a performance guide to gabriel faurÉ’s la chanson …

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A PERFORMANCE GUIDE TO GABRIEL FAURÉ’S A PERFORMANCE GUIDE TO GABRIEL FAURÉ’S LA CHANSON

D’ÈVE, OP. 95 , OP. 95

Sarah E. Klopfenstine-Wear University of Kentucky, [email protected]

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Professor Cynthia Lawrence, Major Professor

Dr. David Sogin, Director of Graduate Studies

A PERFORMANCE GUIDE TO GABRIEL FAURÉ’S LA CHANSON D’ÈVE, OP. 95

_________________________________________

DMA DOCUMENT _________________________________________

A document submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the

College of Fine Arts at the University of Kentucky

By Sarah E. Klopfenstine-Wear

Lexington, Kentucky

Directors: Cynthia Lawrence, Professor of Voice Dr. Elizabeth Packard Arnold, Professor of Voice

Lexington, Kentucky

2014

Copyright © Sarah E. Klopfenstine-Wear 2014

ABSTRACT OF DOCUMENT


In this study, background information, International Phonetic Alphabet pronunciations, poetic translations, and musical analyses of the ten songs that comprise Gabriel Fauré’s La Chanson d’Ève, Op. 95 are provided. Included is the relationship between his original poetry and Fauré’s resultant song cycle. Additionally, a portion is dedicated to an overview of the registers of the mezzo-soprano voice, and it specifically addresses who is best suited to perform La Chanson d’Ève. This document looks at the vocal challenges presented for the mezzo-soprano voice within each song, particularly the subject of vowel modification as it relates to the IPA pronunciation guide. Finally, by gathering all the pertinent information on Fauré’s La Chanson d’Ève into one document, this performance guide creates a succinct tool for singers and teachers in the vocal studio.

KEYWORDS: Gabriel Fauré, La Chanson d’Ève, Mezzo-soprano, Voice, Performance Guide


By

Sarah E. Klopfenstine-Wear

_______________Cynthia Lawrence Director of Document

______Dr. Elizabeth Packard Arnold

Director of Document

_________________Dr. David Sogin Director of Graduate Studies

______________________________ Date

ACKNOWLEDGEMENTS

I would like to thank my document directors, Dr. Elizabeth Arnold and Cynthia

Lawrence, for their expert supervision throughout this project. A special thanks to Dr.

Arnold, who met evenings and weekends, going above and beyond, to help me complete

my degree. Thank you to the complete advisory committee and outside reader,

respectively: Dr. Diana Hallman, Dr. Harald Hoebusch, and Dr. Ray Garman. Your

feedback and guidance were invaluable.

I would also like to thank Cristen Pascucci for her editing expertise and many

hours spent reading draft after draft. Thank you to my parents, Barron and Helen

Klopfenstine for never having a single doubt that I could proceed this far in my academic

studies.

Thank you to my daughter, Maria, who never let me lose perspective. Lastly, I

offer a heartfelt thanks to my husband, Nicholas, without whose support this process

would have been near impossible. Thank you for the countless hours you spent with

Maria while I researched and wrote in the library on the weekends.

Thank you to all who cheered me on locally and from afar!

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TABLE OF CONTENTS

ACKNOWLEDGEMENTS .................................................................................................. I LIST OF TABLES AND FIGURES.................................................................................. IV LIST OF EXAMPLES ........................................................................................................ V CHAPTER 1: INTRODUCTION ........................................................................................ 1

DEFINITION OF TOPIC ....................................................................................... 1 NEED FOR THIS STUDY ..................................................................................... 1 SCOPE AND LIMITATIONS ................................................................................ 2 METHODOLOGY .................................................................................................. 2 REVIEW OF LITERATURE ................................................................................. 6 SCORE EDITIONS .............................................................................................. 10 EXPECTED OUTCOMES ................................................................................... 11

CHAPTER 2: HISTORY AND BACKGROUND ............................................................ 12

FAURÉ’S EARLY MUSICAL INFLUENCES ................................................... 12 GENESIS OF LA CHANSON D’ÈVE ................................................................ 16 FAURÉ, IMPRESSIONISM, AND THE STYLES OF LA CHANSON D’ÈVE 22

CHAPTER 3: THE MEZZO-SOPRANO VOICE ............................................................ 24

FAURÉ AND THE MEZZO-SOPRANO ............................................................ 24 THE REGISTRATION OF THE MEZZO-SOPRANO VOICE .......................... 25

CHAPTER 4: PARADIS ................................................................................................... 31

ANALYSIS ........................................................................................................... 33 INTERPRETATION ............................................................................................. 39 VOCAL CONSIDERATIONS ............................................................................. 40

CHAPTER 5: PRIMA VERBA ......................................................................................... 44


CHAPTER 6: ROSES ARDENTES .................................................................................. 49


CHAPTER 7: COMME DIEU RAYONNE ...................................................................... 55


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CHAPTER 8: L’AUBE BLANCHE .................................................................................. 64 ANALYSIS ........................................................................................................... 65 INTERPRETATION ............................................................................................. 68 VOCAL CONSIDERATIONS ............................................................................. 69

CHAPTER 9: EAU VIVANTE ......................................................................................... 70 ANALYSIS ........................................................................................................... 71 INTERPRETATION ............................................................................................. 73 VOCAL CONSIDERATIONS ............................................................................. 75

CHAPTER 10: VEILLES-TU, MA SENTEUR DE SOLEIL ........................................... 77 ANALYSIS ........................................................................................................... 78 INTERPRETATION ............................................................................................. 80 VOCAL CONSIDERATIONS ............................................................................. 81

CHAPTER 11: DANS UN PARFUM DE ROSES BLANCHES ..................................... 85


CHAPTER 12: CRÉPUSCULE ......................................................................................... 91 ANALYSIS ........................................................................................................... 92 INTERPRETATION ............................................................................................. 96 VOCAL CONSIDERATIONS ............................................................................. 98

CHAPTER 13: O MORT, POUSSIÈRE D’ÉTOILES .................................................... 101 ANALYSIS ......................................................................................................... 102 INTERPRETATION ........................................................................................... 107 VOCAL CONSIDERATIONS ........................................................................... 109

CHAPTER 14: CONCLUSION ...................................................................................... 110 APPENDICES ................................................................................................................. 112

APPENDIX A: DISCOGRAPHY ...................................................................... 112 APPENDIX B: REVIEW OF SELECTED RECORDINGS .............................. 114

BIBLIOGRAPHY ............................................................................................................ 121 VITA ................................................................................................................................ 124

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LIST OF TABLES AND FIGURES

Table 2.1 Composition year for each song of Fauré’s La Chanson d’Ève………………20 Table 2.2 Division of Van Lerberghe’s poems…...……………………………...............20 Table 2.3 Division of Fauré’s songs in relation to Van Lerberghe’s sections…...............21 Table 3.1 Typical register breakdown and transition notes for the

mezzo-soprano voice……...……………………………………………………..28 Table 4.1 IPA Pronunciation and Poetic Translation of “Paradis”…………………........31 Table 5.1 IPA Pronunciation and Poetic Translation of “Prima verba”…………………44 Table 6.1 IPA Pronuncation and Poetic Translation of “Roses ardentes”……………….49 Table 7.1 IPA Pronunciation and Poetic Translation of “Comme Dieu rayonne”………55 Table 8.1 IPA Pronunciation and Poetic Translation of “L’aube blanches”…………….63 Table 9.1 IPA Pronunciation and Poetic Translation of “Eau vivante”………………….69 Table 10.1 IPA Pronunciation and Poetic Translation of “Veilles-tu, ma senteur de soleil”……………………………………………………………………….……76 Table 11.1 IPA Pronunciation and Poetic Translation of “Dans un parfum de roses blanches”………………………………………………………………………....84 Table 12.1 IPA Pronunciation and Poetic Translation of “Crépuscule”…………………90 Table 13.1 IPA Pronunciation and Poetic Translation of “O mort, poussière détoiles”..100 Figure 3.1 Gabriel Fauré au piano chez Jeanne Raunay, avec Paul Daraux, René

Lenormand, Georges Mauguière………..……………………………………….25

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LIST OF EXAMPLES

Example 4.1 Fauré, “Paradis,” mm. 1-4…………………………………………………34 Example 4.2 Fauré, “Paradis,” mm. 16-23……………………………...........…….........35 Example 4.3 Fauré, “Paradis,” mm. 57-63…………………………………………........36 Example 4.4 Fauré, “Paradis,” mm. 76-81……………………………………………....37 Example 4.5 Fauré, “Paradis,” mm. 87-93……………………………………………....38 Example 4.6 Fauré, “Paradis,” mm. 122-128…..………………………………………..39 Example 4.7 Fauré, “Paradis,” mm. 1-5………………………………………………....41 Example 4.8 Fauré, “Paradis,” mm. 39-41………………………………………………42 Example 4.9 Fauré, “Paradis,” mm. 52-56……………………………………………....42 Example 5.1 Fauré, “Prima verba,” mm. 15-18……………………………....………….46 Example 5.2 Fauré, “Prima verba,” mm. 9-10………………………………………...…48 Example 5.3 Fauré, “Prima verba,” mm. 18-19……………………………………….…48 Example 6.1 Fauré, “Roses ardentes,” mm.1-6……………………………………….....51 Example 6.2 Fauré, “Roses ardentes,” mm.16-21……………………………………….52 Example 6.3 Fauré, “Roses ardentes,” mm. 31-37………………………………………53 Example 6.4 Fauré, “Roses ardentes,” mm. 4-6……………………………………...….54 Example 7.1 Fauré, “Comme Dieu rayonne,” mm. 1-4………………………………….57 Example 7.2 Fauré, “Comme Dieu rayonne,” mm. 17-20…...…………………………..58 Example 7.3 Fauré, “Comme Dieu rayonne,” mm. 22-23…………………………....….58 Example 7.4 Fauré, “Comme Dieu rayonne,” mm. 13-16……………………………….60 Example 7.5 Fauré, “Comme Dieu rayonne,” mm. 3-4………………………………….61 Example 7.6 Fauré, “Comme Dieu rayonne,” mm. 9-10……..………………………….62 Example 8.1 Fauré, “L’aube blanche,” mm. 3-6……………………………………...…65 Example 8.2 Fauré, “L’aube blanche,” mm. 17-20……………………………………...66 Example 8.3 Fauré, “L’aube blanche,” mm. 27-30……………………………………...67 Example 9.1 Fauré, “Eau vivante,” mm. 1-4………………………………………….....71 Example 9.2 Fauré, “Eau vivante,” mm. 19-21….............................................................72 Example 9.3 Fauré, “Eau vivante,” mm. 15-17……………………………………….....74 Example 9.4 Fauré, “Eau Vivante,” m. 17……………………………………………….74 Example 9.5 Fauré, “Eau Vivante,” m. 25…………………………………….……..…..75 Example 10.1 Fauré, “Veilles-tu ma senteur de soleil,” mm. 21-29………………….....78 Example 10.2 Fauré, “Veilles-tu ma senteur de soleil,” mm. 36-40…………………….80 Example 10.3 Fauré “Veilles-tu ma senteur de soleil,” mm. 3-8……………………….81 Example 10.4 Fauré, “Veilles-tu ma senteur de soleil,” mm. 18-20…………………….82 Example 10.5 Fauré, “Veilles-tu, ma senteur de soleil,” mm. 39-41……………………82 Example 11.1 Fauré, “Dan un parfum de roses blanches,” mm. 1-2……………….……86 Example 11.2 Fauré, “Paradis,” mm. 21-22………………………….………………….86 Example 11.3 Fauré, “Dan un parfum de roses blanches,” m. 6………………………...88 Example 11.4 Fauré, “Dan un parfum de roses blanches,” mm. 19-24………………….88 Example 12.1 Fauré, “Crépuscule,” mm. 7-8…………………………………………....92 Example 12.2 Fauré, “Paradis,” mm. 1-4………………………………………………..92 Example 12.3 Fauré, “Crépuscule,” mm. 5-6…………………………………………....93 Example 12.4 Fauré, “Crépuscule,” m. 15…………………………………………….…93 Example 12.5 Fauré, “Crépuscule,” m. 16……………………………………………….94

viii

Example 12.6 Fauré, “Crépuscule,” mm. 26-31………………………………………....94 Example 12.7 Fauré, “Crépuscule,” mm. 8-9……………………………………………95 Example 12.8 Fauré, “Crépuscule,” mm. 13-20………………………………….…….96 Example 12.9 Fauré, “Crépuscule,” mm. 7-8………………………………………..…97 Example 12.10 Fauré, “Crépuscule,” mm. 19-20……………………………………....98 Example 12.11 Fauré, “Crépuscule,” mm. 10-11……………………………………....98 Example 12.12 Fauré, “Crépuscule,” mm. 19-20……………………………………....99 Example 12.13 Fauré, “Crépuscule,” m. 34…………………………………………….99 Example 13.1 Fauré, “O mort, poussière d’étoiles,” mm. 1-2……………...………….102 Example 13.2 Fauré, “O mort, poussière d’étoiles,” mm. 5-8……………...…………..103 Example 13.3 Fauré, “O mort, poussière d’étoiles,” mm. 13-17…………..…………...104 Example 13.4 Fauré, “O mort, poussière d’étoiles,” mm. 18-19…………..…………...105 Example 13.5 Fauré, “O mort, poussière d’étoiles,” mm. 22-26…………..…………...106 Example 13.6 Fauré “O mort, poussière d’étoiles,” m. 18-19……………..…………...107

ix

CHAPTER 1: INTRODUCTION

Definition of Topic

While preparing my lecture-recital, a search for information on Gabriel Fauré’s

La Chanson d’Ève, Op. 95 (1910), with text by Charles Van Lerberghe (1861-1907),

resulted in the creation of this performance guide. Only one source contains International

Phonetic Alphabet pronunciations of the songs, and, even so, these appear to be

incomplete for the mezzo-soprano voice. These pronunciation guides fail to take into

account vowel modification necessary to the mezzo-soprano instrument. Furthermore, the

available resources pertaining to Fauré’s songs lack detailed performance interpretations

of La Chanson d’Ève. The purpose of this project is to put essential historical, theoretical,

diction, and pedagogical material relevant to each of the ten songs in one location, for

both performers and instructors.

Need for This Study

The process of learning a song cycle in order to achieve an effective performance

requires musical, textual, and historical analysis. It is imperative to examine the

background of the composer, the work, and the poet to comprehend the style and intent of

the composer; the performer must understand the musical form and analysis and how

they relate to the text—both poetic and literal translations—if she or he is to fully convey

the value and beauty of the songs to the audience. A pronunciation guide that uses the

International Phonetic Alphabet (IPA) takes into account vowel modification and gives

the singer tools to incorporate correct diction and technique into the performance. This

integrative approach is unique in the field of studies on this song cycle.

1

A number of resources have been published regarding the songs of Gabriel Fauré

as a whole, but none presents concise information relating directly to the performance

and pedagogy of La Chanson d’Ève. A comprehensive performance guide to La Chanson

d’Ève offers singers and teachers a source for historical background, pedagogical

suggestions, song analyses, and resource guides, in addition to the translations and

pronunciation guides.

Scope and Limitations

The scope of this study incorporates historical, theoretical, linguistic, and

pedagogical perspectives that directly relate to the performance of La Chanson d’Ève.

Pedagogically, this document is not a guide on correct singing, nor is it a scientific

description of the function of the singing voice. This pedagogical research is limited to

information pertaining to vowel modification and diction within different vocal registers

of the mezzo-soprano voice. This project does not include exhaustive historical or

biographical information on Fauré. It also does not contain an extensive harmonic

analysis of the cycle.

Methodology

This project involves research into sources including, but not limited to, historical

and biographical texts, publications on music theory, and diction and vocal pedagogy

materials. A broad historical overview of Fauré, Van Lerberghe, and Impressionism in

music provides a foundation for the body of the document. Biographical information

comes from Jean-Michel Nectoux’s highly regarded biography, Gabriel Fauré: A

2

Musical Life,1 Jessica Duchen’s Gabriel Fauré,2 Norman Suckling’s Fauré,3 and Émile

Vuillermoz’s Gabriel Fauré.4 Ideas about the cultural context of France’s music are

drawn from Modern French Music from Fauré to Boulez by Rollo Myers,5 which

expounds upon the musical climate of early twentieth-century France. A number of

sources have been consulted concerning Fauré’s songs themselves, including Graham

Johnson’s recent Gabriel Fauré: The Songs and their Poets,6 Carlo Caballero’s Fauré

and French Musical Aesthetics,7 and Interpreting the Songs of Gabriel Fauré by Robert

Gartside.8

Gartside’s book serves as the impetus to this project. This resource reviews

Fauré’s solo vocal oeuvre in one volume, with a short background, brief interpretation

suggestions, translations, and pronunciations for each song. The first part of the book is

comprised of “slight additions and adjustments” to the IPA symbols, particularly in

respect to the nasal vowels.9 Gartside also discusses the interplay between the French

language and music. He focuses on the flow of the language and how it relates to meter,

including the tendency of the language’s natural cadences and the problem with the

musical bar-line.

Gartside proves especially forthcoming in his commentary on the style of La

Chanson d’Ève. He describes a passage in “Prima verba” as “somewhat contrived and

1Jean Michel Nectoux, Gabriel Fauré: A Musical Life, 1st pbk. ed. (Cambridge: Cambridge University Press, 2004). 2Jessica Duchen, Gabriel Fauré, 20th-Century Composers (London: Phaidon, 2000). 3Norman Suckling, Fauré (London: J.M. Dent, 1951). 4Emile Vuillermoz and Steven Smolian, Gabriel Fauré, 1st American ed. (Philadelphia: Chilton Book Co., 1969). 5Rollo H. Myers, Modern French Music, from Fauré to Boulez (New York: Praeger Publications, 1971). 6Graham Johnson and Richard Stokes, Gabriel Fauré: The Songs and Their Poets (Farnham, England: Guildhall School of Music and Drama, 2009). 7 Carlo Caballero, Fauré and French Musical Aesthetics (New York: Cambridge University Press, 2001). 8Robert Gartside, Interpreting the Songs of Gabriel Fauré (Geneseo, NY: Leyerle Publications, 1996). 9Ibid., 11-13.

3

academic, the rhythms rather plodding, the harmonic adventures sometimes so dissonant

that they border on being ugly.”10 Later, writing of the same song, he comments, “In the

separate little phrases of the voice line [the melodic lines in the piano part] go absolutely

nowhere, often staying on the same note.”11 He includes in subsequent song analyses

several comments that lead the reader to believe he does not particularly care for the

work. His biases and personal preferences, along with the questionable vowel

pronunciation and a lack of pedagogical content, support the need for a comprehensive

performance guide to the song cycle.

