No 1: Fantastic in appearance
No 2: A slumber vast and black
No 3: Pastoral 'Le ciel est, par-dessus le toit' The sky is up above the roof
No 4: Let's dance the jig O most I loved her pretty eyes
More enigmatic and satirical, however, is Let’s dance the jig, which, in its stoical acceptance of lost love, seems to combine a delicate French harmonic palette with a more earnest German scheme of developing variation. Of all the four songs it is A slumber vast and black (‘Un grand sommeil noir’) that is most redolent of the progressive post-Wagnerian language Coles would develop in his other songs (notably his settings of Heine and von Liliencron) and his later orchestral works. Set in B major, that most Tristan-esque of keys, the song embarks with a sequence of solemn chromatic progressions scored for divided cellos, cor anglais, and horns which evoke that passionate, yet despairing air of the last act of Tristan und Isolde. The harmonic control here and throughout the song demonstrates just how far Coles had developed from the more immature pages of From the Scottish Highlands of 1905/7. Indeed, the massive architectural climax, marked by tremolando strings and the positively Mahlerian inner voice of horns in their lowest register, reveals a composer who was already in possession of an enviable technique.
Coles set these four Verlaine poems in loose translations which, though not acknowledged by the composer in the surviving manuscripts, were taken from Poems by Verlaine, selected and translated, with an introduction, by Ashmore Wingate, published in London and Newcastle in 1904 by the Walter Scott Publishing Company. These translations—some of which had been set by a fellow Scot, Sir John Blackwood McEwen, in 1905—were some of the first English translations of Verlaine to be available.
from notes by Jeremy Dibble © 2002