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A PERFORMANCE GUIDE TO GABRIEL FAURÉ-S - em-LA CHANSON D-ÈVE - em
A PERFORMANCE GUIDE TO GABRIEL FAURÉ-S - em-LA CHANSON D-ÈVE - em
UKnowledge
Theses and Dissertations--Music Music
2014
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Klopfenstine-Wear, Sarah E., "A PERFORMANCE GUIDE TO GABRIEL FAURÉ’S LA CHANSON D’ÈVE, OP. 95" (2014). Theses
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A PERFORMANCE GUIDE TO GABRIEL FAURÉ’S LA CHANSON D’ÈVE, OP. 95
_________________________________________
DMA DOCUMENT
_________________________________________
By
Sarah E. Klopfenstine-Wear
Lexington, Kentucky
Lexington, Kentucky
2014
Copyright © Sarah E. Klopfenstine-Wear 2014
ABSTRACT OF DOCUMENT
By
Sarah E. Klopfenstine-Wear
_______________Cynthia Lawrence
Director of Document
______________________________
Date
ACKNOWLEDGEMENTS
I would like to thank my document directors, Dr. Elizabeth Arnold and Cynthia
Lawrence, for their expert supervision throughout this project. A special thanks to Dr.
Arnold, who met evenings and weekends, going above and beyond, to help me complete
my degree. Thank you to the complete advisory committee and outside reader,
respectively: Dr. Diana Hallman, Dr. Harald Hoebusch, and Dr. Ray Garman. Your
I would also like to thank Cristen Pascucci for her editing expertise and many
hours spent reading draft after draft. Thank you to my parents, Barron and Helen
Klopfenstine for never having a single doubt that I could proceed this far in my academic
studies.
Thank you to my daughter, Maria, who never let me lose perspective. Lastly, I
offer a heartfelt thanks to my husband, Nicholas, without whose support this process
would have been near impossible. Thank you for the countless hours you spent with
iii
TABLE OF CONTENTS
ACKNOWLEDGEMENTS .................................................................................................. I
iv
CHAPTER 8: L’AUBE BLANCHE .................................................................................. 64
ANALYSIS ........................................................................................................... 65
INTERPRETATION ............................................................................................. 68
VOCAL CONSIDERATIONS ............................................................................. 69
v
LIST OF TABLES AND FIGURES
Table 2.1 Composition year for each song of Fauré’s La Chanson d’Ève………………20
Table 2.2 Division of Van Lerberghe’s poems…...……………………………...............20
Table 2.3 Division of Fauré’s songs in relation to Van Lerberghe’s sections…...............21
Table 3.1 Typical register breakdown and transition notes for the
mezzo-soprano voice……...……………………………………………………..28
Table 4.1 IPA Pronunciation and Poetic Translation of “Paradis”…………………........31
Table 5.1 IPA Pronunciation and Poetic Translation of “Prima verba”…………………44
Table 6.1 IPA Pronuncation and Poetic Translation of “Roses ardentes”……………….49
Table 7.1 IPA Pronunciation and Poetic Translation of “Comme Dieu rayonne”………55
Table 8.1 IPA Pronunciation and Poetic Translation of “L’aube blanches”…………….63
Table 9.1 IPA Pronunciation and Poetic Translation of “Eau vivante”………………….69
Table 10.1 IPA Pronunciation and Poetic Translation of “Veilles-tu, ma senteur de
soleil”……………………………………………………………………….……76
Table 11.1 IPA Pronunciation and Poetic Translation of “Dans un parfum de roses
blanches”………………………………………………………………………....84
Table 12.1 IPA Pronunciation and Poetic Translation of “Crépuscule”…………………90
Table 13.1 IPA Pronunciation and Poetic Translation of “O mort, poussière détoiles”..100
Figure 3.1 Gabriel Fauré au piano chez Jeanne Raunay, avec Paul Daraux, René
Lenormand, Georges Mauguière………..……………………………………….25
vi
vii
LIST OF EXAMPLES
viii
Example 12.6 Fauré, “Crépuscule,” mm. 26-31………………………………………....94
Example 12.7 Fauré, “Crépuscule,” mm. 8-9……………………………………………95