The construction of the pronunciation guide for this document draws upon diction

handbooks that have been specifically written for singers. Such books include Thomas

Grubb’s Singing in French: A Manual of French Diction and French Vocal Repertoire,12

Robert Gartside’s Interpreting the Songs of Gabriel Fauré,13 and Diction for Singers: A

Concise Reference for English, Italian, Latin, German, French and Spanish

Pronunciation,14 a collaborative effort by Joan Wall, Robert Caldwell, Tracy Gavilanes,

and my own diction teacher, Dr. Sheila Allen.

A poetic, rather than literal, translation of the songs best serves the performer or

teacher in search of guides for artistic interpretation. General French-English dictionaries

used in formation of the English poetry include, but are not limited to, Larousse English-

10Robert Gartside, Interpreting the Songs of Gabriel Fauré (Geneseo, NY: Leyerle Publications, 1996), 237. 11 Ibid. 12Thomas Grubb, Singing in French: A Manual of French Diction and French Vocal Repertoire (New York: Schirmer Books, 1979). 13Gartside, Interpreting the Songs of Gabriel Fauré. 14Joan Wall, Diction for Singers: A Concise Reference for English, Italian, Latin, German, French, and Spanish Pronunciation (Dallas: Pst, 1990).

4

French French-English Dictionary,15 Webster’s New World French Dictionary,16 and

The Oxford-Hachette French Dictionary.17 Other poetic interpretive texts for singers are

Meister’s book Nineteenth-Century French Song: Fauré, Chausson, Duparc, and

Debussy,18 Interpreting the Songs of Gabriel Fauré,19 and Gabriel Fauré: The Songs and

their Poets,20 all of which consist of slightly different translations. The combination of

these distinct sources ensures an accurate translation of the poetry in English as well as a

strong foundation for its interpretation by the individual singer.

To determine pedagogical concerns within La Chanson d’Ève, I examine different

studies and scholarly opinions. One of the central questions addressed is the use of vowel

modification within female vocal registers. This issue is discussed in books such as

Singing: The Mechanism and the Technic by William Vennard,21 Overtones of Bel

Canto: Phonetic Basis of Artistic Singing by Berton Coffin,22 The Science of Vocal

Pedagogy by Ralph Appelman,23 Basics of Vocal Pedagogy by Clifton Ware,24 The

Science of the Singing Voice by Johan Sundberg,25 and The Functional Unity of the

15M. Fonteneau, C. Gauvin, and M. Melrose, Larousse English-French French-English Dictionary (Paris: Larousse & Co., 1985). 16B.T.S. Atkins, Webster's New World French Dictionary (Cleveland: Prentice Hall, 1981). 17M.H. Corréard, et al., Grand Dictionnaire Anglais Hachette & Oxford (Oxford: Oxford University Press, 2007). 18Barbara Meister, Nineteenth-Century French Song: Fauré, Chausson, Duparc, and Debussy (Bloomington: Indiana University Press, 1980). 19Gartside, Interpreting the Songs of Gabriel Fauré. 20Johnson, Gabriel Fauré: The Songs and Their Poets. 21William Vennard, Singing: The Mechanism and the Technic (New York: Carl Fischer, LLC, 1967). 22Berton Coffin, Coffin's Overtones of Bel Canto: Phonetic Basis of Artistic Singing : With 100 Chromatic Vowel Chart Exercises (Metuchen, NJ: Scarecrow Press, 1980). 23D. Ralph Appelman, The Science of Vocal Pedagogy: Theory and Application (Bloomington, IN: Indiana University Press, 1986). 24Clifton Ware, Basics of Vocal Pedagogy : The Foundations and Process of Singing (New York: McGraw-Hill, 1998). 25Johan Sundberg, The Science of the Singing Voice (DeKalb, Ill.: Northern Illinois University Press, 1987).

5

Singing Voice by Barbara Doscher.26 The amalgamation of the information from these

resources will direct the diction and pedagogical approach of this project.

Review of Literature

Only a handful of publications exists specifically concerning La Chanson d’Ève,

and the small number of dissertations and theses that address the work directly do so

mostly in theoretical or comparative terms. Interpreting the Songs of Gabriel Fauré27 and

Gabriel Fauré: The Songs and their Poets28 include interpretation guidelines and

translations, but these are merely general overviews in which La Chanson d’Ève appears

among discussions of Fauré’s other songs. Only Gartside’s Interpreting the Songs

contains an IPA transcription of the text—and that does not take into account vowel

modification. The following books and dissertations explore La Chanson d’Ève to some

extent, though none provides the performance guide that my document offers.

Meister’s Nineteenth-Century French Song: Fauré,Chausson, Duparc, and

Debussy29 furnishes a précis of the ten songs in La Chanson d’Ève. However, her book

compresses each composer’s body of work for solo voice and piano into a single volume,

abbreviating the information concerning each song by necessity. She includes poetic

translations and brief theoretical analyses in regard to artistic interpretation, with

accurate, but brief, historical background on each composer. Furthermore, this text lacks

IPA transcriptions and pedagogical considerations for the advanced singer. The

information is more suitable for singers and non-singers who seek a basic overview of

nineteenth-century French song style.

26Barbara Doscher, The Functional Unity of the Singing Voice (Metuchen, NJ: Scarecrow Press, 1994). 27Gartside, Interpreting the Songs of Gabriel Fauré. 28Johnson, Gabriel Fauré: The Songs and Their Poets. 29Meister, Nineteenth-Century French Song.

6

Graham Johnson’s recent book, Gabriel Fauré: The Songs and their Poets,30

offers a superior look at Fauré’s song repertoire and explores in depth the history behind

each song. The scope of the project is considerable, covering over one hundred songs.

The historical context surrounding Fauré’s song compositions and relationships with

various poets is quite thorough, though not based on new research, as Johnson himself

states in the foreword:

Although Gabriel Fauré: The Songs and their Poets contains a certain amount of

information not easily available elsewhere, particularly regarding the songs texts

and their authors, I lay no claim to having broken a great deal of new

musicological ground…I have unearthed no new letters, and no brand new facts

about Fauré’s life, but the interpretation of those established facts, and of the

music itself, is my own.31

Preceding the first chapter, Johnson includes a convenient timeline of pertinent

focal points in Fauré’s life and career. This book provides the most inclusive view of

Fauré’s relationship with Van Lerberghe, and the genesis of La Chanson d’Ève. Each

song description is approximately three paragraphs in length and supplies only a

superficial analysis. Although translations are provided, pronunciation guides are not.

Exclusively theoretical, two dissertations on La Chanson d’Ève (Flint’s La

Chanson d’Ève: Counterpoint in the Late Style of Fauré32 and Marsh’s Gabriel Fauré’s

“La Bonne Chanson” Opus 61 and “La Chanson d’Ève” Opus 95: Musical Diversity

30Johnson, Gabriel Fauré: The Songs and Their Poets. 31Ibid. 32Catrena Flint, La Chanson d’Eve: Counterpoint in the Late Style of Fauré (Montreal, Quebec, Canada, McGill University, 1997).

7

versus Thematic Unity33) focus on detailed musical analysis of the composition. The

former emphasizes the counterpoint technique used by Fauré in his late style, while the

latter is concentrated primarily on La Bonne Chanson. There are valuable ideas within

both of these dissertations, though it is not within the scope of either study to examine

performance interpretation of La Chanson d’Ève.

Carlo Caballero’s book Fauré and French Musical Aesthetics, Music in the

Twentieth Century is a unique approach to Fauré’s works, covering a broad range from

his early songs and chamber works to late repertoire that includes La Chanson d’Ève.34

Caballero analyzes how Fauré’s music fits into the French culture and ideals of the time

by organizing his chapters by the relationship of Fauré’s compositional output to

“sincerity,”“originality,”“novelty,”“self-renewal,”“homogeneity,” and “religious beliefs.”

He offers the best hypothesis for Fauré’s reasons behind his choices of the ten poems that

make up La Chanson d’Ève.

Caballero’s examination of La Chanson d’Ève falls in the chapter on religious

beliefs. He scrutinizes Fauré’s personal views of God and religion, citing a number of

letters Fauré wrote to his wife on this topic. Caballero attributes Fauré’s choice of poetry

to his theological viewpoint. He postulates: “Fauré left out precisely those sections of the

book most influenced by the moral lessons of the Old Testament.”35 Fauré’s belief in

God’s existence, but non-belief in the notion of original sin, likely played important roles

in his song selections and the manner in which he set each song.36 The chapter on

33Stephanie Marsh, Gabriel Fauré’s “La Bonne Chanson” Opus 61 and “La Chanson d’Ève” Opus 95: Musical Diversity versus Thematic Unity (Tucson: University of Arizona, 1995). 34Carlo Caballero, Fauré and French Musical Aesthetics, Music in the Twentieth Century (Cambridge: Cambridge University Press, 2001). 35Ibid., 202. 36Ibid.

8

religion and Fauré’s music provides a very interesting opinion on the motives for his

musical and textual choices within La Chanson d’Ève. As this book is mostly historical in

character, however, it does not go so far as to offer any sort of guide in the way of

performance.

The most analytically in-depth publication, by far, is Fauré and His Songs: The

Relationship between Music, Text and Accompaniment,37 a dissertation by Paul

Sommers. This text examines a small selection of Fauré’s songs from all three musical

periods, including “Prima verba,” the second song in La Chanson d’Ève. The entire first

chapter is dedicated to explaining French prosody. A large portion of this dissertation

dedicates itself to the discussion of syllabic stress, vowel duration, rhythm, and language

intonation.

Sommers accurately explains the relationship between Fauré’s music and Van

Lerberghe’s poetic structure and style in his discussion of “Prima verba.” He indicates the

textual associations with musical sequence, cadences, and tonalities. Overall, it is an

informative study, but is limited to one song in the cycle. Again, this dissertation avoids

any pedagogical or vocal subject matters and concentrates on theoretical analysis.

Margaret Kennedy’s The Effect of Structure upon the Performance Interpretation

of La Chanson d’Ève by Gabriel Fauré38 is another highly theoretical account of La

Chanson d’Ève. Kennedy concentrates heavily on the musical structure, thematic

material, and harmonic relationships in all ten songs. She painstakingly dissects the

harmonies measure by measure, with ample charts and graphs representing the tonal

37Paul Bartholin Sommers, Fauré and His Songs: The Relationship between Music, Text and Accompaniment (Urbana-Champaign, IL: University of Illinois, 1970). 38Margaret Ann Kennedy, The Effect of Structure upon the Performance Interpretation of La Chanson d’Ève by Gabriel Fauré (DMA diss., Indiana University, 1984).

9

structure of the cycle. This analysis makes up Part I of the document. Part II, which is

much more concise than the first, guides the reader through performance interpretation,

but emphasizes dynamic and tempo suggestions. These artistic indications do not address

the subject of vocal pedagogy or vowel modification. Kennedy provides no IPA

transcriptions. Many of the performance interpretations are no more than a paragraph for

each song. Kennedy maintains in her explication of La Chanson d’Ève “there is little

direct text painting or other obvious coordination between text and music.”39 A portion of

this document will argue against this statement of Kennedy’s.

Score Editions

The original, autographed manuscripts of the first nine songs of La Chanson

d’Ève are housed at the Bibliothèque Nationale in Paris.40 The manuscript of the tenth

song resides in the Harry Ransom Humanities Research Center of the University of Texas

in Austin.41 La Chanson d’Ève was first published in 1910 by Heugel & Cie in Paris, and

the publisher renewed the copyright in 1934.42 A digitized copy of this edition can be

found on www.imslp.org. Two other editions that remain popular among performers are

by the Alfred Publishing Company43 and Masters Music Publications, Inc.44 Both of

these editions are based off of the 1910 Heugel & Cie edition. Although a critical edition

of La Chanson d’Ève is not currently available, Bärenreiter is in the process of editing

39Margaret Ann Kennedy, The Effect of Structure upon the Performance Interpretation of La Chanson d’Ève by Gabriel Fauré (DMA diss., Indiana University, 1984), 88. 40Edward R. Phillips, Gabriel Fauré: A Research and Information Guide, 2nd ed., Routledge Music Bibliographies (New York: Routledge, 2011), 47-48. 41 Ibid., 91. 42 Gabriel Fauré, La Chanson d’Ève. (Paris: Heugel, 1910. copyright renewed 1934). 43---, La Chanson d’Ève, Kalmus Edition (Boca Raton, Alfred Publishing Company, 1985). 44---, La Chanson d’Ève, Op. 95 for Voice and Piano, Master Vocal Series (Boca Raton: Master's Music Publications, Inc., 1998).

10

and releasing the complete works of Fauré in seven volumes.45 These seven volumes will

include La Chanson d’Ève in Series II: Secular Vocal Works. Jean-Michel Nectoux

serves as the general editor of the series.

For the purposes of this document, I refer to the original 1910 and 1934 Heugel

editions.

Expected Outcomes

An exploration of currently available resources surrounding Fauré’s La Chanson

d’Ève reveals that a comprehensive performance guide is absent from the literature. This

project, then, provides vital performance information to singers and teachers who wish to

pursue this cycle. The study of vowel modification and its effect on IPA transcription is

particularly novel in the realm of published performance material. This is a valuable

resource for performers of La Chanson d’Ève: A single document containing historical

background on the composer, poet, and the song cycle; a poetic translation of each song;

an IPA transcription that takes into account vocal production and vowel modification;

and interpretative advice.


45 The information on these volumes is not currently listed on the publisher’s website. The specific series was obtained in a personal e-mail to a representative for Bärenreiter on May 18, 2013. No further updates have been published since then.

11

CHAPTER 2: HISTORY AND BACKGROUND

Fauré’s Early Musical Influences Gabriel Fauré (1845-1924)

Gabriel Urbain Fauré was born on May 12, 1845 in Pamiers, part of the Ariège

region of southwest France. He was the youngest of six children born to Toussaint and

Marie-Antoinette-Hélène Fauré. In 1849, Toussaint Fauré was appointed director of the

École Normale at Montgauzy. The family lived on the school grounds and young Gabriel

would steal into the adjoining chapel to play the harmonium in his spare time.46 By 1854,

Gabriel’s father noticed his youngest son’s gift for music, and, through encouragement

from his local music teacher, decided to enroll him in the École Niedermeyer. That

October, they made the three-day journey to Paris, where Gabriel began his studies in

piano, plainsong, and composition under the school’s founder, Louis Niedermeyer.

In 1861, after Niedermeyer’s death, a twenty-five-year-old Camille Saint-Saëns

took over the piano instruction at the school. The academic relationship between Saint-

Saëns and Fauré would eventually develop into a life-long friendship. Saint-Saëns sought

to broaden the musical curriculum in the religious school by introducing his pupils to

Schumann, Liszt, and Wagner—whose music Niedermeyer had strictly prohibited.47 It

was Niedermeyer’s belief that instruction in sacred music took precedence over secular

works as students prepared to become choirmasters and church organists.

In the autumn of 1865, Fauré took his first professional position; he became the

organist at the church of St. Sauveur in Rennes, France. Although he had spent his entire

life thus far in Catholic instruction, even winning a prize at age twelve for religious

46Jean-Michel Nectoux. "Fauré, Gabriel." Grove Music Online, Oxford University Press, accessed April 25, 2013,http://www.oxfordmusiconline.com.ezproxy.uky.edu/subscriber/article/grove/music/09366. 47Duchen, Gabriel Fauré, 22.

12

knowledge, the parish priest in Rennes had doubts about Fauré’s religious beliefs.48

Perhaps it was his habit of skipping the sermon to smoke outside that stirred the priest’s

skepticism. In a letter to his wife dated September 28, 1896, Fauré recounts his time in

Rennes: “My head was empty. I had no great opinion of myself, indeed I regarded

everything with complete indifference except manifestations of beauty and high

intelligence. But I hadn’t the shadow of ambition. What a strange character!”49

In 1870, Saint-Saëns came to Fauré’s aid by finding him an organist position at

Notre-Dame de Clignancourt in Paris. This appointment, however, lasted only a few

months when, at the outbreak of the Franco-Prussian War, Fauré volunteered for military

service. Even while attending to his military duties, Fauré never abandoned his quest for

musical fulfillment, leading to the formation of the Société Nationale de Musique that

same September. Alongside Fauré in Société Nationale de Musique’s formation were his

friend Saint-Saëns, voice teacher Romaine Bussine, and composers George Bizet, César

Franck, Henri Duparc, and Jules Massenet.

By March 1871, Fauré found himself reluctantly at the organ bench again, this

time at St. Honoré d’Eylau in Paris. His involvement with the Société Nationale de

Musique and at St. Honoré, however, was cut short that summer when he escaped

warfare in Paris with a fake passport to Switzerland, where he taught at the relocated

École Niedermeyer. During his time in Switzerland, Fauré’s reflection on his experiences

in war is evident in his somber musical output. He wrote songs set to the poetry of

Charles Baudelaire, which includes La Rançon, Op. 8 No. 2, and Chant d’automne, Op. 5

No.1, as well as Seule!,Op. 3 No. 1, which is set to poetry of Théophile Gautier. His last

48Caballero, Fauré and French Musical Aesthetics, 233. 49Nectoux, Gabriel Fauré: A Musical Life, 15.

13

setting of a Victor Hugo text, L’Absent, Op. 5 No.3, was also composed this year. The

melancholy themes recurrent throughout these compositions mirror Fauré’s emotional

state.

It was in 1872 that Saint-Saëns introduced Fauré to renowned singer and

composer Pauline Viardot. Viardot had studied piano with Liszt and was close friends

with George Sand, Clara Schumann, and Johannes Brahms, who had not long before

dedicated his Alto Rhapsody to her. Viardot took an interest in Fauré’s musical career,

advising him on compositions and even performing some of his songs at Société

Nationale de Musique gatherings.50 It is likely that some of Viardot’s attention was tied

to the possibility of Fauré marrying her youngest daughter, Marianne. In 1877 Fauré and

Marianne were engaged, but after a prolonged wedding planning period, the engagement

was called off in November. Though crushing to his personal life, Fauré’s marital

misfortune led to a prolific time in his song writing. During this time Fauré’s vocal music

took a turn from the strophic style of the romance to the freer style of the mélodie. Many

of his best known mélodies were composed in the years that immediately followed the

canceled engagement with Marianne, such as Poème d’un jour, Op. 21(1878), Automne,

Op. 18 No. 3 (1878), Les Berceaux, Op. 23 No. 1 (1879), Le Secret, Op. 23 No. 3 (1881),

and Chanson d’amour, Op. 39 No. 4 (1882).

