GOUNOD CHARLES - Aubade
MONTSALVATGE XAVIER - Cancion de cuna para dormir a un negrito
SCHUMANN ROBERT - Die lotosblume
WOLF HUGO - Die verlassene mägdlein
MESSAGER ANDRÉ - Fortunio
GOUNOD CHARLES - La rondinella
SARTI GIUSEPPE - Lungi da te, ben mio
PAISIELLO GIOVANNI - Nel cor piu non mi sento (la molinara)
DU BUISSON - Plainte sur la mort de monsieur lambert
DEBUSSY CLAUDE - Romance
PURCELL HENRY - Strike the viol
This volume 3B Plaisirs du chant is, like the previous ones, intended for young singers, as well as music training courses.
The pieces are presented in a medium range.
For pedagogical purposes, the chosen pieces are mostly written in a rather slow movement, and therefore, more difficult to link and animate. Small masterpieces such as Die Lotosblume, Das Verlassene Mägdelein, Romance, Lungi da te, Canciôn de Cuna, demand from the performer a great musical sensibility and subtle nuances. Their execution requires great attention.
For the first three numbers, let us specify that until the end of the 18th century, the ornaments and variations were not written, but left to the imagination of the singers (these embellishments could change from one concert to another). We have lost a little sense of improvisation but students will be able to draw inspiration from the very simple ornaments and variations proposed in the CD by the two singers.
For La Rondinella by Charles Gounod, we chose the Italian text, published in London in 1865, rather than the French text The Soul of an Angel on a poem by Th. De Banville.
All the pieces in this collection can be sung by female or male voices (except for Wolf's Das Verlassene Mädgdelein, which lends itself more to a soprano voice). The air of Fortunio can be sung by all voices for work, but in an exam situation, it is more suited to a male voice. Otherwise, the musical and poetic texts are suitable for all voices, even the lullaby of Montsalvage.
For the CD, I asked the collaboration of a soprano and a tenor for the sole purpose of varying the colors listening to the disc. The two artists sang with a great economy of means so that the listening of the CD does not encourage the young singers to force.
The recorded accompaniment of the piano alone will help set up the piece before working with the accompanist. For the preparation for the study of a piece, we can draw inspiration from the targeted and classified exercises found in the book The Professor of singing: a luthier who builds a voice (reference: VV375) published by Editions Van de Velde . Experience proves that all these pieces are worked with great pleasure by the students and are a source of progress. Jacqueline Bonnardot
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