Example 12.8 Fauré, “Crépuscule,” mm. 13-20………………………………….…….96
Example 12.9 Fauré, “Crépuscule,” mm. 7-8………………………………………..…97
Example 12.10 Fauré, “Crépuscule,” mm. 19-20……………………………………....98
Example 12.11 Fauré, “Crépuscule,” mm. 10-11……………………………………....98
Example 12.12 Fauré, “Crépuscule,” mm. 19-20……………………………………....99
Example 12.13 Fauré, “Crépuscule,” m. 34…………………………………………….99
Example 13.1 Fauré, “O mort, poussière d’étoiles,” mm. 1-2……………...………….102
Example 13.2 Fauré, “O mort, poussière d’étoiles,” mm. 5-8……………...…………..103
Example 13.3 Fauré, “O mort, poussière d’étoiles,” mm. 13-17…………..…………...104
Example 13.4 Fauré, “O mort, poussière d’étoiles,” mm. 18-19…………..…………...105
Example 13.5 Fauré, “O mort, poussière d’étoiles,” mm. 22-26…………..…………...106
Example 13.6 Fauré “O mort, poussière d’étoiles,” m. 18-19……………..…………...107
ix
CHAPTER 1: INTRODUCTION
Definition of Topic
La Chanson d’Ève, Op. 95 (1910), with text by Charles Van Lerberghe (1861-1907),
resulted in the creation of this performance guide. Only one source contains International
Phonetic Alphabet pronunciations of the songs, and, even so, these appear to be
incomplete for the mezzo-soprano voice. These pronunciation guides fail to take into
of La Chanson d’Ève. The purpose of this project is to put essential historical, theoretical,
diction, and pedagogical material relevant to each of the ten songs in one location, for
background of the composer, the work, and the poet to comprehend the style and intent of
the composer; the performer must understand the musical form and analysis and how
they relate to the text—both poetic and literal translations—if she or he is to fully convey
the value and beauty of the songs to the audience. A pronunciation guide that uses the
International Phonetic Alphabet (IPA) takes into account vowel modification and gives
the singer tools to incorporate correct diction and technique into the performance. This
1
A number of resources have been published regarding the songs of Gabriel Fauré
as a whole, but none presents concise information relating directly to the performance
d’Ève offers singers and teachers a source for historical background, pedagogical
suggestions, song analyses, and resource guides, in addition to the translations and
pronunciation guides.
description of the function of the singing voice. This pedagogical research is limited to
information pertaining to vowel modification and diction within different vocal registers
of the mezzo-soprano voice. This project does not include exhaustive historical or
Methodology
This project involves research into sources including, but not limited to, historical
and biographical texts, publications on music theory, and diction and vocal pedagogy
music provides a foundation for the body of the document. Biographical information
2
Musical Life, 1 Jessica Duchen’s Gabriel Fauré, 2 Norman Suckling’s Fauré, 3 and Émile
Vuillermoz’s Gabriel Fauré. 4 Ideas about the cultural context of France’s music are
drawn from Modern French Music from Fauré to Boulez by Rollo Myers, 5 which
sources have been consulted concerning Fauré’s songs themselves, including Graham
Johnson’s recent Gabriel Fauré: The Songs and their Poets, 6 Carlo Caballero’s Fauré
and French Musical Aesthetics, 7 and Interpreting the Songs of Gabriel Fauré by Robert
Gartside. 8
Gartside’s book serves as the impetus to this project. This resource reviews
Fauré’s solo vocal oeuvre in one volume, with a short background, brief interpretation
suggestions, translations, and pronunciations for each song. The first part of the book is
respect to the nasal vowels. 9 Gartside also discusses the interplay between the French
language and music. He focuses on the flow of the language and how it relates to meter,
including the tendency of the language’s natural cadences and the problem with the
musical bar-line.
1
Jean Michel Nectoux, Gabriel Fauré: A Musical Life, 1st pbk. ed. (Cambridge: Cambridge University
Press, 2004).