Throughout this emotionally difficult period in his life, which also included the

death of his father in 1886 and of his mother in 1887, Fauré’s musical style evolved into

something more sophisticated and complex than previous compositions. In mélodies such

as Claire de Lune, Op. 46 No. 2 (1887), Larmes, Op. 51, No. 2 (1888), and Au cimetière,

Op. 51 No. 2 (1888), Fauré experiments with long and multifaceted harmonic sequences,

50Nectoux, Gabriel Fauré: A Musical Life, 30.

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as well as composing with strong use of mediant harmonies, a characteristic which

progresses into his later compositions, including La Chanson d’Ève. The death of his

parents may have influenced Fauré’s decision to compose his Requiem, Op. 48 in 1888.

Criticism by the Catholic clergy for liberties he took with the liturgical text of the

Requiem resulted in a strict decree set forth by the Congregation of Rites forbidding

“musical settings that leave out a single word belonging to the liturgy, or in which the

text is transposed or imprudently repeated.”51 This decree rendered Fauré’s Requiem unfit

for ceremonial use in the church. The changes that Fauré made to the text reflect his

theological ideas, which would manifest in the text choices of his later songs on religious

themes, such as La Chanson d’Ève. He elaborated on his text and musical choices in

Requiem in a 1902 interview with Louis Aguettant: “People have said my Requiem did

not express the terror of death; someone called it a lullaby of death. But that’s the way I

perceive death: as a happy release, an aspiration to the happiness of beyond rather than a

grievous passage.”52

Fauré’s evolving musical style after his Requiem met with disapproval from other

composers, also. In 1892, he applied for a professorial position with the Paris

Conservatoire, but was turned down by Ambroise Thomas, who thought his

compositional approach too modern.53 It is interesting to note that after Thomas’ death in

1896, however, Fauré was named professor of composition at the Conservatoire. In 1903,

he became a music critic for Le Figaro and two years later was promoted to director of

the Conservatoire. From 1905 until his death in 1924, Fauré’s song output lessened

considerably as he focused much of his compositional endeavors on chamber music.

51Caballero, Fauré and French Musical Aesthetics, 189. 52Ibid. 53Nectoux, Gabriel Fauré: A Musical Life, 224.

15

Vocal works during this time include La Chanson d’Ève Op. 95 (1910), Le Jardin clos,

Op. 106 (1914), Mirages, Op. 113 (1919), and L’Horizon chimérique (1921). Perhaps, as

Fauré was approaching old age, it was his reflections upon his own death which

motivated his choice in subject matter for these final songs.

Genesis of La Chanson d’Ève In 1905, France declared the official separation of church and state. The following

year, Belgain poet Albert Mockel serendipitously introduced Fauré to Charles Van

Lerberghe’s book of ninety-six poems entitled La Chanson d’Ève.54 With this separation

of the political and religious, Fauré was finally free to interpret the Biblical character of

Eve in his music without criticism of clergy members. Almost immediately, Fauré began

setting Crépescule, which would eventually become the penultimate song in his song

cycle. In September of 1906, Fauré wrote to his wife, “It’s a large volume containing a

lot of poems and one has to make a deliberate choice among them – [Van Lerberghe]

often repeats himself.”55

The motivation of Belgian poet Charles Van Lerberghe (1861-1907) to write La

Chanson d’Ève (published in 1904) likely stemmed from his strong dislike of Milton’s

Paradise Lost.56 In a letter to Mockel, Van Lerberghe writes: “Milton’s Eve is nothing

more than a cuisinière…stupidly submissive to her God and her master.”57 He goes on to

describe his version of Eve as:

a feminine soul, very sweet, very pure, very tender, very dreamy, very wise and at

the same time very voluptuous, very capricious, very fantastic […] the soul that I

54Johnson, Gabriel Fauré: The Songs and Their Poets, 305. 55Nectoux, Gabriel Fauré: A Musical Life, 366. 56Johnson, Gabriel Fauré: The Songs and Their Poets, 305. 57C. Van Lerberghe et al., Lettres À Albert Mockel, 1887-1906 (Brussels: Labor, 1986), 300.

16

should have had in another existence, when men did not yet exist, and when

everyone still had a little of the soul of the young Eve.58

Throughout La Chanson d’Ève, Van Lerberghe portrays Eve as a divine daughter

of God, but at the same time a part of the earth. He never mentions Adam at all, nor does

he include the Biblical version of man’s fall from grace. Rather, Eve tastes the golden

fruit while angels sleep and instead of being punished, she sees the world anew. God and

His angels attempt to shield her from her new knowledge, which will bring her

unhappiness, by discouraging her from eating any more of the fruit. Van Lerberghe

presents Eve’s actions with innocent, instead of selfish, motivations, and therefore she is

not punished for her “sin.”59 In the last section of La Chanson d’Ève, Eve’s soul is

ultimately returned to the earth from which she came and the angels descend to take her

to Paradise. Perhaps it was Van Lerberghe’s gentle depiction of life and death in La

Chanson d’Ève that led Fauré to pursue the poetry for his music.

At the time that Fauré began setting La Chanson d’Ève, he was not particularly

religious. Caballero describes this period of Fauré’s religious evolution as pantheistic.

Pantheism distinguishes itself from theism and atheism in that there is a belief in the

existence of the idea of God, but not in God as a divine person or being. God is in and

around everything, much as he is depicted by Fauré in La Chanson d’Ève.

Fauré’s religious views, or lack thereof, evolved over time and by the time he was

writing La Chanson d’Ève and no longer working for any religious institutions, he was

able to more openly express some of his thoughts on God. Friend and librettist, Eugène

Berteaux, describes Fauré’s feelings:

58Ibid.,301. 59Caballero, Fauré and French Musical Aesthetics, 205.

17

For him—and I have it from his lips—the word “God” was merely an immense

synonym for the word “Love.” This belief…by its sheer breadth…sooner or later

must have worn down the protests of slack epicurean indifference and irreligiosity

which various musical camps heaped upon him, really out of partisanship, though

some would claim that “such an attitude of philosophical neutrality was

unbefitting a former organist of La Madeleine.”

“Those poor people” was all Fauré would say, marking this utterance with his

best, indulgent smile.60

Perhaps Fauré’s most candid reflections on the subject of God and “original sin” are in a

letter to his wife in 1922:

In one of your recent letters you spoke to me of your admiration for the created

world and your disdain for its creatures. Is that fair? The universe is order, man is

disorder. But is that his fault? He was thrown onto this earth, where everything

seems harmonious to us and where he goes lurching, stumbling from his first day

to his last; he was thrown here weighted down with a burden of physical and

moral ailments (to the point that original sin had to be invented to explain this

phenomenon!).61

Fauré further confirms his skepticism of original sin by omitting any of Van

Lerberghe’s poetry from La Faute. By dismissing any evidence of Eve’s fall, he portrays

her as an innocent being, much like man as he described him in the above remarks to his

wife. Perhaps the greatest look into his view of the divine is in his choice of poems for La

Chanson d’Ève, particularly his choice of “O mort, poussière d’étoiles” to end the cycle.

60Ibid., 205. 61As cited in Caballero, Fauré and French Musical Aesthetics, 217.

18

Van Lerberghe ends his La Chanson d’Ève with a picture of Eve ascending with

angels up to heaven to be with God, whereas Fauré ends with Eve quietly returning to the

earth where her soul might “perfume the dark earth and the breath of the dead.”62

Caballero aptly describes Fauré’s interpretation of Eve in La Chanson d’Ève:

Fauré abolishes original sin from the garden of Eden and forces us to imagine

Eve’s relation to the world anew. Unredeemed because never guilty, Eve does not

transcend the world through personal immortality but rather returns to the world,

is absorbed by it, becomes it. Fauré specifically suggests the inseparability of life

and death through Eve’s immersion and reflection in nature, in which joy and

suffering are part of the same mortal mystery.63

Fauré composed the songs of La Chanson d’Ève out of order over a period of four

years (see Table 2.1). “O mort, poussière d’étoiles,” the last song in the cycle, was

completed in January of 1910. The entire set was published later that year by Heugel &

Cie. In April of 1910 the first performance of La Chanson d’Ève in its entirety took place

in Paris, sung by Fauré’s personal friend and long-time musical collaborator, mezzo-

soprano Jeanne Raunay.64 Fauré and Raunay performed La Chanson d’Ève, as well as

many other of Fauré’s compositions, throughout Europe. Even into the 1920s, shortly

before his death, Fauré usually accompanied Raunay in performance.65

62Gabriel Fauré and Charles van Lerberghe, La Chanson d'Ève (Heugel: 1908), 44. 63Caballero, Fauré and French Musical Aesthetics, 205. 64Johnson, Gabriel Fauré: The Songs and Their Poets, 302. 65Dunoyer, Marguerite Long: A Life in French Music, 1874-1966 (Bloomington: Indiana University Press: 1993), 87.

19

Table 2.1 Composition year for each song of Faure's La Chanson d'Ève

Song Year of Composition “Paradis” 1906 “Prima verba” 1906 “Roses ardentes” 1908 “Comme Dieu rayonne” 1909 “L'aube blanche” 1908 “Eau vivante” 1909 “Veilles-tu, ma senteur de soleil?” 1910 “Dans un parfum de roses blanches” 1909 “Crépuscule” 1906 “O mort, poussière d'étoiles” 1910

Table 2.2 Division of Van Lerberghe's poems

La Chanson d'Ève 96 Poems

Prelude 2 poems

Première Paroles 28 poems

La Tentation 36 poems

La Faute 18 poems

Crépuscule 12 poems

20

Table 2.3 Division of Faure's songs in relation to Van Lerberghe's sections

Song Poem Number Section (Fauré) (Van Lerberghe)

(Van Lerberghe) “Paradis” 3 Première Paroles “Prima verba” 7 Première Paroles “Roses ardentes” 8 Première Paroles “Comme Dieu rayonne” 12 Première Paroles “L'aube blanche” 16 Première Paroles “Eau vivante” 22 Première Paroles “Veilles-tu, ma senteur de soleil?” 29 Première Paroles “Dans un parfum de roses blanches” 39 La Tentation “Crépuscule” 86 Crépuscule “O mort, poussière d'étoiles” 94 Crépuscule

Fauré includes only one poem from Van Lerberghe’s section of thirty-six poems,

La Tentation. Fauré positions this poem, “Veilles-tu, ma senteur de soleil,” out of its

original order, which deemphasizes the message of temptation. This ordering, between

“Eau vivante” and “Dans un parfum de roses blanches” creates a sense of innocent

discovery and stimulation by the nature around her, whereas Van Lerberghe’s positioning

in La Tentation portrays Eve’s sexual temptation by Amour, the god of love.66

Fauré creates a symbolic arc within La Chanson d’Ève beginning with Eve being

born of the earth in “Paradis” and her body and soul returning to the dust from where it

came in “O mort, poussière d’étoiles.” Instead of the traditional narrative of Adam and

Eve being created by God, falling victim to temptation and therefore damning the whole

of humankind, Eve is presented as an extension of God put on the earth to give voice to

nature. This gentle image of the divine, which was also seen in the Requiem, points to

Fauré’s peaceful perspective of life and death.

66 Johnson, Gabriel Fauré: The Songs and Their Poets, 317

21

Fauré, Impressionism, and the Styles of La Chanson d’Ève

Nectoux divides Fauré’s oeuvre into four stylistic periods.67 The last one,

beginning around 1900, contains a number of elements from the impressionist style, but

scholars remain divided as to whether Fauré is truly an impressionist composer, as much

of his music also contains Romantic elements such as an emphasis on nature and longing.

La Chanson d’Ève, which falls into his late style period, encompasses a number of

impressionistic traits.

General characteristics of impressionism include renewing a sense of the beauty

of the world through perception, conveying a general impression of a scene, rather than

precise visual equivalents, and artistically interpreting a scene as a glimpse of a moment

in time rather than in a permanent state. For instance, the artwork of Renoir, Manet, and

Monet often painted scenes as a moment of continued time, rather than a still, captured

moment.68 Fauré makes use of the abundant natural themes and landscapes within La

Chanson d’Ève, many of which are expressed through Eve’s perception. He also uses text

painting through the piano accompaniment as a character, such as the imitation of rushing

water in “Eau vivante,” communicating a moving scene rather than a static moment.

Musically, impressionism is characterized by melodies circling around a single

pitch, the use of ample parallel chords, static, non-climatic melodies, the use of whole-

tone scales, and intervals of 9ths, 11ths, and 13ths instead of triads.69 Some examples of

this style are the melodic lines of “Prima verba” and “O mort, poussière d’étoiles,” as

67Jean-Michel Nectoux. "Fauré, Gabriel." Grove Music Online, Oxford University Press, accessed April March 8, 2014, http://www.oxfordmusiconline.com.ezproxy.uky.edu/subscriber/article/grove/music/09366. 68David Cummings, Random House Encyclopedic Dictionary of Classical Music, 1st U.S. ed. (New York: Random House, 1997). 69Jann Pasler, Impressionism, Grove Music Online. Oxford University Press, accessed March 8, 2014, http://www.oxfordmusiconline.com.ezproxy.uky.edu/subscriber/article/grove/music/50026.

22

well as the numerous parallel chords throughout “Paradis.” Static melodies appear in

“Paradis” and “O mort, poussière d’étoiles.” Fauré uses chromaticism in every song, and

most songs employ 9ths, 11ths, or 13ths within their harmonic structures. Further

impressionistic qualities throughout La Chanson d’Ève are examined in depth within the

individual song analyses that follow.


23

CHAPTER 3: THE MEZZO-SOPRANO VOICE

Fauré and the Mezzo-Soprano

Fauré’s familiarity with the mezzo-soprano voice began through his professional

relationship with mezzo-soprano Pauline Viardot.70 Many of his early songs were

performed by Viardot’s two daughters, Claudie and Marianne. Pauline Viardot managed

a popular salon during the 1870s in Paris. Before her role as salon overseer and teacher,

Viardot had been a successful opera singer throughout Europe. She maintained close ties

to many popular French composers such as Berlioz and Gounod. In fact, Berlioz’s

reinstatement of the mezzo-soprano voice for the title role in Gluck’s Orféo ed Euridice

was in Viardot’s honor.71 Viardot performed opera, song, and oratorio during the 1850s

and 60s.

Saint-Saëns’ fortuitous introduction of Viardot and Fauré in 1872 led to much of

Fauré’s future success. Even after his broken engagement with Viardot’s eldest daughter,

he preserved a professional relationship with the family. It is likely that through his

activities and reputation in Viardot’s salon, Fauré met and collaborated with famous lyric

mezzo-soprano and créatrice of La Chanson d’Ève Jeanne Raunay. Raunay’s repertoire

included works by Schütz, Mozart, Schumann, as well as many by nineteenth-century

French composers.72 Fauré’s dedication of La Chanson d’Ève to Raunay, Raunay’s role

in the first performances, and her repertoire on the whole, help to identify the best type of

voice for the song cycle. Though any classification of mezzo-soprano is appropriate to

sing La Chanson d’Ève, the tessitura, range, and style may best suit the lyric mezzo-

70 Johnson, Gabriel Fauré: The Songs and Their Poets, 85. 71 Ibid. 72 “London Concerts,” The Musical Times 52, No. 815 (1911): 31.

24

soprano voice. Perhaps Fauré’s close collaborative relationship with Raunay, as well as

the composition of La Chanson d’Ève, can be seen as an acknowledgement to the great

role that Viardot played in his musical career.

Figure 3.1 Gabriel Fauré au piano chez Jeanne Raunay, avec Paul Daraux, René Lenormand, Georges

Mauguière.73

The Registration of the Mezzo-Soprano Voice

Discussion of pedagogical issues within La Chanson d’Ève requires an

understanding of the registers and specific needs of the mezzo-soprano voice, such as

where each register lies and where passaggi notes occur. There are a number of theories

among pedagogues as to the number of registers in the singing voice. For the purposes of

this document, a register will be defined as “homogenous tone qualities produced by the

same mechanical system.”74

73 “Gabriel Fauré au piano chez Jeanne Raunay, avec Paul Daraux, René Lenormand, Georges Mauguière,” photograph, 1903, Bibliotèque Nationale de France Online Catalog, http://gallica.bnf.fr/ark:/12148/btv1b8417732w/f1.item.r=jeanne%20raunay (accessed May 23, 2014). 74Ware, Basics of Vocal Pedagogy, 113.

25

http://gallica.bnf.fr/ark:/12148/btv1b8417732w/f1.item.r=jeanne%20raunay

The most widely discussed theories argue the existence of one, two, or three

registers. William Vennard reasons that the idealistic approach to registers is the

existence of only one:

The voice, if possible, should produce all the pitches of which it is capable

smoothly and consistently, without ‘breaks’ or ‘holes’ or radical changes in

technic. This is the goal toward which all teachers are striving, and many believe

that the best way to make an ideal come true is simply to assume it is true, and

never admit to anything to the contrary.75

He goes on to assert that the realistic approach, a theory most widely accepted by

teachers today, is the presence of three main registers. Some singers possess auxiliary

registers at the top or bottom of their voices, but these auxiliary registers are not included

in this performance guide.

The three registers in the female voice refer to the chest register or heavy

mechanism; the middle or mixed register; and the head register or light mechanism. The

chest register manifests itself when yelling or speaking and receives its name from the

sympathetic vibrations felt in the chest cavity. When used properly in singing, with

correct airflow, the chest voice adds body, strength, and drama to lower notes. Adversely,

forcing the chest voice too high is dangerous over extended periods of time.76 The middle

voice, or mixed register, is best described as a blending of the chest and head voices. This

register is where most vocal music, including La Chanson d’Ève, lies for female singers.

The middle register poses challenges for the young or inexperienced singer. Vennard

says:

75Venard, Singing: The Mechanism and the Technic, 69. 76Ibid., 76.

26

Teachers agree that most women beginners need to “find their middle voice.”

