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John Chest (baritone), Malcolm Martineau (piano)» More |
One is very tempted to see an autobiographical side to this little cycle which is perhaps nearer to Schumann’s Heine triptych Tragödie than to Frauenliebe und -leben. The manner of conducting an affair as outlined in this cycle seems curiously prophetic of the composer’s many liaisons. Fauré was caught in an unsatisfactory marriage (from 1883), but divorce was never contemplated (probably for the sake of the children). Nevertheless, his affairs were legendary – this examiner of the provincial conservatoires had a woman in every port. He was noted for his laconic charm, and he must have broken many hearts – particularly those of ladies who allowed themselves to imagine that he would leave his difficult wife having found ‘true love’. There were mistresses of protracted influence (Emma Bardac, Marguerite Hasselmans), but Fauré’s affairs were, on the whole, ‘poèmes d’un jour’ (or a few weeks) with a deft exit strategy. He must have been adept at charm (the first song), showing just enough glints of passion (the second), followed by something like the elegant retreat of the third. These extrications probably saved Fauré’s marriage and reputation (compare Debussy’s domestic linen washed in public), and increased his reputation for inscrutability.
from notes by Graham Johnson © 2005
Il est fort tentant de trouver un côté autobiographique à ce petit cycle, qui tient peut-être plus du triptyque schumannien Tragödie, d’après Heine, que de la Fauenliebe une -leben. L’art de mener une liaison, tel qu’esquissé ici, semble curieusement prophétiser les nombreuses aventures du compositeur qui, bien qu’embarqué dans un mariage peu satisfaisant (à partir de 1883), n’envisagea jamais de divorcer (probablement pour le bien de ses enfants), mais multiplia des liaisons devenues légendaires—cet inspecteur des conservatoires de province avait une femme dans chaque port. Réputé pour son charme laconique, il dut briser bien des cœurs—surtout ceux des dames qui se permettaient de penser qu’ayant rencontré le «véritable amour» il quitterait son ombrageuse épouse. Hormis quelques maîtresses à l’influence plus durable (Emma Bardac, Marguerite Hasselmans), Fauré eut, dans l’ensemble, des liaisons—«poèmes d’un jour» (ou de quelques semaines), avec une habile stratégie de sortie. Il dut être un de ces maîtres du charme (première mélodie), qui dévoilent juste ce qu’il faut de lueurs de passion (deuxième mélodie), pour finir sur ce qui ressemble à l’élégante retraite de la troisième mélodie. Ces sorties sauvèrent probablement et le mariage de Fauré, et sa réputation (voyez Debussy et son linge sale lavé en public), renforçant son image d’homme insondable.
extrait des notes rédigées par Graham Johnson © 2005
Français: Hypérion
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