2
Jessica Duchen, Gabriel Fauré, 20th-Century Composers (London: Phaidon, 2000).
3
Norman Suckling, Fauré (London: J.M. Dent, 1951).
4
Emile Vuillermoz and Steven Smolian, Gabriel Fauré, 1st American ed. (Philadelphia: Chilton Book Co.,
1969).
5
Rollo H. Myers, Modern French Music, from Fauré to Boulez (New York: Praeger Publications, 1971).
6
Graham Johnson and Richard Stokes, Gabriel Fauré: The Songs and Their Poets (Farnham, England:
Guildhall School of Music and Drama, 2009).
7
Carlo Caballero, Fauré and French Musical Aesthetics (New York: Cambridge University Press, 2001).
8
Robert Gartside, Interpreting the Songs of Gabriel Fauré (Geneseo, NY: Leyerle Publications, 1996).
9
Ibid., 11-13.
3
academic, the rhythms rather plodding, the harmonic adventures sometimes so dissonant
that they border on being ugly.” 10 Later, writing of the same song, he comments, “In the
separate little phrases of the voice line [the melodic lines in the piano part] go absolutely
nowhere, often staying on the same note.” 11 He includes in subsequent song analyses
several comments that lead the reader to believe he does not particularly care for the
work. His biases and personal preferences, along with the questionable vowel
pronunciation and a lack of pedagogical content, support the need for a comprehensive
The construction of the pronunciation guide for this document draws upon diction
handbooks that have been specifically written for singers. Such books include Thomas
Grubb’s Singing in French: A Manual of French Diction and French Vocal Repertoire, 12
Robert Gartside’s Interpreting the Songs of Gabriel Fauré, 13 and Diction for Singers: A
Concise Reference for English, Italian, Latin, German, French and Spanish
A poetic, rather than literal, translation of the songs best serves the performer or
used in formation of the English poetry include, but are not limited to, Larousse English-
10
Robert Gartside, Interpreting the Songs of Gabriel Fauré (Geneseo, NY: Leyerle Publications, 1996),
237.
11
Ibid.
12
Thomas Grubb, Singing in French: A Manual of French Diction and French Vocal Repertoire (New
York: Schirmer Books, 1979).
13
Gartside, Interpreting the Songs of Gabriel Fauré.
14
Joan Wall, Diction for Singers: A Concise Reference for English, Italian, Latin, German, French, and
Spanish Pronunciation (Dallas: Pst, 1990).
4
French French-English Dictionary, 15 Webster’s New World French Dictionary, 16 and
The Oxford-Hachette French Dictionary. 17 Other poetic interpretive texts for singers are
Debussy, 18 Interpreting the Songs of Gabriel Fauré, 19 and Gabriel Fauré: The Songs and
their Poets, 20 all of which consist of slightly different translations. The combination of
these distinct sources ensures an accurate translation of the poetry in English as well as a
studies and scholarly opinions. One of the central questions addressed is the use of vowel
modification within female vocal registers. This issue is discussed in books such as
Singing: The Mechanism and the Technic by William Vennard, 21 Overtones of Bel
Canto: Phonetic Basis of Artistic Singing by Berton Coffin, 22 The Science of Vocal
Science of the Singing Voice by Johan Sundberg, 25 and The Functional Unity of the
15
M. Fonteneau, C. Gauvin, and M. Melrose, Larousse English-French French-English Dictionary (Paris:
Larousse & Co., 1985).
16
B.T.S. Atkins, Webster's New World French Dictionary (Cleveland: Prentice Hall, 1981).
17
M.H. Corréard, et al., Grand Dictionnaire Anglais Hachette & Oxford (Oxford: Oxford University Press,
2007).
18
Barbara Meister, Nineteenth-Century French Song: Fauré, Chausson, Duparc, and Debussy
(Bloomington: Indiana University Press, 1980).
19
Gartside, Interpreting the Songs of Gabriel Fauré.
20
Johnson, Gabriel Fauré: The Songs and Their Poets.