Sopranos sing largely in “head” and contraltos largely in “chest,” but when they

discover the “middle” and how to get into it, their vocal development really

begins.77

The middle voice is essential to the understanding and development of a healthy

head voice. William Earl Brown credits his voice teacher, Giovanni Battista Lamparti, to

this analogy: “You do not water a tree at the top but at the roots – and the tree spreads

and blooms as a natural consequence. It is the proper training of the middle voice that

brings the beautiful head voice.”78

The head register distinguishes itself by a light, soaring, “heady” sound with

minimal overtones.79 The larynx stays low, the palate is lifted, and the epiglottis is

completely raised. Arnold Rose adds that a singer may be able to sing for longer periods

of time without vocal fatigue when implementing correct use of the head register.80

Except in operatic or art song, the head voice is widely underused by female singers, as

most popular music is written in low keys.

Negotiating register transitions presents challenges to both singers and teachers;

an understanding of register breakdowns and vowel modifications are essential to healthy

transitions throughout the voice. Transition notes, or passaggi, vary between voice

classifications, but are mostly uniform within each Fach. For the purpose of this

document, only the registers of the mezzo-soprano voice will be discussed (see Table

3.1).

77 Ibid., 73. 78 William Earl Brown, Vocal Wisdom - Maxims of Giovanni Battista Lamperti (New York: Arno Press, 1931), 137. 79 Doscher, The Functional Unity of the Singing Voice, 133. 80 Arnold Rose, The Singer and the Voice (London: Faber & Faber, 1962), 148.

27

Table 3.1 Typical register breakdown and transition notes for the mezzo-soprano voice

Vowel modification can largely aid in negotiating through the passaggi. Ralph

Appelman provides a clear explanation of the need for vowel modification in the singing

voice:

The teachers of bel canto taught the development of a vocal scale without the

interruption or break throughout its length. The transition of registers, while

singing up and down the scale, demanded a modification of the vowel in the

upper notes to preserve the true vowel sound as well as to prevent such notes from

becoming disagreeable or harsh.81

Vowel modification throughout a scale is gradual, but in wider skips and leaps within

music, a modified vowel must be decided beforehand. Appelman goes on to explain the

need for modified IPA within vocal music:

Acoustically, a sung phoneme is not the same as a spoken phoneme. Duration,

pitch, and vocal force demand larger opening of the oral and pharyngeal cavities

and prevent the sound from being the same…If the singer is singing the word lord

in the middle voice range, and wishes to crescendo the phoneme, open [ô] on the

same pitch over four beats. He must choose between the phoneme [o] or [ɔ]…The

81 Appelman, The Science of Vocal Pedagogy: Theory and Application, 220-221.

28

listener is apt to hear these vocalized sound as some kind of aw, and to depend

upon the word order to give the meaning of the text…If the word is properly sung

on a pitch on the top of the staff, the word will be heard as [lʌd].82

Without expounding too much upon the intricate acoustical reasons behind vowel

modification, the requirement of this adjustment is supported by science. Vowels are

measured on frequencies, and the frequencies that can best travel through the vocal tract

are called formants.83 Formant frequencies can be modified by the position of the lips,

larynx, jaw, soft palate and tongue.84 For instance, if a singer attempts to sing the vowel

[i], (which has a formant frequency upper limit of 400 Hz) on F5 (which has a frequency

of 700 Hz), the vowel must be modified to one that includes a formant frequency that

accommodates 700 Hz.85 In short, the combination of the vowel stated in the text, the

frequency of the note, the required formant frequencies for optimal sound, and the

singer’s registers and passaggi all determine the best vowel for any given pitch within a

song.

A number of notes throughout La Chanson d’Ève occur in the ranges between

registers. Doscher refers to these transitional notes as “bridge notes.”86 These bridge

notes, for the mezzo-soprano, lie between C4 and E4 for the primo passaggio and between

C-sharp5 and F5 for the secondo passaggio.87 Doscher goes on to quote Mathilde

82 Ibid., 221. 83 Sundberg, The Science of the Singing Voice, 82. 84 Doscher, The Functional Unity of the Singing Voice, 133. 85 Ware, Basics of Vocal Pedagogy, 168. 86 Doscher, The Functional Unity of the Singing Voice, 180. 87 M. Garcia, Hints on Singing (London: E. Ascherberg & Company, 1894), 9.

29

Marchesi’s advice on negotiating through the primo passaggio: “To equalize the scale,

slightly close the last two chest notes when ascending.”88

In addressing the secondo passaggio, Doscher highlights vowel modification

through the bridge notes: “For example, the [e] vowel is shaded toward [ɛ], the [i]

migrates toward [e] or even [ɛ] in bigger voices, the [o] absorbs some of the [ɔ] vowel

and the [u] modifies to [ʊ], [o], or [ɔ], depending upon the voice size, classification,

style, ascending or descending line, and other pertinent factors.”89

Such sophisticated intricacies within the voice, vowels, and the French language

lead us to conclude that La Chanson d’Ève is best suited for the advanced singer. Since

most of the cycle sits in the middle voice, the mixed register must be highly developed.

An understanding of healthy transitions between the chest and middle registers is

essential in the performance of Fauré’s masterpiece. Without these considerations, an

effective presentation of La Chanson d’Ève is difficult.


88 Doscher, The Functional Unity of the Singing Voice, 179. 89 Ibid.,181.

30

CHAPTER 4: PARADIS

Key: E Minor

Range: Tessitura:

Table 4.1 IPA Pronunciation and Poetic Translation of "Paradis"90

90 Note: All translations and IPA pronunciation guides throughout this document have been written by the author

Paradis paradi Paradise

C'est le premier matin du monde. se lə prœmje matɛ’ dy modə

It is the first morning of the world, Comme une fleur confuse exhalée dans la nuit, kɔm ynə flœr kõfyz ɛgzaleə dɑ la nɥ,

Like a hazy flower exhaled into the night, Au souffle nouveau qui se lève des ondes, o suflə nuvo ki sə lɛvə de zodə,

From the new breeze which rises from the waves Un jardin bleu s'épanouit. œ ʒardɛ blø sepanui.

A blue garden blooms. Tout s'y confond encore et tout s'y mêle, tu si kofo dɑkɔ re tu si mɛlə,

Everything merges there still and everything blends, Frissons de feuilles, chants d'oiseaux, frisõ də fœjə ʃɑ dwazo

Shuddering of leaves, songs of birds,

Glissements d'ailes, glisəmɑ dɛlə,

Gliding of wings,

31

Table 4.1 (continued)

Sources qui sourdent, voix des airs, voix des eaux, sursə ki surdə, vwa de zɛr vwa de zo

Springs which rise, voices of air, voices of water Murmure immense; mœrmœr ɛmɑsə

Immense murmur, Et qui pourtant est du silence. e ki purtɑ ɛ dy silɑsə

And which nevertheless is silence Ouvrant à la clarté ses doux et vagues yeux, ɔvrɑ ta la klarte se du ze vagə zjø

Opening to the light her tender and vague eyes La jeune et divine Eve la ʒœn e divin ɛvə

The young and divine Eve S'est évillée de Dieu, sɛ tevɛjeə də djø

is awakened by God Et le monde à ses pieds s'étends comme un beau rêve. e lə mõd a se pje setɑ kɔm œ bo rɛvə

And the world to her feet extends like a beautiful dream Or, Dieu lui dit: Va, fille humaine, ɔr djø lɥi di va fij ymɛnə

Now, God to her says: “Go, human daughter, Et donne à tous les êtres e dɔn a tu le zɛtrə

And give to all beings Que j'ai créés, une parole de tes lèvres, kə ʒe kreje ynə parolə də te lɛvrə

That I have created, a word from your lips Un son pour les connaître. œ sõ pur le kɔnɛtrə

A sound by which to know them.” Et Eve s’en alla, docile à son seigneur, e ɛvə sɑ nala dɔsi la sõ sɛŋœr

And Eve went away, docile to her master, En son bosquet de roses, ɑ so bɔske də rozə

Into her copse of roses,

32


Analysis

“Paradis” is the lengthiest of Fauré’s complete collection of mélodies. Though it

is extensive, the structure of “Paradis” is simple. It is built on two main musical themes,

which appear in alternating sections throughout the song. The eight musical sections of

Donnant à toutes choses dɔnɑ ta tutə ʃozə

Giving to all things Une parole, un son de ses lèvres de fleur: ynə parol œ so də se lɛvre də flœr

A word, a sound from her flowerlike lips: Chose qui fuit, chose qui souffle, chose qui vole... ʃozə ki fɥi ʃozə ki suflə ʃozə ki vɔlə

Thing that glides, thing that breathes, thing that flies Cependant le jour passe, et vague, comme à l'aube, sepɑdɑ lə ʒur pa se vagə kɔ ma lobə

Nevertheless, the day passes and hazy as at dawn, Au crépuscule, peu à peu, o krepyskylə pø a pø

At twilight, little by little, L'Eden s'en dort et se dérobe ledɛn sɑ dor e sə derobə

Eden goes to sleep and sheds Dans le silence d'un songe bleu. dɑ lə silɑsə dœ sõʒə blø

Into the silence of a blue dream. La voix s'est tue, mais tout l'écoute encore, la vwa se tyə mɛ tu leku tɑkɔrə

The voice ceases, but all listen for it still, Tout demeure en l'attente; tu dœmœ rɑ latɑtə

All remain in expectation Lorsqu'avec le lever de l'étoile du soir, lɔrskavɛk lə lœve də letwalə dy swar

Until the star of the evening rises, Eve chante. ɛvə ʃɑtə

Eve sings.

33

“Paradis” correlate directly with the poetic strophes. Each stanza varies in length;

therefore, the musical sections vary as well.

“Paradis” begins in a simple style, comprised of a single, tied whole-note for each

of the first three measures in the piano part. This extended, ascending pattern in the piano

part of mm. 1-4 is Theme I, which Fauré uses as an idée fixe throughout La Chanson

d’Ève to convey innocence and nature (see Example 4.1).

Example 4.1 Fauré, “Paradis,” mm. 1-4

The vocal line enters softly and sustained with an open fifth leap on the syllables “C’est

le premier matin du monde.” The sparse harmonies and the stationary vocal line create a

picture of the unformed world.

In m. 21, at the end of “Un jardin bleu s’épanouit,” the key changes to the parallel E

major and a different, arppegiated quality emerges in the accompaniment as the empty

earth fills with life. Fauré marks this new section cantando and the more rapidly

changing harmonic rhythm introduces Eve’s “jardin bleu.” Theme II is present in the

half-notes of the accompaniment in mm. 21-22 (see Example 4.2).

Theme I

34


This theme returns throughout the song as the text depicts God’s continuing creation of

new beings. At m. 50, the tempo slows and Theme I returns. This is the first time Eve is

mentioned in the text. The serene characteristic of Theme I that Fauré returns to in the

accompaniment suggests that the once rapidly blooming earth pauses with Eve’s creation.

In m. 60, the piano drops out completely, indicating the anticipatory silence of all

creation as it waits for Eve to opens her eyes. The forte return of Theme II marks Eve’s

first breath on a G-sharp major chord in m. 61 and continues through m. 72 (see Example

4.3).

m. 16

m. 21

Theme II

35


In m. 73, the texture and harmony suddenly change and an open F major chord

announces God’s presence as he finally speaks to Eve in m. 76. As God tells Eve to go

out and “give to all beings that I have created, a word from your lips. A sound by which

to know them,” the piano plays four two-bar descending sequences on mostly open

octaves, which—with the steady crescendo—creates a “building” sensation (see Example

4.4).

m. 57

m. 61

36


This late entrance of God may reflect the challenges Fauré faced in giving God a musical

voice. He expresses in a letter to his wife, “The writing is difficult. It’s descriptive and

unsentimental. And then one has to set words for God the Father and his daughter Eve. It

isn’t easy dealing with such important people.”91

In mm. 87-89, the descending chromatic chords emphasize Eve’s apprehension in the

words “And Eve, docile to her master…” as the audience awaits her response to God’s

command. M. 90 ascends, though, and declares her obedience to her master in m. 91 with

the third, and final return of Theme II on E major (see Example 4.5).

91Nectoux, Gabriel Fauré: A Musical Life, 366.

m. 76

m. 79

37

Example 4.5 Fauré, “Paradis,” mm.87-93

A crescendo and accelerando represent Eve’s excitement as she gives names to all living

creatures.

An abrupt texture change appears at m. 107 and signifies the end of the day as

“Eden goes to sleep and sheds/Into the silence of a blue dream.” An A minor chord

represents the twilight, while the quiet, static vocal line over thin or non-existent

accompaniment paints the picture of the day coming to a close as all of creation becomes

silent. One last textural change occurs at m. 126 with a quick E major arpeggiation in the

piano and Theme I appearing in the bass line. The time signature shifts back to 3/2. This

quickening of the tempo illustrates the anticipation of creation as Eve begins to sing (see

Example 4.6).

m. 87

m. 91

38


Interpretation

The overriding vocal quality for “Paradis” is one of coolness and detachment,

especially in the beginning when the sustained, static vocal phrases symbolize the

vastness of the empty earth. This cool vocal quality is best achieved through piano

dynamics and an avoidance of heavy vibrato. A declamatory approach rather than a

precise melody characterizes the vocal line; therefore, the expression of the text is of the

utmost importance. The singer’s goal is to tell the story by bringing out descriptive words

with vocal nuances.

For instance, though it may be tempting to sing with full force and crescendo too

early during the vocal ascent in mm. 7-8, it is not until mm. 11-15, “Au souffle nouveau

qui se lève des ondes,” that the music broadens to convey the text. In mm. 45-46, the

singer might minimize vibrato on the word “silence” to paint the stillness of the text.

m. 122

m. 126

39

Steadily building vocal intensity in mm. 53-60 signals Eve’s awakening in m. 61

on the word “Dieu.” At this point, the singer may introduce warmth and depth of tone as

Eve comes to life. It is acceptable to slightly accelerate the tempo in mm. 62-69 as the

earth opens up before Eve, but the piano serves the text by pulling back at m. 70 to

prepare for the andante at m. 73.

As God’s voice enters in m.76, a different vocal character suits the representation

of the Divine. A gentle, yet commanding, vocal tone serves well God’s loving instruction

to his “fille humaine.” As the story unfolds and Eve names all the creatures of the earth,

the excitement builds and the music accelerates. The climax of the song, and

consequently the most vocally intense, occurs in m. 105 on the word “vole,” as Eve

completes her task. “Vole” may be sung with strength and fervor, with a strong

vocalization of the consonant “v.”

As the song closes and evening falls over the earth, the singer may strive for quiet

and fluid legato, though the cool detachment present in the beginning of the song

subsides as the once empty earth is now filled with life. The last section of the song is

reminiscent of a lullaby, as Eve sings her song sweetly and tenderly to earth’s new

inhabitants.

Vocal Considerations

The most prevalent vocal challenge throughout “Paradis” is maintaining precise

intonation throughout the several vocally static sections. These placid moments occur

with minimal support from the piano and usually a dynamic marking of piano or mezzo

piano. The opening line of “Paradis” provides a perfect example of such a passage.

40

The first four notes create an open fifth with the one-note accompaniment. The

voice must be securely in the center of the pitch in order to tune correctly with the B-

natural. To keep the tone soft, the singer must employ a steady stream of air, careful not

to hold back air, which may cause the throat to tighten. Since the notes between E-flat4

and F-sharp 4 mark the primo passaggio for most mezzo-sopranos, the vowels should be

sung as closed as possible to aid in a smooth transition into the middle register and to

keep the tone forward and ringing (see Example 4.7).


Another vocal challenge in this selection for the mezzo-soprano is the negotiation

of vowels through the secondo passaggio, which is usually found somewhere between D5

and F5. In m. 40, the word “murmure” appears on E5. Singing a pure [y] in this part of the

voice would result in a tight, squeezed sound, so the vowel is best modified to [œ] (see

Example 4.8).

41


Another instance that necessitates vowel modification is in m. 53 on the word “ouvrant.”

The [u] may be more comfortable for the singer if slightly opened to [ɔ] (see Example

4.9).


A useful tool to prepare “Paradis” is to practice the entire song with only the

vowels of the text to ensure a smooth vocal transition from word to word, as many of the

phrases occur on the same note or only move by half steps. For example, in mm. 76-77,

one would sing the vowels in “Va, fille humaine,” as [a-i-y-ɛ-ə] to make certain the

quality matches on each note and the intonation is solid.

42

To sum up, “Paradis” is a lesson on legato singing. To guarantee an effective

performance of this lovely first song of La Chanson d’Ève, one must pay careful attention

to the text, while maintaining adequate breath support and seamless motion between

notes.


43

CHAPTER 5: PRIMA VERBA

Key: G-flat Major

Range: Tessitura:

Table 5.1 IPA Pronuncation and Poetic Translation of “Prima verba”

Prima Verba prima vɛrba

First word Comme elle chante kɔm ɛlə ʃɑtə

How it sings in my voice dans ma voix, dɑ ma vwa

in my voice L'âme longtemps murmurante lamə lɔtɑ myrmyrɑtə

The long-murmuring soul Des fontaines et des bois! de fotɛne ze de bwa

ofthe fountains and the woods! Air limpide du paradis, ɛr lɛpidə dy paradi

Limpid air of paradise, Avec tes grappes de rubis, avɛk te grapə də rybi

With your clusters of rubies, Avec tes grebes du lumière, avɛk te ʒerbə də lymjɛrə

With your sheaf of light,

Avec tes roses et tes fruits; avɛk te rozə ze te frɥI

With your roses and your fruits,

44


Analysis

Set in G-flat major, “Prima verba” is shorter than “Paradis.” The style is compact

and homogenous and the accompaniment plays a greater role throughout than the

previous song. “Prima verba” is divided into two sections, with the first set in 4/4 time

and the second in 3/2 time. These sections are organized by poetic strophes, with the first

three appearing in the first section. Fauré includes the first line of the last strophe at the

end of the first musical section, creating a dovetail effect into the second section.

The first musical section opens with a phrase set in a series of eighth and

sixteenth notes with little melodic movement, painting the picture of the softly

murmuring fountain. The vocal line follows the natural flow of the French language,

which, although exhibits a loose rhyme scheme, is set in a free meter. The second stanza

Quelle merveille en nous à cette heure! kɛlə mɛrvɛj ɑ nu za sɛ tœrə

What wonder in us at this hour! Des paroles depuis des âges endormies de parɔlə dœpɥi de zaʒə zɑdɔrmiə

Words which have been asleep for ages, En des sons, en des fleurs, ɑ de sõ ɑ de flœr

In sounds, in flowers on my lips finally take life. Sur mes lèvres enfin prennent vie. syr me lɛvrə zɑfɛ prɛnə viə

on my lips finally take life. Depuis que mon souffle a dit leur chanson, dœpɥi kə mõ sufl a di lœr ʃɑso

Since my breath has said their song, Depuis que ma voix les a créés, dœpɥi kə ma vwa le za crejeə

Since my voice has created them, Quel silence heureux et profond kɛl silɑs hørø e profõ

What happy and profound silence Naît de leurs âmes allégées! nɛ də lœr zamə zaleʒeə.

