......................................................................[62.05]

Documents

Job Title Page Nos. Catalogue No. Customer Compact Disc ... · song might have accompanied the ball in the novel Le grand Meaulnes,and was pleased to have negotiated the tricky ‘font,font,font’passages