21
William Vennard, Singing: The Mechanism and the Technic (New York: Carl Fischer, LLC, 1967).
22
Berton Coffin, Coffin's Overtones of Bel Canto: Phonetic Basis of Artistic Singing : With 100 Chromatic
Vowel Chart Exercises (Metuchen, NJ: Scarecrow Press, 1980).
23
D. Ralph Appelman, The Science of Vocal Pedagogy: Theory and Application (Bloomington, IN: Indiana
University Press, 1986).
24
Clifton Ware, Basics of Vocal Pedagogy : The Foundations and Process of Singing (New York: McGraw-
Hill, 1998).
25
Johan Sundberg, The Science of the Singing Voice (DeKalb, Ill.: Northern Illinois University Press, 1987).
5
Singing Voice by Barbara Doscher. 26 The amalgamation of the information from these
resources will direct the diction and pedagogical approach of this project.
Review of Literature
and the small number of dissertations and theses that address the work directly do so
mostly in theoretical or comparative terms. Interpreting the Songs of Gabriel Fauré 27 and
Gabriel Fauré: The Songs and their Poets 28 include interpretation guidelines and
translations, but these are merely general overviews in which La Chanson d’Ève appears
among discussions of Fauré’s other songs. Only Gartside’s Interpreting the Songs
contains an IPA transcription of the text—and that does not take into account vowel
modification. The following books and dissertations explore La Chanson d’Ève to some
extent, though none provides the performance guide that my document offers.
Debussy 29 furnishes a précis of the ten songs in La Chanson d’Ève. However, her book
compresses each composer’s body of work for solo voice and piano into a single volume,
abbreviating the information concerning each song by necessity. She includes poetic
accurate, but brief, historical background on each composer. Furthermore, this text lacks
IPA transcriptions and pedagogical considerations for the advanced singer. The
information is more suitable for singers and non-singers who seek a basic overview of
26
Barbara Doscher, The Functional Unity of the Singing Voice (Metuchen, NJ: Scarecrow Press, 1994).
27
Gartside, Interpreting the Songs of Gabriel Fauré.
28
Johnson, Gabriel Fauré: The Songs and Their Poets.
29
Meister, Nineteenth-Century French Song.
6
Graham Johnson’s recent book, Gabriel Fauré: The Songs and their Poets, 30
offers a superior look at Fauré’s song repertoire and explores in depth the history behind
each song. The scope of the project is considerable, covering over one hundred songs.
The historical context surrounding Fauré’s song compositions and relationships with
various poets is quite thorough, though not based on new research, as Johnson himself
Although Gabriel Fauré: The Songs and their Poets contains a certain amount of
information not easily available elsewhere, particularly regarding the songs texts
and their authors, I lay no claim to having broken a great deal of new
musicological ground…I have unearthed no new letters, and no brand new facts
about Fauré’s life, but the interpretation of those established facts, and of the
focal points in Fauré’s life and career. This book provides the most inclusive view of
Fauré’s relationship with Van Lerberghe, and the genesis of La Chanson d’Ève. Each
superficial analysis. Although translations are provided, pronunciation guides are not.
Chanson d’Ève: Counterpoint in the Late Style of Fauré 32 and Marsh’s Gabriel Fauré’s
“La Bonne Chanson” Opus 61 and “La Chanson d’Ève” Opus 95: Musical Diversity
30
Johnson, Gabriel Fauré: The Songs and Their Poets.
31
Ibid.
32
Catrena Flint, La Chanson d’Eve: Counterpoint in the Late Style of Fauré (Montreal, Quebec, Canada,
McGill University, 1997).