Is born from their lightened souls!

45

is close to a structured poetic meter with the rhyming of “paradis,” “rubis,” and “fruit.”

The three lines containing these rhymes each consists of eight syllables. Fauré begins

each line of the second stanza on an up-beat and places all three of the rhymed words at

the end of the line on the third beat. The phrases are positioned in a rising and

harmonically complicated sequence, culminating on an A-flat major chord, with “fruit”

as the musical climax.

The meter changes to 3/2, indicating the second musical section, in m. 17 with the

phrase “Depuis que mon soufflé a dit leur chanson.” This signifies the change in Eve’s

demeanor from excitement about her first words to contentment as she ponders the

“silence heureux et profond.” The tempo, dynamic, and harmonies all simultaneously

decrease and end quietly on the tonic as Eve calmly basks in the wonder around her (see

Example 5.1).

Example 5.1 Fauré, “Prima verba,” mm. 15-18

46

Interpretation

The greatest obstacle to performing “Prima verba” is capturing a tempo that is

slow enough to convey the serenity of the text and adhere to the Adagio molto marking,

but fast enough that the phrases have direction. A tempo set between = 72-80 is ideal.

The song begins with a gentle quality and builds in joyful intensity throughout mm. 6-10.

Fauré facilitates this natural upsurge through this section with a poco a poco cresc.

marking, as well as the rise in pitch through sequencing in both the vocal and piano parts.

As if it is a reflective sigh, the next phrase beginning in the latter half of m. 10

with “Quelle marveille” returns to a tranquil legato. A slight crescendo through m. 15

adds to the delight expressed by Eve, but remains subdued in relation to the climax of

mm. 6-10. The rest of the song maintains as much warmth as possible to the end,

portraying Eve’s bliss at the world around her.


An important consideration in “Prima verba” is the planning of breaths within

extended vocal phrases. There are many choices, depending on tempo. For instance,

depending on an agreed upon metronomic marking between singer and pianist, a breath

can be taken in m. 2 after “voix,” or the phrase can be carried through until after

“murmurante.” Another instance to consider is the prolonged phrase in m. 14; a small

catch breath may be taken after “En des sons” in order to crescendo during m. 15 and

keep the phrase energized until the end of m. 16.

Managing one’s breath in the final phrase presents a few different possibilities. In

m. 19, a breath may be taken after “profond” or after “âmes.” If a breath is taken after

47

“âmes,” the singer must ensure the break of airflow is with intention and highlights the

word “allégées.” A third option is to breath after “leurs,” connecting “âmes allégées" as

one musical thought.

A few instances of vowel modification are necessary in “Prima verba.”The first is

on the word “fruits” in m. 9 because the word is sung in the secondo passaggio on an E-

flat5 and the [i] in the vowel combination [ɥi] is best sung slightly opened toward [I] (see

Example 5.2).


The second instance is in m. 19, where the word “nait” occurs in the middle of the primo

passaggio. Closing slightly from [ɛ] more toward [e] keeps the tone forward and resonant

(see Example 5.3).



48

CHAPTER 6: ROSES ARDENTES

Key: E Major

Range:

Tessitura:

Table 6.1 IPA Pronuncation and Poetic Translation of “Roses ardentes”

Roses ardentes Rozə zardɑtə

Blazing roses Roses ardentes rozə zardɑtə

Blazing roses Dans l'immobile nuit, dɑ lɛmobilə nɥi

In the motionless night, C'est en vous que je chante se tɑ vu kə ʒə ʃɑtə

It is in you that I sing Et que je suis. e kə ʒə sɥi

And that I am. En vous, étincelles ɑ vu etɛsɛlə

In you, sparkles A la cime des bois, a la simə də bwa

At the summit of the woodsl Que je suis éternelle kə ʒə sɥi zeternɛlə

That I am eternal Et que je vois. e kə ʒə vwa

And that I see. Ô mer profonde, o mɛr profodə

O deep sea,

49


Analysis

“Roses ardentes” is set in E major, a key Christian Schubart describes as having

“loud shouts for joy.”92 Indeed, the text expresses Eve’s abundant joy at being one with

her surroundings. The poetry is set in four clear stanzas containing end rhymes on

alternating lines (abab/cdcd, etc.). Fauré divides the music according to the text in a

binary form, placing two stanzas in each section. The first section begins with the piano

declaring a series of tonic chords. The voice enters on the dominant, but instantly rises to

a VI chord in m. 3. The next musical phrase peaks on a flatted VII in m. 5, creating a

sense of excitement through the chromatic build (see Example 6.1).

92Friedrich, Christian, Daniel Schubart and Ted DuBois, "On the Human Voice and the Characteristics of the Musical Keys," New England Review (1990-) 25, no. 1/2 (2004), 170.

C'est en toi que mon sang se tɑ twa kə mõ sɑ

It is in you that my blood Renaît vague blonde, rœnɛ vagə blõdə

Revives vague, fair, En flot dansant. e flo dɑsɑ

And dancing waves. Et c'est en toi, force suprême, e sɛ tɑ twa fɔrsə syprɛmə

It is in you, supreme force, Soleil radieux, solɛj radiø

Radient sun, Que mon âme elle-même kə mɔ namə ɛlə mɛmə

That my soul itself Atteint son dieu! atɛ sɔ djø

Reaches its god!

50

Example 6.1 Fauré, “Roses ardentes,” mm. 1-6

The first stanza ends in mm. 9-10 with a cadence on I. The second strophe begins in m.

11. The melodic line follows the same rhythmic and harmonic pattern Fauré uses in the

first verse. These opening two stanzas are set in a parlando style to convey Eve’s

excitement.

As the third stanza and, then, the second musical section begin in m. 18, Fauré

slows the rhythm in the vocal line. Suddenly, “O mer profonde” is broad and legato as the

dynamic swells to the first appearance of the dynamic marking forte. The harmony

dramatically shifts to C major, and the intensity slowly climbs with a poco a poco cresc.

to the climax on “âme” in m. 32. The last vocal phrase, “Atteint son dieu!” in mm. 34-35,

ends triumphantly on a V-I cadence. The final vocal interval and accompaniment chords

that follow reflect the perfection of God and the peaceful resignation Eve experiences as

she reaches Him (see Example 6.2).

m. 1

m. 4

51


Interpretation

Although it is easy to dismiss the text in the compact rhythms that Fauré writes,

clear diction is essential in “Roses ardentes” in telling Eve’s story. The tempo marking is

Andante with the = 72. The lively text and light, staccato accompaniment lend

themselves to a slightly faster tempo. Between = 82 and 102 is ideal; anything faster

tends to create a feeling of frantic anxiety, rather than excited wonder. Some rubato may

be exercised at the ends of phrases.

During the opening, the 3/4 meter includes a hemiola in the accompaniment,

creating rhythmic interest and a feeling of 2/4. The opening vocal phrases peak on “nuit”

in m. 5 and “suis” in m. 9, reinforcing the metric structure of the song by allowing the

downbeats in the piano to momentarily align with the vocal part. Forward motion, with

m. 31

m. 34

52

clear arrivals on subsequent downbeats, helps the pianist and singer to stay together

through shifting rhythms.

The singer may broaden in m. 18 and sustain a forte dynamic throughout the third

verse, but should take care to reserve the fullest use of the vocal tone until after the

crescendo in mm. 28-29. The pinnacle of the song occurs on the word “âme” in m. 32,

but at a dynamic level that allows the subsequent phrase, which is marked sempre forte,

to remain at the same volume. Otherwise, the reverential ending would be overshadowed

by the climax in the phrase preceding it.


Many notes throughout “Roses ardentes” appear in the bridge notes of the

secondo passaggio and thus may need vowel modifications. The first of these notes, a D5,

appears in m. 5 on the word “nuit.” As in the word “fruit” in “Prima verba,” the vowel

combination [ɥi] in “nuit” may be slightly opened toward [ɥI] (see Example 6.3).


The word “Renait” in mm. 21-22 already contains the open vowel [ɛ], and it is

recommend one keeps the vowel true. The same holds for the second syllable of the word

“suprême” in mm. 28-29. In mm. 28-29, the first syllable of the word “suprême,”

however, may need to open slightly toward [ø]. Because the note is short the singer may

53

want to ensure the vowel does not become narrow on a [ɥ] in this range as she moves

forward to the second syllable (see Example 6.4).



54

CHAPTER 7: COMME DIEU RAYONNE

Key: C Minor

Range:

Tessitura:

Table 7.1 IPA Pronunciation and Poetic Translation of “Comme Dieu rayonne”


Comme Dieu rayonne aujourd'hui, kɔmə djø rajɔ noʒurdwi

How God beams today Comme Dieu rayonne aujourd'hui, kɔmə djø rajɔ noʒurdwi

How God beams today, Comme il exulte, comme il fleurit kɔm il εgzyltə kɔm il flœri

How he exults, how he blooms Parmi ces roses et ces fruits! Parmi se rozə e se frɥi

Among these roses and these fruits!

Comme il murmure en cette fontaine! kɔm il myrmy rɑ sɛtə fɔtɛnə

How he murmurs in this fountain! Ah! comme il chante en ces oiseaux... a kɔm il ʃɑ tɑ se zwazo

Ah! How he sings in these birds… Qu'elle est suave son haleine kɛl ɛ suavə sɔ nalɛnə

How sweet is his breath Dans l'odorant printemps nouveau! dɑ lodorɑ prɛtɑ nuvo

In the odorous new spring!

55

Analysis

“Comme Dieu rayonne” is divided into two musical sections, with the first two

verses comprising the first section and the last verse, the second. The first section

incorporates Theme I from “Paradis” in the uppermost voice of the piano

accompaniment. This time, Theme I is set in C minor, a key of longing, with an altered

rhythm.93Again, Fauré uses this theme to convey Eve’s innocence and her desire to bathe

in God’s loving presence, a presence that is represented by nature all around her.

In contrast to the opening of “Paradis,” Fauré uses Theme I in “Comme Dieu

rayonne” as part of a contrapuntal texture within four other voices of the piano. The vocal

line enters in m. 2 and creates a fifth melody intertwined with the complex piano

counterpoint. The harmonic sequence in mm. 1-2 is repeated in mm. 3-4 (see Example

7.1), with slightly modified rhythms, and, likewise, the harmonies in mm. 5-7 are

repeated in mm. 7-8.

Example 7.1 Fauré, “Comme Dieu rayonne,” mm. 1-4

93Ibid., 169.

Comme il se baigne dans la lumière kɔm il se bɛŋə dɑ la lumjɛrə

How he bathes himself in the light Avec amour, mon jeune dieu! avɛk amur mɔ ʒœnə djø

With love, my young god! Toutes les choses de la terre tutə le ʃɔzə də la tɛrə

All the things of the earth Sont ses vêtements radieux. sɔ se vɛtəmɑ radjø

Are his radiant garments.

m. 1

56

While the piano material is separated into four, 2-bar phrases, the vocal line in mm. 2-8 is

broken into a 2-bar phrase, followed by a 3-bar phrase, and then another 2-bar phrase.

The second musical section begins in m. 14 with the introduction of an

arpeggiated texture in the piano, reminiscent of Theme II in “Paradis.”The introduction of

this new shimmering quality vividly paints the text “Comme il se baigne dans la

lumiére,” as one visualizes God appearing, bathed in gleaming light. The vocal leap in m.

17 to the highest note of the song, F5, is descriptive of the word “lumiére” and further

paints the picture of Eve’s admiration and exhilaration as she beholds God. Large vocal

leaps also appear in m. 18 on the word “amour” and m. 19 on “jeune dieu” to echo the

previous display of elation (See example 7.2).


m. 4

m. 17 57

As the song ends, one last large skip in the vocal line during mm. 22-23 symbolizes

God’s radiance on the word “radieux!” (see Example 7.3)


m. 19

58

A diminuendo represents Eve’s reverent awe and the harmony shifts to C major,

the key of innocence and simplicity,94 with the song’s ending on a pianissimo I chord.

The shift from C minor to C major signifies that by the end of the song, the Eve’s longing

for God is fulfilled.

Perhaps the most fascinating aspect of the poetry in “Comme Dieu rayonne” is

how Van Lerberghe capitalizes “Dieu” in the first strophe, but deliberately uses the lower

case “dieu” in the last strophe. This suggests that Eve views God as a supreme being only

in the beginning of the song. Throughout it, she comes to realize that every living

creature and everything that has life is an embodiment of God, and she sees Him in

everything around her. Placing “god” in the lower case implies that all of creation,

including Eve, is merely an extension of the divine and not subjects bowing to His

control.

Interpretation

“Comme Dieu rayonne” is unique from the other songs in La Chanson d’Ève in

that the piano and vocal material is written in a contrapuntal style. The piano

accompaniment, in this regard, could stand on its own as a solo piece. There are clear

melodic lines throughout the piano separate from the voice that may be brought out as

such. Because of the intricate and continual harmonic movement, the dynamics are

crucial to allowing the music to remain vibrant. Robert Gartside suggests allowing each

phrase to “blossom with an ever so slight crescendo in the middle, which then dies off at

the end of the phrase.”95

94Ibid., 169. 95Gartside, Interpreting the Songs of Gabriel Fauré, 243.

59

The vocal leaps in this song require a legato breath connection at all times to

preserve the nature of the text. The texture change of the piano in m. 14 prompts the

singer to arrive delicately on the second syllable of “nouveau.” Although Gartside

suggests a subito piano at this point in both the voice and piano, this could prove jarring

in an otherwise tender vocal moment.96 Instead, the previous phrase, beginning in the

second part of m. 9, remains soft to allow for the crescendo through mm. 14-15, and

arrives at a forte in m. 16 (see Example 7.4).


Mm. 16-21 should remain strong and forte; only m. 21 should allow a decrescendo begin

to lead to the final note on “radieux.”


Vocal challenges in La Chanson d’Ève occur in several areas of “Comme Dieu

rayonne.” This song contains a multitude of vocal leaps throughout, many of which occur

96Ibid., 244.

m. 13

m. 15

60

on bridge notes. Knowing which vowels to modify significantly helps in the undertaking

of these trouble spots. Another potential problem is the tessitura, which sits higher than

many of the other songs in the cycle. From beginning to end, constant negotiation

between middle and head registers occurs and most of the notes hover around the

secondo passaggio.

The first suggested vowel modification is found in m. 4. The syllable “ul” of

“exulte” occurs on E-flat5 and an [ø], as opposed to a pure [y] vowel, may better suit the

singer (see Example 7.5).


Likewise, in m. 7, the word “murmure” sits too high in the voice to sing a resonant and

pure [y]. The singer might consider opening toward [ø]. In m. 10, opening the last

syllable of “oiseaux” from [o] to [ɔ] allows for optimal resonance. In m. 18 a pure [u]

vowel may be difficult on “amour.” Modifying toward [ɔ] may remedy this challenge

and the word is still understood.

In all of the previously mentioned examples, especially when a wide leap is

involved, the vowel preceding the modified one anticipates the higher vocal position. For

instance, in m. 9, the first syllable of “oiseaux” maintains a height in the soft palate that

leads to an easy transition into the bridge (see Example 7.6).

61


More space is needed in preparation for the second syllable of “oiseaux” than if the note

were being sung alone with no leaps following. The palate remains in a high position

during the vocalization of the [z]; otherwise the pitch may go flat. A good exercise for

this song is to sing all the upper notes in a phrase, leaving out any notes that drop into a

lower register, to feel how the vowels are formed and the position of the soft palate. Once

the higher notes maintain a legato and resonant musical line, the lower notes may be

added back in. This exercise ensures that the disjointed vocal line is sung with optimum

resonance throughout every note of the phrase.


62

CHAPTER 8: L’AUBE BLANCHE

Key: D-flat Major

Range:

Tessitura:

Table 8.1 IPA Pronunciation and Poetic Translation of “L’aube blanche”

L'aube blanche lo bə blɑ

The white dawn L'aube blanche dit à mon rêve: lobə blɑʃə di ta mɔ rɛvə

The white dawn says to my dream: "Éveille-toi, le soleil luit." evejə twa lə solɛj lɥi

“Get up, the sun shines.” Mon âme écoute et je soulève mɔ nam ekut e ʒə sulɛvə

My soul listens and I raise Un peu mes paupières vers lui. œ pø me popjɛrə vɛr lɥi

My eyelids a little to see light. Un rayon de lumière touche œ rajɔ də lumjɛrə tuʃə

A beam of light touches La pâle fleur de mes yeux bleus; La palə flœr də me zjø blø

The pale flower of my blue eyes; Une flamme éveille ma bouche, ynə flamə evejə ma buʃə

A flame awakens my mouth, Un souffle éveille mes cheveux. œ suf levejə me ʃœvø

A breath awakens my hair. Et mon âme, comme une rose e mɔ name kɔm ynə rozə

And my soul, like an unsettled rose,

64


Analysis

Fauré includes only the first three verses of Van Lerberghe’s poem in his setting

of “L’aube blanche.” By omitting the fourth verse, Fauré chooses to end the song with

Eve awakening to the beauty of the earth that surrounds her. This decision allows

“L‘aube blanche” to seamlessly transition to the next song, “Eau vivante,” where Eve

observes the splendor of the rushing stream. Fauré creates a musical and textual arc in

“L’aube blanche.” Though not a true ternary form, “L’aube blanche” exhibits a sense of

unity between the first and third sections. Harmonically, the song begins and ends in D-

flat major. Likewise, the poetry begins with Eve’s soul listening to the dawn and ends

with her soul awakening to the love of God represented by the earth around her.

The first verse begins on a first inversion D-flat major chord, with both the vocal

line and the piano eluding the downbeat until m. 6 (see Example 8.1).

Troublante, lente, tout le jour, trublɑtə lɑtə tu lə ʒur

slowly, all day, S'éveille à la beauté des choses, sevej a la bote de ʃozə

Awakens to the beauty of things Comme mon âme à leur amour. kɔmə mɔ nam a lœr amur

As my soul to their love.

65

Example 8.1 Fauré, “L’aube blanche,” mm. 3-6

Both parts arrive on a B-double flat seventh chord, which, enharmonically, spells

a flat VI chord. This sudden harmonic shift represents the moment Eve moves from a

slumbering state to awakening at the sound of God telling her to “Eveille-toi.”

