It nonetheless starts and ends on a restored dialogue between the clarinet and the piccolo, then with the flute, thus magnifying the field of possibilities opened by the love relation.
Indeed, “Leurs yeux toujours purs” is a fresco presenting different scenes of a shared life, oscillating between harmony and disagreement. Nonetheless, the order of the selected poems from the set seems to prohibit an ending on the idea of lost love, but on the contrary, is optimistic. The use of the the E flat clarinet makes the atmosphere slightly caustic: this volcanic love shines far from the poet. “Ses yeux sont des tours de lumière” for one celebrates a passionate and untamed love. by the low register coating the large lines alternatively drawn by the two instruments. Love, at times calm and voluptuous, at other times frolicsome in “La courbe de tes yeux”. If poems and duos present formal analogies, music quickly emancipates itself from the text to create its own logic: beyond the lyric poem, this triptych seems to deliciously extend the sound impression left by the words. The two slow movements are based upon the poems “La courbe de tes yeux fait le tour de mon cœur” (“The Curve of your Eyes Goes Around my Heart”) and “Leurs yeux toujours purs” (“Their Still Pure Eyes”), both from Capitale de la douleur, whereas “Ses yeux sont des tours de lumière” (“Her Eyes Are Towers of Light”) is the second poem from L’Amour la Poésie. Time besides seems to be arrested at the poet’s dedication: “To Gala, this book without an end”.Ĭapitale de la douleur is a slow-fast-slow structured triptych. Capitale de la douleur thus reflects the fullness of a mutual love, whereas L’Amour la Poésie celebrates a now one-way love. These works magnify his relation with his first muse Gala (whose real name was Helena Diakonova) who left him in 1929 for Salvador Dalì. This cycle is a musical setting of three texts by the surrealist poet Paul Éluard, taken from two of his most famous sets: Capitale de la douleur (1926) and L’Amour la Poésie ( Love Poetry) (1929). Capitale de la douleur ( Capital of Pain) was written in 2013 as the result of the friendship between the Sità duo (a flute and clarinet duo) and the composer Romain Dumas.
0 kommentar(er)
