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