In the second section, as Eve struggles to fully awaken, Fauré provides a musical

sequence of a repeating melodic motive in the piano to artfully depict the opening and

closing of her eyes. A descending tritone, leading to a major third and followed by a

perfect fifth, appears in mm. 7-15. In the subsequent phrase, beginning with “Une flamme

éveille mes cheveux,” the dynamic marking increases to mezzo forte as Eve is now fully

awake to the wonders around her. The dynamic quickly falls back to piano in m. 19 and

arrives on a root position E major chord as Eve feels the gentle breeze in her hair (see

Example 8.2).

m. 3

m. 5

66


She is fully awake, but still peaceful and basking in the quiet of nature around her. The

vocal line in mm. 11-19 follows a descending whole-tone scale pattern—a technique

Fauré used only rarely in past works97—representing the rays of light falling on Eve.

The final strophe expresses Eve’s admiration and excitement. As her emotions

intensify, so do the dynamic level and the harmonic intricacies. These musical details

express the opening of her soul to the beauty around her. The dynamic is marked sempre

forte at m. 25, even though the vocal line drops down to an F4. A decrescendo in m. 27

begins the movement toward piano on the D-flat major chord in m. 29, marking the full

arch from the quiet beginning in D-flat to the quiet ending on the same chord (see

Example 8.3). Eve’s reverence and love for God is likened to the feeling left by a

peaceful dream.

97Ibid., 245.

m. 17

m. 19

67


Interpretation

The tempo for “L’aube blanche” is marked = 76. It is important to adhere to this

marking and not slow down, especially after Eve opens her eyes, to express the wonder

and admiration that she experiences upon her awakening. The arc of dynamics that Fauré

indicates is equally important. Since no dynamic is marked for the vocal entrance,

starting at a mezzo piano or mezzo forte leaves room to crescendo in the middle section.

The forte section, beginning on the pick up to m.16, is not a dramatic statement, but an

outgrowth of admiration and excitement. Even while singing loudly, the singer maintains

a sense of wonder in the voice through exaggerated consonants rather than vocal force.

A legato quality throughout the song from both singer and pianist emphasize the

ambiguity of the downbeats. Clear downbeats occur in both parts in mm. 6 and 10. By

creating a sense of rhythmic vagueness, the downbeats in these measures are pronounced,

depicting the precise moments of the sun’s rising and Eve’s awakening, respectively.

m. 27

m. 29

68

Blurring the downbeat is not important for the remainder of the song, as Fauré has

put a clear rhythmic structure back into his writing, but continued legato is essential

throughout. The repeated notes and chromatic movements in the vocal and piano lines

require legato treatment to convey the smoothness of the approaching dawn. Vocal

warmth, representing the warmth of the sun, is the overriding characteristic in “L’aube

blanche.”


The range and tessitura in “L’aube blanche” are both favorable for unmodified

vowels in the mezzo-soprano voice. In fact, there are no instances in which a vowel needs

modification, as the song does not go above a D-sharp5 and the vowels on the bridge

notes are already open (such as “flamme” in m. 16). The challenge in this song is to

carefully manage the many chromatic passages with accurate intonation. This may be

achieved by not singing too heavily and by concentrating on legato singing through

supported breath flow.


69

CHAPTER 9: EAU VIVANTE

Key: C Major

Range:

Tessitura:

Table 9.1 IPA Pronunciation and Poetic Translation of “Eau vivante”

Eau vivante o vivɑtə Living water

Que tu es simple et claire, kə ty e sɛpl e klɛrə

How you are simple and clear, Eau vivante, o vivɑtə

Living water, Qui, du sein de la terre, ki dy sɛ də la tɛrə

Which, from the bosom of the earth, Jaillis en ces bassains e chantes! ʒɛli zɑ se basɛ ze ʃɑtə

Gushes forth in these pools and sings! Ô fontaine divine et pure, o fɔtɛnə divin e pyrə

O divine and pure fountain Les plantes aspirent le plɑtə zaspirə

The plants inhale Ta liquide clarté ta likidə klarte

Your liquid clarity La biche et la colombe en toi se désaltèrent. La biʃ e la kolɔ bɑ twa se desalterə

The doe and the dove in you quench their thirst.

70


Analysis

“Eau vivante” breaks down into three main musical sections, with the three poetic

stanzas correlating to them. The first section includes mm. 1-8; the second includes mm.

9-18; and the third, mm. 19-31. Within these sections, the poetic meter is irregular,

though a clear end-rhyme scheme is evident. Fauré uses the uneven poetic meter to avoid

a sense of musical metric structure throughout the song. Downbeats are continually

blurred by the accompaniment throughout “Eau vivante” with the use of shifting musical

accents. The first instance of metric shift occurs in mm. 2-3 of the piano. The top line

sounds on beat three and is tied through the first beat of the next measure, changing pitch

on beat two. Furthermore, a tie in m. 3 to m. 4 in this same part obscures any sense of

downbeat (see Example 9.1).

Et tu descends par des pentes douces e ty desɑ par də pɑtə dusə

And you descend on the sweet slopes De fleurs et de mousses, də flœr ze də musə

Of flowers and moss, Vers l'océan originel, vɛr loseɑ noriʒinɛl

Towards the original ocean, Toi qui passes et vas, sans cesse, et jamais lasse twa ki pasə ze vas sɑ sɛ se ʒame lasə

You who come and go without ceasing, and never weary De la terre à la mer et de la mer au ciel. də la tɛr a la mɛr e də la mɛr a siɛl

From the earth to the sea and from the sea to the sky.

71

Example 9.1 Fauré, “Eau vivante,” mm.1-4

The piano line, coupled with the vocal part, which does not begin a phrase on a downbeat

until m. 9, gives the impression of an ever-changing body of water.

Along with shifting metric centers, Fauré incorporates a number of other

impressionist musical devices in “Eau vivante.” Word painting through atmospheric

effects is a common characteristic of impressionist music.98 This song is the best example

of Fauré’s use of word painting in La Chanson d’Ève. The piano, with its constant

sixteenth-note texture represents the clear, flowing water described in the text. The first

poetic stanza, and consequently the first musical section, starts in the key of C major with

a sixteenth-note pattern in constant motion, much like the movement of a stream. This

sixteenth-note figure remains continuous throughout the work, constantly flowing

through a series of chromatic passages. A cadence finally occurs in the third stanza. In m.

21, on the word “mousses,” Fauré incorporates a III chord on this measure signifying the

98Michael Kennedy and Joyce Bourne Kennedy, The Oxford Dictionary of Music, 2nd ed. (Oxford: Oxford University Press, 1994).

m. 1

m. 3

72

moment that the Living Water, or God, descends upon the earth (see Example 9.2).

Perhaps the use of III refers to the Biblical trinity.

Example 9.2 Fauré, “Eau vivante,” mm. 19-22

The water continues its journey to the sea as the tonality shifts through

chromaticism in every measure. The meandering tonality abruptly ends in m. 29 at the

moment that the stream meets the ocean, again on a III chord. Fauré quickly returns to a

simple V-I cadence in the key of C major, which is followed by one of his characteristic

soft and serene endings. The forte dynamic marking in m. 29 decrescendos to a piano in

both the voice and piano in m. 30. “Eau vivante” ends on a root-position C major chord,

with a fermata indicating the sound and the water continuing on infinitely.

Interpretation

“Eau vivante” presents as a piano piece with a vocal obligato. The

accompaniment could stand alone as a beautiful piano work without the vocal part. The

poetry is about water, with the piano as the main character (more so than the voice),

m. 19

m. 21

73

which adds a textual picture to complement the piano. Though the singer may regard her

part as secondary in “Eau vivante,” Gartside describes the composition in these terms:

Although singers might tend to dismiss this song as having little vocal interest, it

must be looked at as part of a cycle in which singer and pianist form a duo of

equal importance; they become a true ensemble and each will have his or her

‘moment in the sun’; in this one it is the pianist’s. Use it as a moment of relative

rest for the voice.99

The key to an effective performance of “Eau vivante” lies in the contrasting and

complementary textures of the voice and piano. While the piano is in constant motion,

Fauré uses longer note values and ties over bar lines in the vocal line. The text and lack

of a strong metric center contribute to legato singing by allowing the singer to glide

easily over downbeats without accenting them. In mm. 15-16, the word “colombe” is tied

over the bar line, creating a continuous musical phrase over three measures (see Example

9.3). The long musical phrases create a feeling of forward motion in which no retard is

needed.

99Gartside, Interpreting the Songs of Gabriel Fauré, 248.

74

Example 9.3 Fauré, “Eau vivante,” mm. 15-17


“Eau vivante” is an exercise in smooth navigation through the middle voice. As in

“L’aube blanche,” the range and tessitura make for little vocal issues in “Eau

vivante.”The few times that the vocal line goes beyond a C5, Fauré considerately places

the note on an open vowel. There are two instances of octave jumps that may require

attention, occurring in mm. 17 and 25 (see Examples 9.4 and 9.5).

Example 9.4 Fauré, “Eau Vivante,” m. 17

m. 15

m. 17

75

Example 9.5 Fauré, “Eau Vivante,” m. 25

The tendency may be to lower the palate and sing the lower note with heaviness, as it is a

sustained note and a comfortable place for the mezzo-soprano voice. The singer must be

mindful, however, that both lower notes occur on unaccented syllables. It may be

beneficial to arrive at them gently with a piano dynamic and a high palate position.


76

CHAPTER 10: VEILLES-TU, MA SENTEUR DE SOLEIL

Key: D Major

Range:

Tessitura:

Table 10.1 IPA Pronunciation and Poetic Translation of “Veilles-tu, ma senteur de soleil”

Veilles-tu, ma senteur de soleil Are you awake, my scent of sun,

Veilles-tu, ma senteur de soleil, vɛjə ty ma sɑtœr də sɔlɛj

Are you awake, my scent of sun, Mon arôme d'abeilles blondes, mɑ naromə dabɛjə blɔdə

My aroma of golden bees, Flottes-tu sur le monde, flɔtə ty syr lə mõdə

Do you float over the world, Mon doux parfum de miel? mɑ du parfœ də miɛl

My sweet perfume of honey? La nuit, lorsque mes pas la nɥi lɔrskə me pa

The night, when my steps Dans le silence rôdent, dɑ lə silɑsə rodə

In the silence roam, M'annonces-tu, senteur de mes lilas, Manɔse ty sɑtœr də me lila

Do you announce me, scent of my lilacs, Et de mes roses chaudes? e də me rosə ʃodə

And of my warm roses?

77


Analysis

The five stanzas of “Veilles-tu, ma senteur de soleil” are divided into four musical

sections. The first and second stanzas (mm. 1-20) are combined into a single musical

segment. This portion of the song mainly revolves around the tonic, except for a brief

outline of flat-III in mm.12-13, before cadencing on a V7/V on m. 21. M. 21 marks the

Suis-je comme une grappe de fruits sɥi ʒə kɔ mynə grapə də frɥi

Am I like a bunch of fruit Cachés dans les feuilles, kaʃe dɑ les fœjə

Hidden among the leaves, Et que rien ne décèle, e kə riɛ nə desɛlə

And that nothing detects Mais qu'on odore dans la nuit? mɛ kɔ ɔdɔrə dɑ la nɥi

But that one smells in the night? Sait-il à cette heure, sɛ til a sɛ tørə

Does he know, at this hour, Que j'en tr'ouvre ma chevelure, kə ʒɑ truvrə ma ʃœvɛlyrə

That I unfasten my hair, Et qu'elle respire? e kɛlə rɛspirə

And that it breathes? Le sent-il sur la terre? lə sɑ til syr la tɛrə

Does he sense it on earth? Sent-il que j'étends les bras sɑ til kə ʒetɑ le bra

Does he sense that I extend my arms Et que des lys de mes vallées, e kə de li də me valeə

And that the lilies of my valleys, Ma voix qu’il n'entend pas ma vwa kil nɑtɑ pɑ

My voice which he hears not Est embaumée? ɛ tɑbomeə

Is fragrant?

78

beginning of a two-measure sequence in the piano, which repeats four times in an

ascending pattern ending in m. 32 on a flat-I7(see Example 10.1).

Example 10.1 Fauré, “Veilles-tu ma senteur de soleil,” mm. 21-29

The sequence is carefully hidden within the fast-moving texture, as Eve sings about being

a cluster of fruit hidden in the leaves. The fourth stanza begins on m. 33 and meanders

through another series of two-bar sequences that outline an ascending circle of fifths. The

registration of the piano rises throughout this sequence to convey the series of questions

that Eve asks in the fourth verse.

The last musical section occurs from mm. 45-63. Fauré continues the two-bar

sequencing, bringing the tonality back to tonic and cadencing on a pianissimo root-

m. 21

m. 24

m. 27

79

position I chord in m. 59. The quiet ending reflects Eve tentatively questioning whether

her presence has been noticed.

The poetry of “Veilles-tu, ma senteur de soleil” presents a different outlook, as far

as subject matter, than that of the previous songs. Those songs portray a spiritual

atmosphere as Eve relates to God and the earth around her. But the text of “Veilles-tu,”

where it portrays Eve unfastening her hair and reaching out her arms, focuses more on

physical sensations. Eve speaks repeatedly of a “he” in this song, but her subject is never

named. One can assume, because of the different musical treatment of the text, that Eve is

speaking of Adam. Fauré portrays Eve as unsure and unsettled through the rapidly

moving sixteenth-note triplets and tonal instability in the accompaniment.

The unrelenting harmonic movement in the accompaniment signifies Eve’s

insecurity in the presence of Adam. The movement finally stops in m.61, but the tonic

chord continues over three measures in longer note values. Eve realizes that her moment

of being noticed by Adam has passed as the sound of the final chord fades through the

use of a fermata.

Interpretation

Fauré has carefully marked all of the dynamic indications within the piano part.

Because the texture never changes, the swell and decline of each phrase are enhanced by

the crescendos and decrescendos in the piano. Likewise, the tempo, marked Allegretto

con moto, can further develop the sense of swell and repose. The use of rubato to speed

up the beginnings of vocal phrases, then slowing down at the ends may create the feeling

of tension and release within each stanza. Because the poetry is irregular, emphasizing

the phrase endings can bring out the string of questions present in the poetry.

80

One instance of the need for emphasized phrase endings occurs in m. 36-40,

where Fauré paints the natural flow of a question with a rising melodic line. The musical

accent of the entire phrase falls on the second syllable of “respire” in m. 40, so the singer

may bring it out with a crescendo. The last syllable of “respire” is unaccented and Fauré

indicates this by placing it on a lower pitch. It should be sung more quietly than the

second syllable even as the piano continues to crescendo (see Example 10.2).



The overriding vocal challenge within “Veilles-tu, ma senteur de soliel” is

managing the syllabically set text through different registers. The temptation is to sing

heavily with too much breath force on low notes. However, keeping them light and

speech-like depicts the flutter of excitement expressed by Eve and the bees.

m. 36

m. 39

81

The first instance of register management occurs in mm. 5-6 in the skip from

“abeilles” down to “blondes.” The tendency is to accent “blondes” since it appears on a

downbeat, but the peak of the phrase actually occurs on the preceding word (see Example

10.3).


By keeping “blondes” unaccented, the singer may be able to easily transition from the

middle secondo passaggio bridge note on “abeilles” to the primo passaggio bridge note

on “blondes.” The next critical instance of sharp register changes is in m. 18 at the octave

leap in the word “roses.” Although a piano is not indicated until m. 21, the pinnacle of

the phrase occurs on the first beat in m. 18, so the unaccented second syllable of “roses”

should be softer. Again, the octave transition naturally becomes unproblematic with a

softer dynamic on unaccented syllables (see Example 10.4). The same treatment may be

beneficial for the large vocal leaps in mm. 28-29, as well as mm. 40-41.

m. 3

m. 6

82


Another issue in this song is the need for vowel modifications. The first takes

place in m. 18 on the first syllable of the word “roses.” Since this note is forte and is

preceded by a crescendo, it is beneficial to slightly open the vowel towards [ɔ] for

maximum resonance and beauty (refer back to Example 10.4). The next vowel

modification occurs in m. 40 on the second syllable of the word “respire.” A pure [i] may

result in a pinched sound, but if the singer opens slightly to [I], proper resonating space is

created by more height in the soft palate (see Example 10.5).

Example 10.5 Fauré, “Veilles-tu, ma senteur de soleil,” mm. 39-41

83

In m. 43, the words “il” and “syr” occur on a D5, which is a bridge note into the

secondo passaggio. The vowel does not necessarily need to be completely changed, but

the singer can take care to create enough space in the mouth with a raised soft palate and

relaxed tongue to let the note resonate. Using [I] in “Il” and [œ] in “syr” keeps the soft

palate high and forms a favorable resonating space. The same process can be applied in

m. 50 on the word “lys.”


84

CHAPTER 11: DANS UN PARFUM DE ROSES BLANCHES

Key: G major

Range:

Tessitura:

Table 11.1 IPA Pronunciation and Poetic Translation of “Dans un parfum de roses blanches”

Dans un parfum de roses blanches In a perfume of white roses

Dans un parfum de roses blanches dɑ zœ parfœ də rozə blɑʃə

In a perfume of white roses, Elle est assise et songe; ɛl ɛ tasi ze soʒə

She sits and dreams; et l'ombre est belle comme s'il s'y mirait un ange... e lõ brɛ bɛlə kɔmə sil si mirɛ tœ nɑʒə

And the shade is beautiful as if mirroring an angel... L'ombre descend, le bosquet dort; lobrə desɑ lə bɔske dɔr

The shade descends, the grove sleeps; Entre les feuilles et les branches, ɑtre le fœjə ze le brɑʃə

Among the leaves and the branches, Sur le paradis bleu s'ouvre un paradis d'or; syr lə paradi blø su vrœ paradi dɔr

On the blue paradise opens a paradise of gold;

85


Analysis

“Dans un parfum de roses blanches” contrasts against the previous two songs

through its inclusion of a narrator, rather than Eve speaking in first person. The narrator

paints the picture of Eve sitting tranquilly in the shade as petals fall around her. The

poetic description of the “blue paradise” opening to a paradise of gold is the same “blue

garden” described by a narrator in the first song, “Paradis,” as God unfolds the earth

before her. With the mention of the passing of the blue garden, Fauré positions “Dans un

parfum” before the twilight or “crépuscule” of death.

The poetic structure of “Dans un parfum de roses blanches” is mostly free with

few rhyme schemes. Barbara Meister describes the poetry as approaching the “genre

known as prose-poem.”100 Similar to the poetry, the harmonic structure is free throughout

the song and incorporates multiple dissonant tonalities within a G major framework.