7
versus Thematic Unity 33) focus on detailed musical analysis of the composition. The
former emphasizes the counterpoint technique used by Fauré in his late style, while the
latter is concentrated primarily on La Bonne Chanson. There are valuable ideas within
both of these dissertations, though it is not within the scope of either study to examine
Carlo Caballero’s book Fauré and French Musical Aesthetics, Music in the
Twentieth Century is a unique approach to Fauré’s works, covering a broad range from
his early songs and chamber works to late repertoire that includes La Chanson d’Ève. 34
Caballero analyzes how Fauré’s music fits into the French culture and ideals of the time
He offers the best hypothesis for Fauré’s reasons behind his choices of the ten poems that
beliefs. He scrutinizes Fauré’s personal views of God and religion, citing a number of
letters Fauré wrote to his wife on this topic. Caballero attributes Fauré’s choice of poetry
to his theological viewpoint. He postulates: “Fauré left out precisely those sections of the
book most influenced by the moral lessons of the Old Testament.” 35 Fauré’s belief in
God’s existence, but non-belief in the notion of original sin, likely played important roles
in his song selections and the manner in which he set each song. 36 The chapter on
33
Stephanie Marsh, Gabriel Fauré’s “La Bonne Chanson” Opus 61 and “La Chanson d’Ève” Opus 95:
Musical Diversity versus Thematic Unity (Tucson: University of Arizona, 1995).
34
Carlo Caballero, Fauré and French Musical Aesthetics, Music in the Twentieth Century (Cambridge:
Cambridge University Press, 2001).
35
Ibid., 202.
36
Ibid.
8
religion and Fauré’s music provides a very interesting opinion on the motives for his
musical and textual choices within La Chanson d’Ève. As this book is mostly historical in
character, however, it does not go so far as to offer any sort of guide in the way of
performance.
The most analytically in-depth publication, by far, is Fauré and His Songs: The
Sommers. This text examines a small selection of Fauré’s songs from all three musical
periods, including “Prima verba,” the second song in La Chanson d’Ève. The entire first
dedicates itself to the discussion of syllabic stress, vowel duration, rhythm, and language
intonation.
Sommers accurately explains the relationship between Fauré’s music and Van
Lerberghe’s poetic structure and style in his discussion of “Prima verba.” He indicates the
informative study, but is limited to one song in the cycle. Again, this dissertation avoids
material, and harmonic relationships in all ten songs. She painstakingly dissects the
harmonies measure by measure, with ample charts and graphs representing the tonal
37
Paul Bartholin Sommers, Fauré and His Songs: The Relationship between Music, Text and
Accompaniment (Urbana-Champaign, IL: University of Illinois, 1970).
38
Margaret Ann Kennedy, The Effect of Structure upon the Performance Interpretation of La Chanson
d’Ève by Gabriel Fauré (DMA diss., Indiana University, 1984).
9
structure of the cycle. This analysis makes up Part I of the document. Part II, which is
much more concise than the first, guides the reader through performance interpretation,
but emphasizes dynamic and tempo suggestions. These artistic indications do not address
transcriptions. Many of the performance interpretations are no more than a paragraph for
each song. Kennedy maintains in her explication of La Chanson d’Ève “there is little
direct text painting or other obvious coordination between text and music.” 39 A portion of
Score Editions
d’Ève are housed at the Bibliothèque Nationale in Paris. 40 The manuscript of the tenth
song resides in the Harry Ransom Humanities Research Center of the University of Texas
in Austin. 41 La Chanson d’Ève was first published in 1910 by Heugel & Cie in Paris, and
the publisher renewed the copyright in 1934. 42 A digitized copy of this edition can be
found on www.imslp.org. Two other editions that remain popular among performers are
by the Alfred Publishing Company43 and Masters Music Publications, Inc. 44 Both of
these editions are based off of the 1910 Heugel & Cie edition. Although a critical edition
39
Margaret Ann Kennedy, The Effect of Structure upon the Performance Interpretation of La Chanson
d’Ève by Gabriel Fauré (DMA diss., Indiana University, 1984), 88.
40
Edward R. Phillips, Gabriel Fauré: A Research and Information Guide, 2nd ed., Routledge Music
Bibliographies (New York: Routledge, 2011), 47-48.
41
Ibid., 91.
42
Gabriel Fauré, La Chanson d’Ève. (Paris: Heugel, 1910. copyright renewed 1934).
43
---, La Chanson d’Ève, Kalmus Edition (Boca Raton, Alfred Publishing Company, 1985).
