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Trois Chansons de France
First line:
Auprès de cette grotte sombre
composer
Claude Debussy (1862-1918)

Copyright holder as reported by MCPS: Public Domain

Recordings
Cover of 'Debussy: Songs, Vol. 2' (CDA67883)
Debussy: Songs, Vol. 2
Lorna Anderson (soprano), Lisa Milne (soprano), Malcolm Martineau (piano)
Buy by post £13.99
CDA67883  Studio Master FLAC & ALAC downloads available
Cover of 'Hyperion monthly sampler – April 2012' (HYP201204)
Hyperion monthly sampler – April 2012
HYP201204  Download-only monthly sampler   No longer available
Details
No 1: Rondel I  Le temps a laissié son manteau
author of text
Charles Duc d'Orléans (1394-1465)

Lorna Anderson (soprano), Malcolm Martineau (piano)
Track 17 on CDA67883 [1'13]
Track 5 on HYP201204 [1'13] Download-only monthly sampler
FrançaisEnglish
No 2: La grotte  Auprès de cette grotte sombre
author of text
François Tristan L'Hermite (1601-1655)

Lorna Anderson (soprano), Malcolm Martineau (piano)
Track 18 on CDA67883 [2'39]
FrançaisEnglish
No 3: Rondel II  Pour ce que Plaisance est morte
author of text
Charles Duc d'Orléans (1394-1465)

Lorna Anderson (soprano), Malcolm Martineau (piano)
Track 19 on CDA67883 [2'08]
FrançaisEnglish

Trois Chansons de France
EnglishFrançaisDeutsch
During the early months of 1904 Debussy’s first marriage to Lilly Texier began to founder as he succumbed to the charms of Emma Bardac, an accomplished singer and one-time mistress of Fauré. The Trois Chansons de France were the first Debussy works to be dedicated to her. He was no historian and makes no attempt to distinguish between the fifteenth-century poet Charles d’Orléans and the seventeenth-century Tristan l’Hermite. It was enough for him to feel that he was ‘going back’—partly because he was no lover of his own times with what he called its ‘tricoloured phrases’ (that is, expressions of French nationalism), and partly because he never lost his reverence for the directness of the music of Victoria, Lassus and Palestrina which he had first heard as a student in Rome. By and large the harmonies of all three songs are simpler and more firmly anchored to traditional tonal pillars than in the Bilitis songs. In rhythm though, the outer ones maintain a free flow of patterns, with repeated lines duly observed in the music, whereas the central La grotte is an exercise in stillness, with a short–long rhythm in the piano that impedes forward movement. Like Narcissus, we seem to find ourselves frozen in an attitude of contemplation.

from notes by Roger Nichols © 2012

Track-specific metadata
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Details for CDA67883 track 18
La grotte
Artists
Lorna Anderson (soprano)
Malcolm Martineau (piano)
ISRC
GB-AJY-12-88318
Duration
2'39
Recording date
5 May 2011
Recording venue
All Saints' Church, East Finchley, London, United Kingdom
Recording producer
Mark Brown
Recording engineer
Julian Millard
Hyperion usage
  1. Debussy: Songs, Vol. 2 (CDA67883)
    Disc 1 Track 18
    Release date: April 2012
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