Without the confines of a harmonic structure, Fauré portrays the turbulence of Eve’s

spirit as she approaches death by including the interval of a tritone, second, or seventh

throughout most of the chords in the song. These dissonant intervals are also present in

the chromatic melody of the lower piano line, while the melodic contour is a statement of

100Meister, Nineteenth-Century French Song, 145.

Une voix qui chantait, tout à l'heure, murmure ynə vwa ki ʃɑtɛ tu ta lœrə myrmyrə

A voice that sang, now murmurs… Un murmure s'exhale en haleine et s'éteint. œ myrmyrə sɛgza lɑ nalɛ ne setɛ

A murmur rises in the air and is extinguished. Dans le silence il tombe des pétales... dɑ lə silɑ sil tobə de petalə

In the silence some petals fall…

86

the second theme present in the inner part of “Paradis” (see Examples 11.1 and 11.2). By

making this thematic connection, Fauré highlights the role of nature in Eve’s existence.

Example 11.1 Fauré, “Dan un parfum de roses blanches,” mm.1-2


The use of nature is a recurring theme throughout La Chanson d’Ève. In “Dans un

parfum,” the white roses mentioned in the first line represent Eve’s innocence and

purity.101 As she approaches twilight and eventually death in the final song, the last

phrase of “Dans un parfum” depicts the falling petals in the silence. The musical phrase

that accompanies the closing line of poetry, with its widely spaced chords, is reminiscent

of Fauré’s setting of the “Pie Jesu”in his Requiem as the theme turns towards death in the

next two songs of “Dans un parfum de roses blanches.”

101Holland, Robert Afton, "Dante's White Rose of Paradise," The Sewanee Review 13, no. 4 (1905), 398.

87

Interpretation

From beginning to end, the character of the song remains pensive and gentle.

Fauré includes no musical climaxes in this work; instead, he portrays the contemplative

poetry through long, legato phrases in the piano. With the exception of one marking of

dolce at the beginning, Fauré excludes any use of musical shaping devices, such as the

use of crescendo or decrescendo in any of the musical material. Therefore, the singer and

pianist may desire to keep the musical phrases static, without any large dynamic

contrasts, throughout the piece.

The lack of dynamic variation in the music alludes to the solemnity of the next

two songs, yet “Dans un parfum” is not melancholy. Although Eve faces a fate of death,

the G major tonality and the tranquil, natural scene in the poetry suggest Eve’s emotional

state is calm and happy. The theme of death is directly addressed in the final two songs,

but not before. The singer may keep “Dans un parfum” uplifting as Eve relishes her final

carefree moments in nature. This can be achieved simply by smiling in performance.


Aside from the requirement of total legato singing, the vocal issues in this song

are minimal. The low tessitura and narrow range of “Dans un parfum de roses blanches”

eliminate any need for upper-register vowel modification. Similar to previous songs,

Fauré incorporates vocal leaps between registers and through passaggi. In m. 6, the leap

of a tritone from the middle register to the upper bridge region might be a challenge (see

Example 11.3).

88

Example 11.3 Fauré, “Dan un parfum de roses blanches,” m. 6

To overcome this challenge, the soft palate and tongue remain flexible with the formation

of the text, allowing enough resonating space in the mouth before the actual leap.

Although the preceding vowel in “et” is closed, slightly opening it allows the soft palate

to move upward in preparation for the D-flat5 on “songe.” The same technique of keeping

the tongue and soft palate elastic applies to the sequence of leaps in mm. 21 and 23 (see

Example 11.4).

Example 11.4 Fauré, “Dan un parfum de roses blanches,” mm.19-24

m. 19

m. 22

89

The long phrases require even and sustained breath flow. The temptation is to

crescendo through repeated notes and on leaps, but the song is best conveyed as statically

as possible, with consistent airflow throughout the phrases. As in “Paradis,” a good

exercise for the preparation of the long phrases is to sing them only on vowels before

adding back in the consonants.


90

CHAPTER 12: CRÉPUSCULE

Key: D Minor

Range

Tessitura

Table 12.1 IPA Pronunciation and Poetic Translation of “Crépuscule”

Crépuscule Krepyskyl

Twilight Ce soir, à travers le bonheur, sə swar a travɛr lə bɔnœr

This evening, through the happiness, Qui donc soupire, qu'est-ce qui pleure? ki dõ supirə kɛsə ki plœrə

Who sighs, who is it who cries? Qu'est-ce qui vient palpiter sur mon coeur, kɛsə ki vjɛ palpite syr mõ kœr

What is it that comes throbbing on my heart, Comme un oiseu blessé? kɔ mœ nwazo blɛse

Like a wounded bird? Est-ce une voix future, ɛ synə vwa fytyrə

Is it a future voice. Une voix du passé? ynə vwa dy pɑse

A voice of the past? J'écoute, jusqu'à la souffrance, ʒekutə ʒyska la sufrɑsə

I listen, until to the point of suffering, Ce son dans le silence. sə so dɑ lə silɑsə

This sound in the silence.

91


Analysis

Fauré divides “Crépuscule” into two musical sections. The rhyme scheme of the

poetry is free, so there are no clearly separated stanzas. Instead, Fauré creates the musical

divisions based on the mood of the poetry. The first four lines of text signify Eve’s

questioning and somewhat confused state. The remainder of the poem reveals Eve’s

realization of her impending death. Fauré splits the musical sections mainly through the

use of dynamics; the first musical section is piano and the second section is forte.

“Crépuscule” opens as twilight settles over Paradise. The opening theme from

“Paradis” is stated in the first two measures of “Crépuscule.” In this instance, however, it

is a whole step lower in D minor instead of E minor, and has a slightly faster harmonic

rhythm than in “Paradis.” According to Schubart’s analyses of key areas, D minor

encompasses “dejected womanhood which broods on notions and illusions.”102

102 Schubart, "On the Human Voice," 169.

Île d'oubli, ô Paradis! ilə dubli o paradi

Isle of oblivion, O Paradise! Quel cri déchire, dans la nuit, kɛl kri deʃirə dɑ la nɥi

What cry pierces, in the night, Ta voix qui me berce? ta vwa ki mə bɛrsə

Your voice which lulls me? Quel cri traverse kɛl kri travɛrsə

What cry cuts through Ta ceinture de fleurs, ta sɛtyrə də flœr

Your sash of flowers, Et ton beau voile d'allégresse? E to bo vwalə dalegrɛsə

And your beautiful veil of exhilaration?

92

“Crépuscule” marks the beginning of Eve’s recognition that death is approaching, and,

the tonality is, perhaps, a foreshadowing of her fate.

In the first few vocal phrases, Eve hears a voice, unsettling amidst her happiness.

She asks, “Who sighs, who is it who cries? What is it that comes throbbing on my heart,

like a wounded bird?” Fauré paints these questions with increasing dissonances,

signifying the uncertainty in Eve’s voice. In m. 7 on the word “pleure,” the B-flat in the

opening theme from “Paradis” moves up a half-step to natural, creating a tritone between

the voice and piano. This dissonance, rather than the perfect fourth originally stated in m.

4 of “Paradis,” further illustrates the unrest in Eve as she approaches death (see Example

12.1 and 12.2). The use of ascending chords beneath Eve’s words mirrors the questions in

the text (see Example 12.3).

Example 12.1 Fauré, “Crépuscule,” mm. 7-8


93


In m. 11 Fauré thickens the texture by adding notes in the left hand of the piano.

In m. 15, he includes the marking espressivo in the piano as the note values lessen from

half notes to quarter notes in the bass clef. The increased rhythmic motion represents Eve

listening with anguish for the voice of death (see Example 12.4).

Example 12.4 Fauré, “Crépuscule,” m. 15

At this moment, she is not certain if it is God who is calling her to death or another entity,

and her angst is palpable in m. 16 with a G-sharp in the left hand piano against a G-

natural and F-natural in the right. Meister describes these chords as having an

“earthbound heaviness, which is perhaps meant to remind us that Eve has fallen from

Paradise” (see Example 12.5).103


94


The second musical section begins in m. 27 with further musical depictions of

Eve’s anxiety. In m. 28, Fauré illustrates her mysterious piercing cry on beat one with a

tritone between the voice and piano. Eve’s anxiety is momentarily quelled in m. 29-30,

illustrated with a decrescendo, as she recalls God’s lulling voice. Her anxiety returns in

the next vocal phrase, as she again hears the troubling cry (see Example 12.6).


Fauré indicates a poco a poco crescendo and an accompaniment filled with thick,

dissonant chords to signify her angst. M. 37, however, abruptly changes to the triumphant

m. 26

m. 29

95

key of D major.104 This sudden transition in mood and key aptly sets up the final song, as

Eve accepts her approaching death and finds comfort in God’s reassuring presence. The

song ends on a pianissimo D major chord. This shift from a minor tonality to a major one

sets up the promising subtext in the final song.

Interpretation

In “Crépuscule,” the piano portrays Eve’s internal struggle to interpret the voice

coming to her through the silence. At times, the piano and vocal parts are in conflict as

Eve says one thing yet feels another. For instance, in m. 9, Eve sings of her throbbing

heart, but the accompaniment underneath is legato and its rhythmic motion seems slow

through the use of half notes (see Example 12.7).


The singer may choose to portray the anxiety of the text through the use of dynamics.

Fauré marks this section sempre piano. Therefore, soft singing and crisp diction,

especially on the “p”s in “palpiter,” is most effective to communicate Eve’s fear.

Throughout the text, Eve’s apprehension about an unknown future alternates with

the comforting feeling of God’s steadfast presence. It is important to strike a balance

between these two moods in performance. In m. 15, a surge of Eve’s trepidation develops

from the accompaniment, indicated by the simultaneous espressivo and crescendo

104Schubart, "On the Human Voice," 169.

96

markings. However, the dynamic quickly drops back to piano in m. 16 with the entrance

of Eve’s tentative voice. Her musical material is also marked piano, as she listens for

whatever entity is calling to her. Eve’s conflicting emotion appears in m. 19 as

contrasting dynamics illustrate this paradoxical text of “the sound in the silence.” The

vocal line is marked forte while the accompaniment is still piano; this musical device is

one of many techniques Fauré uses to convey a looming air of uncertainty (see Example

12.8).


Finally, in m. 27, the singer can vocally communicate the first real sense of panic

in Eve’s voice with a forte entrance. The terror lasts only three measures as Eve calms

m. 13

m. 16

m. 19

97

herself with the reassurance of “Ta voix qui me berce” in m. 30. Fauré reflects this brief

moment of calm in the accompaniment with three measures marked piano in mm. 29-31,

but her fear returns in both voice and piano in m. 32. The tension escalates through m. 34

and arrives at a forte dynamic marking, but in m. 35, a sudden resignation to her fate can

be expressed through a decrescendo and crisp, deliberate diction. The piano concludes

with three measures of dotted whole-note D major chords to evoke the feeling of serenity

as Eve faces death in “O mort, poussière d’étoiles.”


As in many of the previous songs of La Chanson d’Ève, the vocal line in

“Crépuscule” contains descending leaps that require precision. The first large leap occurs

in m. 7 on the word “pleure.” Although the dynamic is marked sempre piano, the first

syllable of “pleure” may be sung mezzo piano so that the second, unaccented syllable can

be sung piano (see Example 12.9).


Keeping the breath flowing, even with a decrescendo on “pleure,” ensures a legato line,

despite an octave skip. The next large interval takes place in m. 19. Since this portion of

the music is forte and the poetic stress of the phrase occurs on the second syllable of

“silence,” the lower and upper Fs can be sung forte (see Example 12.10).

98


In addition to negotiating large vocal leaps, vowel modification is necessary in

“Crépuscule.” In m. 10, the second syllable of “oiseau” works best if the vowel moves

slightly from a pure [o] to [ɔ]. It is acceptable to open as far as [ɑ] if this vowel suits

better than the previous choices and resonates clearly to the singer (see Example 12.11).


One other instance of vowel modification occurs in m. 19 on the word “son.” The nasal

[õ] moves to [ɑ] in order to match the next word, “dans.” This not only provides an

optimal vowel for the F5, but aids in a smoother transition down to F4 (see Example

12.12). Finally, in m. 34, it may be comfortable to sing the second syllable of “ceinture”

closer to [œ] rather than a pure [y] (see Example 12.13).

99




100

CHAPTER 13: O MORT, POUSSIÈRE D’ÉTOILES

Key: D-flat Major

Range

Tessitura

Table 13.1 IPA Pronunciation and Poetic Translation of “O mort, poussière d’étoiles”

O mort, poussière d'étoiles, O mɔr pu siɛrə de twalə

O death, dust of stars O mort, poussière d'étoiles, O mɔr pusiɛrə detwalə

O death, dust of stars, Lève-toi sous mes pas! lɛve twa su me pɑ

Rise up under my steps! Viens, ô douce vague qui brille vijɛ o dusə vagə ki brijə

Come, o sweet waves who shine Dans les ténèbres; dɑ le tenɛbrə

In the darkness; Emporte-moi dans ton néant ɑpɔrtə mwa dɑ tɔ nejɑ

Take me away into your nothingness Viens, souffle sombre où je vacille, vijɛ suflə sɔ bru ʒə vasilə

Come, somber breeze wherein I sway, Comme une flamme ivre de vent! kɔm ynə flam ivrə də vɑ

Like a flame drunk in the wind!

101


Analysis

The music of “O mort, poussière d’étoiles” is comprised of three large sections,

each approximately 10 measures in length. The first musical section, mm. 1-10, includes

strophes 1-3 of text. The second section, mm. 11-17, contains strophes 4 and 5, and the

final musical section, mm. 18-26, consists of the sixth and final strophe. The poetry,

C'est en toi que je veux m'éteindre, se tɑ twa kə ʒə vø metɑdrə

It is in you that I want to extend myself, M'éteindre et me dissoudre, Metɑdre e me disudrə

Extinguish myself and dissolve myself, Mort où mon âme aspire! mɔr u mɔ nam aspirə

Death wherein my soul aspires! Viens, brise-moi comme une fleur d'écume, vijɛ brize mwa kɔm ynə flœr dekumə

Come, break me like a flower of foam, Une fleur de soleil à la cime ynə flœr də solɛi a la simə

A flower of sun at the top Des eaux, de zo

Of water, Et comme d'une amphore d'or e kɔmə dyn ɑfɔrə dɔr

And as from a vessel of gold Un vin de flamme et d'arome divin, œ vɛ də flam e daromə divɛ

A wine of flame and of divine aroma, Epanche mon âme epɑʃə mɔ nam

Pour my soul En ton abîme, pour qu'elle embaume ɑ tɔ nabimə pur kɛl ɑbomə

Into your abyss, so it perfumes La terre sombre et le souffle des morts. la tɛrə sɔbrə e lə suflə de mɔr

The dark earth and the breath of the dead.

102

however, is in a prose-poem style and the loosely constructed strophes are not evenly

divided among the musical sections.

“O mort, poussière d’étoiles” begins with a one-measure introduction.

Open V chords, pulsing on steady quarter notes, paint a vivid picture of Eve marching

honorably towards death. This calm, steady pulse, which Fauré sets at = 63, signifies

the unperturbed state of Eve’s soul (see Example 13.1) and persists in the left hand piano

throughout the first two musical sections.

Example 13.1 Fauré, “O mort, poussière d’étoiles,” mm. 1-2

In the text of these two sections, from mm. 1-17, Eve beckons death through a static

melodic line. Although the melody is syllabically set with the use of ample eighth and

sixteenth notes, Fauré incorporates repeated notes and chromatic movement to create a

peaceful atmosphere.

Fauré characterizes Eve’s calm disposition throughout the first musical section of

“O mort, poussière d’étoiles” by an overall major tonality. Meister describes it as

“solemn but not anguished.”105 Even while the first vocal phrase wanders through

different harmonies, the end of the phrase, which occurs on the first beat of m. 7, settles

on an open D-flat major chord. Fauré arrives on a tonic chord for the first time, after

opening the song on the dominant, as Eve summons Death to take her away into


103

nothingness (see Example 13.2). Perhaps this delayed statement of the tonic signifies

Eve’s association with death as “home.”


A crescendo begins the second musical section in m. 8 and the intensity builds to

a peak on m. 9 as Eve exclaims that she is like a flame drunk in the wind. Her momentary

excitement immediately subsides in m. 10 with a piano dynamic marking that indicates

her prayerful supplication to death. The melody line starts on an E-flat4 and chromatically

ascends as she expresses her hope for death. The climax of the song is in m. 15 with

Eve’s final “Viens!” Fauré incorporates two tritone dissonances in the preceding measure

to set up the vocal peak. Gartside describes these chords in m. 14 as “electrifying and

filled with pain.” He goes on to suggest that the “voice must be as grim as the singer can

make it” (see Example 13.3).106

106Gartside, Interpreting the Songs of Gabriel Fauré, 257.

m. 5

m. 7

104


While the music in this section may not sound “joyful,” it is not necessarily pain-

ridden, either. In fact, Schubart describes the key of D-flat major as encompassing a

“character who is able to smile, but not laugh.”107 Eve may not be filled with frivolity and

joy, but she is certainly not mournful. This middle section is filled with a passion

unknown to Eve up until this time. She may be fearful of the emotions she is discovering

within herself in the face of death, but there is nothing grim in her plea.

The final section of the song, beginning in m. 18, consists of Eve’s last words

before her soul returns to the earth. The mood is serene and the dynamic marking piano.

The vocal range is low, never ascending beyond an A4. The accompaniment in m. 18

ceases the steady quarter note pattern and begins a series of sixteenth and dotted eighth

notes in the left hand. Within the first two beats of m. 18, Fauré includes eight of twelve

chromatic tones, abandoning all sense of harmonic function. This shift in the tonality and

107Schubart, "On the Human Voice," 169.

m. 13

m. 16

105

texture represent the presence of Death. Until this moment, Eve has invited Death to take

her, but here she begins the transformation into the earth (see Example 13.4).


In mm. 22-24, the vocal line vacillates between only two pitches, C4 and F4. The

lack of note variation, coupled with the sempre piano dynamic marking, symbolize Eve’s

waning spirit. Fauré places Eve’s last note on an F4, the third of the tonic, emphasizing

the major mode. By ending the song, and thus the cycle, on a major chord, Eve’s death is

portrayed in a positive light. In past songs, Fauré favored minor tonalities when setting

somber texts and major tonalities for hopeful poetry. These past tendencies support a

conclusion that Eve’s death is peaceful and welcome (see Example 13.5).

