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This moment of triumph and freedom earned by the burrowing soldiers, and their emergence at last into the open-air, has the elemental majesty of a sunburst, the unified emotion of many men fighting for the same cause shouldered here by a single heroic baritone. Where is this train going that dies away in the distance in the vales and the lovely fresh woods of the tender summer so pale?

MIXTURAS | Adieu m'amour

Where is this train going that dies in the distance in the vales and lovely fresh woods of tender summer so pale? Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin. Don't show me this message again. Calligrammes, FP composer. Guillaume Apollinaire Introduction English Calligrammes is work inspired by war. The composition of Calligrammes was also a massive exercise in nostalgia for the composer as he returned to a time in his youth, the spring of , when he bought a copy of these poems in Paris as he himself prepared to leave for the front.

Nineteen years younger than Apollinaire, Poulenc could at least claim to have participated, even if only at the margins, in the same war as his beloved poet. Graham Johnson piano. Graham Johnson is simply the greatest living authority on French song; an artist whose innate feeling for the music is combined with prodigious scholarship. Malcolm Martineau piano.

This series charting the complete songs of Francis Poulenc is performed by some of the greatest singers of the day and accompanied by the exceptional Malcolm Martineau. Alice Coote mezzo-soprano , Graham Johnson piano. Dame Felicity Lott soprano , Graham Johnson piano. Christopher Maltman baritone , Graham Johnson piano. This poem is printed simply, three strophes without a calligramme design; in fact of the songs in this cycle only three are real calligrammes.

L'ÉPAVE—DÉCOUVERTE—UN PARRICIDE—LE RENDEZ-VOUS

Thomas Oliemans baritone , Malcolm Martineau piano. Pale spy of love my memory scarcely to be trusted having watched this beautiful fortress for but one hour one day disguise yourself as you will memory spy of the heart you find no longer the exquisite trickery and the heart alone is victorious but do you see this memory eyes blindfolded at the point of death it affirms that it can be believed my heart will conquer without a shot.

Des soldats qui passaient Eh!


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A woman who wept Eh! Soldiers who passed Eh! A lock-gate keeper who was fishing Eh!

Adieu m'amour

The trenches that grew white Eh! Shells that burst Eh!

Adieu m’amour, adieu ma joie

Matches that did not strike and all has so much changed in me All but my love Eh! This is another poem without a printed design. The poet, perched on a wagon and in charge of a machine gun, passes through three tableaux in which he views scenes of grief, war and peace.


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  • [1] Adieu m'amour du temps passé | Alexander Street, a ProQuest Company.
  • Experiences of war have changed him certainly, but he tells us he is still as much in love as ever. The pulse is that of a foot-stomping folksong—lusty and bawled to the rooftops by a group of soldiers.

    Patrick Dempsey : adieu Dr Mamour ?

    The bravado has a hollow ring to it but the insouciance of the music emphasizes that there is nothing for it but to go forward. Matches that did not strike And all Has so much changed in me All but my love Eh! Once again this is a Calligramme poem without a drawing. The five-bar introduction to Vers le sud similarly invokes old music baroque neoclassicism, somewhat Stravinskian to suggest a liaison from the past. Zenith all these regrets these limitless gardens where the toad modulates a tender cry of blue the doe in bewildered silence passes quickly a nightingale anguished by love sings on the rose bush of your body from which I have gathered the roses our hearts hang together on the same pomegranate tree and the pomegranate flowers opened in our sight falling one by one have strewn our path.

    The design depicts rain falling at something of an angle: the poem is printed in five lines that are neither exactly vertical nor parallel.

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    Anyone finding himself in the path of these gusts of pianistic downpour would be soaked to the skin, as well as elbowed. The vocal line, propelled forward by the energy of the accompaniment, soars over the stave in arcs of sound while ducking and weaving with insouciance.

    Adieu m'amour II (Alexander Agricola) - ChoralWiki

    Poulenc has understood that this poem of love is not exactly a full-blown love poem. Follow us on Facebook. It is illegal to copy and distribute our copyright-protected material without permission. Printing copyright texts or translations without the name of the author or translator is also illegal. Before writing, please read the instructions below the translations under Authorship.

    Always include the names of the translators in your email if you wish to reprint something! Text added to the website between May and September Last modified: Line count: 36 Word count: To reprint and distribute this author's work for concert programs, CD booklets, etc.


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