106


Interpretation

Fauré indicates a tempo marking of = 63. Anywhere between = 54 and 63 is

recommended. With the somber tone of the text, there is no need to go any faster than

this. There are no exceptionally long vocal phrases, so the singer should be able to

comfortably manage this tempo. In m. 6 a ritardando is not marked, but a slight

hesitation on the last three words, “dans ton néant,” may emphasize the enormity of

Eve’s request. The tempo resumes in m. 7.

Unlike “Dans un parfum de roses blanches,” Fauré takes care to include ample

dynamic markings in both the vocal and piano material throughout “O mort, poussière

d’étoiles.” It is advisable to adhere to these markings since they aid in the portrayal of

Eve’s emotions. Her emotional state fluctuates phrase by phrase as she struggles to

comprehend her destiny.

m. 24

m. 22

107

The opening phrase is written in a chant-like manner and is best sung without

emotion. This detached quality is achieved by keeping the dynamic level the same on the

repeated notes. The first instance of real passion in this song occurs in m. 8 with a

crescendo to the downbeat of m. 9. A decrescendo does not appear until the second half

of m. 9, so the sudden octave jump on the first beat remains forte. The next phrase,

beginning on m. 10, is suddenly piano, and should remain as such until m. 15. Fauré

marks a crescendo in the vocal line at m. 13. Allowing this crescendo to only increase to

mezzo piano creates a striking contrast to the forte climax in m. 15.

The last phrase, beginning in m. 18, mirrors the opening in that the

emotion is again left out of the voice, as Eve’s soul leaves her body and returns to the

earth (see Example 13.6).

Example 13.6 Fauré “O mort, poussière d’étoiles,” m. 18-19

The song contains a sense of fading seamlessly into the night through the descending

sequential movement to tonic in the accompaniment. Although a fermata is not indicated

on the last chord, the pianist may allow the sound to resonate until there is complete

silence. This quiet, prolonged ending allows a sense of finality to set in as Eve returns to

the earth, thus completing the circle of life.

108


Because of the small range and the low tessitura, there is not a tremendous need

for vowel modifications. In essence, the most challenging element of “O mort, poussière

d’étoiles” is the need for precise intonation. The voice repeats a piano A-flat3 seven times

in the opening phrase. To avoid going flat, a helpful visual for the singer is imagining that

the sustained pitch is light and high and the breath is always moving forward. The same

steady airflow technique applies to mm. 7 and 8 and mm. 22-26. In the last section of the

song, the singer must decide whether she will sing the repeating Cs in a chest voice or a

mixed register. Whichever register she chooses, based on her individual apparatus and

interpretation, the pitch remains in that register for the duration of the song and the

dynamic level stays soft.

Another vocal consideration within this piece is the many emotional shifts.

A vast array of vocal colors is crucial to the performance. For instance, when evoking

fear or apprehension in Eve’s voice, the singer may wish to incorporate a breathier sound.

Legato phrases encourage a portrayal of serenity. By creating vocal effects through these

means, the singer has the opportunity to convey the great details of the text in conjunction

with the musical indications that Fauré includes. Because the range is narrow and the

tessitura low, the quickest way to a boring performance is to sing the entire song with

only one vocal color.


109

CHAPTER 14: CONCLUSION

The examination of La Chanson d’Ève in this document provides a valuable tool

for teachers and singers in the vocal studio. By supplying historical and biographical

information, song analyses, International Phonetic pronunciation guides, and poetic

translations in one place, the study of these songs becomes more readily accessible to

vocal instructors and advanced mezzo-sopranos. Hopefully, the existence of a guide to

performing Fauré’s masterpiece will spark the programming of more recitals to include

La Chanson d’Ève.

The lack of inclusion of La Chanson d’Ève on many recitals and in the classroom

may be due to the lack of knowledge and resources for teachers and students, especially

from a singer’s perspective. Gartside describes the work as a “difficult cycle to sell to an

audience, but if well done, by the proper kind of voice, people will realize that it contains

some of Fauré’s most beautiful music.”108 This document reveals the techniques that a

singer will need to bring Gartside's statement to fruition.

In addition to aiding the singer's performance of these songs, this document

initiates a movement to explore the relationship between IPA pronunciation and vowel

modification within specific voice categories. My unique pronunciation guides take into

consideration the challenges of singing through passaggi as well as other vocal registers

in the mezzo-soprano voice. Speaking and singing in French, as in English, are not

exactly the same, especially outside of the middle voice.

Finally, presenting vocal considerations within each song is a new concept in the

realm of song analyses for performers. While many documents include interpretation

notes, the investigation into detailed concerns relating directly to the voice and vocal

108 Gartside, Interpreting the Songs of Gabriel Fauré, 234.

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production is practically unheard of. It is my hope that these new ideas spark an

exploration by singers of a new area, expanding their knowledge and the popularity of

little known works by great composers like Fauré.

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APPENDICES

Appendix A: Discography

Charlton, Collis Hill. Master of Music degree recital with a performance major. Southern Baptist Theologcal Seminary. 1977, cassette tape.

Cotton, Sandra. Sandra Cotton, mezzo-soprano graduate recital. University of North

Carolina at Greensboro. 2006, compact disc. Curtain, Phyllis. Phyllis Curtin Sings Fauré and Debussy.VAI 0089948118626. 1999,

compact disc. De Gaetani, Jan. Jan DeGaetani in concert. Volume one Volume one. Bridge 9023. 1991,

compact disc. Ernest Chausson, Gabriel Fauré, Claude Debussy, Francis Poulenc, Erik Satie. Le

premier matin du monde cycles. Cambria 0021475011438. 2009, compact disc. Fauré, Gabriel. Mélodies : op.95 "La chanson d'Eve," Op. 3, 10, 23, 72. Anne-Marie

Rodde (soprano) Théodore Paraskivescs (piano).Calliope 1844/46. 1975, compact disc.

---. La bonne chanson, La chanson d'Eve, Le jardin clos, L'horizon chimérique. Berthe

Monmart (soprano) , Simone Gouat (piano). Pléïade8.112062. 1955, compact disc.

---. La Chanson d'Ève and other songs. Janet Baker (mezzo-soprano), Geoffrey Parsons

(piano). Hypérion 66320. 1990, compact disc. ---. Mélodies. Marilyn Schmiege (mezz-soprano), Donald Sulzen (piano). Orfeo

789368078127. 1995, compact disc. ---. Dans un parfum des roses. Geraldine McGreevy (soprano), Graham Johnson (piano).

Hyperion 0034571173368. 2005, compact disc. ---. Le Jardin Clos/ La Chanson D'Eve/ Mélodies. Karine Deshayes (mezzo-soprano),

Hélène Lucas (piano). Zig Zag Territories 3760009292109. 2009, compact disc. ---. La chanson d'Ève. Mireille Delunsch (soprano), Marie-Josèphe Jude (piano). S.l.

370023222257. 2010, compact disc.

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---. La Chanson d’Ève. Katherine Bergeron (mezzo-soprano), Dana Gooley (piano). CD Baby 700261292366. 2010, compact disc.

Ginn-Paster, Sophie. Sophie Ginn-Paster faculty recital. Baldwin-Wallace College

Conservatory of Music. 1982, cassette tape. Kennedy-Dygas, Margaret. Graduate recital. Indiana University. 1980, cassette tape. Kenneth, Charlotte. Charlotte Hellekant, mezzo-soprano and Kenneth Merrill, piano.

Eastman School of Music. 1995, sound tape reel. Kolassi, Irma. Irma Kolassi sings French mélodies. Testament B000089AQJ. 2003,

compact disc. Mayer, Nancy. Nancy Mayer, mezzo-soprano. Eastman School of Music. 1989, sound

tape reel. Shelton, Lucy. Poemes pour mi. Nonesuch 13117849. 1985, compact disc. Süssman, Sofie-Christine. 1997. La chanson d'Eve: melodies. Discover 01011989. 1994,

compact disc. Upshaw, Dawn. Voices of Light: music of Messiaen, Debussy, Golijov & Fauré.

Nonesuch B0002JNR4U. 2004, compact disc. Upton, Radha. 2010. Radha Upton, collaborative piano graduate recital. University of

North Carolina Greensboro. 2010, compact Disc.

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Appendix B: Review of Selected Recordings

Recording: Faure: Le Jardin Clos/ La Chanson d'Ève/ Melodies Performers: Karine Deshayes, mezzo-soprano; François Salque, piano Year: 2009

French mezzo-soprano Karine Deshayes gives us a brilliant version of La

Chanson d’Ève on her 2009 recording. Her voice is perfectly suited for the tessitura of La

Chanson d’Ève. Moreover, she sings in her native language, bringing a lyricism and

finesse to Fauré’s songs through the text.

Deshayes’ flawless rendition of “Prima verba” contains many of the most

beautiful moments in the cycle. She negotiates through her registers with ease,

particularly in the opening and closing sections of the song. The lower-middle register

notes are filled with warmth, and always sound comfortable in her voice. The text is clear

and the tone is even from bottom to top. As she sings about the “limpid air of paradise,”

her voice floats over the accompaniment with splendid legato and sempre dolce as Fauré

indicates. Deshayes ends the song with a sweet statement about the “profound silence”

with a seamless meandering through the lower bridge notes to end on a piano G4 that,

though quiet, is still full of color.

Deshayes’ performance is not without fault, however. Fauré indicates a

metronomic marking in “Roses ardentes” as = 72, but Dashayes’ recording is closer to

= 66- with some sections slowing to almost 64. As the text illustrates “blazing roses”

and Eve’s blood reviving in the presence of the deep sea, a slow tempo ruins Eve’s

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http://www.amazon.com/s?_encoding=UTF8&field-artist=Fran%C3%A7ois%20Salque&search-alias=music

excitement at the world around her. The music sounds trudging and laborious and seems

to ill fit the mood of the poetry.

Deshayes interprets “L’aube blanche” slowly, as well. The tempo is marked =

76, but Deshayes sings it at = 65. The poetry, this time, is more forgiving to a slow

tempo than “Roses ardentes” as Eve is awakening to the white dawn from her deep

slumber. The “sleepy” tempo could be interpreted as Eve’s reluctance to wake from her

dreams at the sun’s first light. However, as the song progresses and Eve fully awakens,

this tempo fails to portray her wakefulness. She is happy and excited to see the world

around her in the fresh morning light. Perhaps Deshayes takes the line “Et mon âme,

comme une rose Troublante, lente, tout le jour, S'éveille à la beauté des choses” literally.

The final song, “O mort, poussière d’étoiles,” includes some of the most

beautiful singing on the recording. Deshayes maneuvers through chromatic passages with

velvety legato as she sings Eve’s invitation to death. As the song intensifies, Deshayes

uses her chest register in a poignant image of Eve as a flame in the wind. She ends the

song with such quiet assurance in her voice that one can imagine Eve’s confident and

fearless death.

Despite a few moments of questionable tempi, Deshayes’ interpretation of La

Chanson d’Ève should be at the top of the listening list for anyone interested in this song

cycle. Her voice is ideal for Fauré’s composition, and throughout the performance her

musicality and dynamic choices are superb.

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Recording: Voices of Light: music of Messiaen, Debussy, Golijov& Fauré Singer: Dawn Upshaw, Soprano; Gilbert Kalish, piano Year: 2004

Dawn Upshaw’s recording of “La Chanson d’Ève” from her 2004 compact

discVoices of Light is an interesting depiction of Fauré’s song cycle. Upshaw is generally

regarded as a soubrette, so the choice to record La Chason d’Ève is an odd one, as it is

best suited for mezzo-soprano. The low tessitura throughout the cycle and the fact that

the beauty of Upshaw’s voice occurs in her upper register, leave the listener

underwhelmed.

There are a few beautiful moments in Upshaw’s recording. For instance, in

“Paradis,” Upshaw floats a flawless piano E5 near the beginning of the song. But as the

song progresses and the world unfolds around Eve, there is never a strong sense of the

powerful presence of God. At the point in which God speaks, “Go, human daughter and

give to all the earth a word on their lips.” Upshaw’s sweet voice lacks the authority one

expects in His voice.

“Roses ardentes,” with its light and energetic tone and higher tessitura, is the best

suited song for a soprano in La Chanson d’Ève. Upshaw keeps the mood lively and the

text clear, but her tendency to begin long notes with a straight tone, adding vibrato only at

the end, detracts from the brilliance of the song.

The tessitura in “Eau vivante” is low for Upshaw. Most of the song lies around

G4, a note that for her sounds dull at times. The song ends on a G4 as the poetry refers to

the vastness of the sea as it melts into the sky, but there is no depth in Upshaw’s tone.

The immensity of the ocean is lost on the listener.

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Finally, in “Crépuscule,” Upshaw rids her voice of the brassy tone quality she

possesses in her lower register. The opening phrase, sung on a D4, is lovely and rich. She

maintains this richness throughout “Crépuscule” and into “O mort poussière d’étoiles.”

Perhaps it was her intention to keep the tone bright in the beginning of the cycle and

darken it as Eve approaches death.

Overall, La Chanson d’Ève is a less-than-optimal fit for a soubrette voice. Fauré

composed the cycle in a lower tessitura, with no notes higher than an F-sharp5, making it

ideal for a mezzo-soprano. Even a dramatic or full lyric soprano may bring the depth and

warmth of tone essential to Eve, but Upshaw’s voice does not convey the full potential of

Fauré’s masterpiece.

Recording: La Chanson d’Ève and Other Songs Singer: Janet Baker, mezzo-soprano; Geoffrey Parsons, piano Year: 1990

American mezzo-soprano Jane Baker interpreted La Chanson d’Ève on a

recording in 1990. Baker’s unique vocal timbre and vast song experience lend themselves

to an exceptional performance of Fauré’s cycle. Her French and vocal phrasing

throughout the work are impeccable. She typically heeds Fauré’s editorial markings, only

altering a small number of tempo recommendations. Her rich and mature vocal color

portrays Eve in an “earthy” light; Eve is not a young nymph or sprite, but a woman

deeply connected to the world and to God.

The opening phrase of “Paradis” is one of the most exquisite moments of the

entire recording. Baker’s incorporation of straight-tone on the words “morning,” “world,”

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and “hazy” match the open and sustained quality of the accompaniment. Especially on

“matin,” where she sings a B4 against the piano’s C5, the perfectly tuned notes impart and

immediate tension and release in the opening four bars, captivating the listener.

Another enthralling moment isduring the fourth song, “Comme Dieu, rayonne.”

As she sings of the manifestation of Gods voice in all of nature, Baker arrives on a

pianissimo E5 during the word “haleine,” which leaps out of the middle-voice tessitura.

She floats the note effortlessly while still maintaining warmth and core in the sound.

Baker’s vocal finesse is apparent as she achieves another beautiful pianissimo on the final

note of the song.

The vocal refinement and vast array of dynamics are not only obvious in Baker’s

quiet moments. Throughout “Veilles-tu, ma senteur de soleil,” she approaches the

crescendos with verve. Particularly, on “ma voix,” the climax of the song, she possesses

richness of tone through the forte F5. The notes in her upper range never become pushed

or steely.

Baker chooses to take the tempo of “Veilles-tu, ma senteur de soleil” slower than

the Allegretto con moto that Fauré indicates. He includes a suggested = 84, but Baker’s

tempo is closer to = 75. Eve does speak of roaming silently in the night. Perhaps the

relaxed tempo reflects the calmness in Eve’s words amidst the constant current of the

sixteenth note triplets in the piano.

In “Roses ardentes,” Baker significantly alters the tempo marking. The indication

is Andante, = 72, but Baker takes the tempo at a brisk = 100. This Allegretto speed

may provide a better depiction of the text, which describes the blazing roses. Baker

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decides to intensify Eve’s excitement through her faster tempo, but it feels rushed at

times, especially as she sings of the “motionless air.”

Overall, Baker’s interpretation of La Chanson d’Ève provides moving and

beautiful vocal moments. She skillfully utilizes a vast array of dynamics to express the

evolution of Eve’s emotions. This recording is a worthwhile listen for anyone interested

in the music of Fauré, and particularly in La Chanson d’Ève.

Recording: La bonne chanson, La chanson d'Eve, Le jardin clos, L'horizon chimérique Performers: Irma Kolassi, mezzo-soprano; André Collard, piano Year: 1955

The 1955 recording of La Chanson d’Ève by Greek mezzo-soprano Irma Kolassi

remains one of the finer recordings of Fauré’s late song cycle. Known as a great teacher

throughout Paris, Kolassi’s vocal technique stands out as her primary strength. Though

she does not exhibit a wide range of dynamics in her singing, her tone is beautiful and

resonant and her French is fluid. The small range in dynamics may be due to the

recording capabilities of the 1950s. Microphones may not have been able to pick up a

wide variety of volumes. Nevertheless, Kolassi’s is a pleasant recording.

Kolassi incorporates a number of vowel modifications in her upper range,

resulting in an even and vibrant vocal tone. One particular instance happens in “Paradis”

on the word “murmure.” The natural, closed vowel of the word poses problems in the

upper range, but Kolassi manages the registration challenge by opening the vowel. In the

second song, “Prima verba,” Kolassi sings the word “roses” on a C5. She opens the vowel

119

in an effort to position her soft palate for the forte E-flat5 on “fruits.” The vowel in “fruit”

is also opened, allowing her voice to soar easily.

At times, Kolassi’s unaccented [ə] vowel becomes dark, particularly on notes to

which Fauré assigns longer values. In “Paradis,” as she sustains the second syllable of the

word “reve,” the vowel is more akin to [ø] than to [ə]. Another instance occurs in “O

mort, poussière d’étoiles.” In the first phrase, Kolassi sings the last vowel of “étoiles” as

[Ʊ]. Possibly, she intended to cover these vowels to add color to the note, as many of the

other [ə] vowels throughout the cycle are pure. The over-darkening adds an impression of

an accent where none is necessary.

The greatest downside to the recording remains in the lack of dynamic contrast. If

one does not actively listen, the work can seem to run together. Still, the vocal line is

beautiful and the technique excellent. If one can overlook the monotony of the volume,

Kolassi’s recording serves as a valuable listening tool.

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VITA

Bachelor’s of Music Vocal Performance Texas Christian University, 2005 Master’s of Music Vocal Performance University of Kentucky, 2008 Positions Vocal Instructor The Academy for Creative Excellence University of Kentucky

Sarah E. Klopfenstine-Wear

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a performance guide to gabriel faurÉ’s la chanson …

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