44
---, La Chanson d’Ève, Op. 95 for Voice and Piano, Master Vocal Series (Boca Raton: Master's Music
Publications, Inc., 1998).
10
and releasing the complete works of Fauré in seven volumes. 45 These seven volumes will
include La Chanson d’Ève in Series II: Secular Vocal Works. Jean-Michel Nectoux
For the purposes of this document, I refer to the original 1910 and 1934 Heugel
editions.
Expected Outcomes
d’Ève reveals that a comprehensive performance guide is absent from the literature. This
project, then, provides vital performance information to singers and teachers who wish to
pursue this cycle. The study of vowel modification and its effect on IPA transcription is
background on the composer, poet, and the song cycle; a poetic translation of each song;
an IPA transcription that takes into account vocal production and vowel modification;
45
The information on these volumes is not currently listed on the publisher’s website. The specific series
was obtained in a personal e-mail to a representative for Bärenreiter on May 18, 2013. No further updates
have been published since then.
11
CHAPTER 2: HISTORY AND BACKGROUND
Gabriel Urbain Fauré was born on May 12, 1845 in Pamiers, part of the Ariège
region of southwest France. He was the youngest of six children born to Toussaint and
École Normale at Montgauzy. The family lived on the school grounds and young Gabriel
would steal into the adjoining chapel to play the harmonium in his spare time. 46 By 1854,
Gabriel’s father noticed his youngest son’s gift for music, and, through encouragement
from his local music teacher, decided to enroll him in the École Niedermeyer. That
October, they made the three-day journey to Paris, where Gabriel began his studies in
piano, plainsong, and composition under the school’s founder, Louis Niedermeyer.
took over the piano instruction at the school. The academic relationship between Saint-
Saëns and Fauré would eventually develop into a life-long friendship. Saint-Saëns sought
to broaden the musical curriculum in the religious school by introducing his pupils to
was Niedermeyer’s belief that instruction in sacred music took precedence over secular
In the autumn of 1865, Fauré took his first professional position; he became the
organist at the church of St. Sauveur in Rennes, France. Although he had spent his entire
life thus far in Catholic instruction, even winning a prize at age twelve for religious
46
Jean-Michel Nectoux. "Fauré, Gabriel." Grove Music Online, Oxford University Press, accessed April 25,
2013,http://www.oxfordmusiconline.com.ezproxy.uky.edu/subscriber/article/grove/music/09366.
47
Duchen, Gabriel Fauré, 22.
12
knowledge, the parish priest in Rennes had doubts about Fauré’s religious beliefs. 48
Perhaps it was his habit of skipping the sermon to smoke outside that stirred the priest’s
skepticism. In a letter to his wife dated September 28, 1896, Fauré recounts his time in
Rennes: “My head was empty. I had no great opinion of myself, indeed I regarded
months when, at the outbreak of the Franco-Prussian War, Fauré volunteered for military
service. Even while attending to his military duties, Fauré never abandoned his quest for
musical fulfillment, leading to the formation of the Société Nationale de Musique that
same September. Alongside Fauré in Société Nationale de Musique’s formation were his
friend Saint-Saëns, voice teacher Romaine Bussine, and composers George Bizet, César
By March 1871, Fauré found himself reluctantly at the organ bench again, this
time at St. Honoré d’Eylau in Paris. His involvement with the Société Nationale de
Musique and at St. Honoré, however, was cut short that summer when he escaped
warfare in Paris with a fake passport to Switzerland, where he taught at the relocated
École Niedermeyer. During his time in Switzerland, Fauré’s reflection on his experiences
in war is evident in his somber musical output. He wrote songs set to the poetry of
Charles Baudelaire, which includes La Rançon, Op. 8 No. 2, and Chant d’automne, Op. 5
No.1, as well as Seule!,Op. 3 No. 1, which is set to poetry of Théophile Gautier. His last
48
Caballero, Fauré and French Musical Aesthetics, 233.
49
Nectoux, Gabriel Fauré: A Musical Life, 15.
13
setting of a Victor Hugo text, L’Absent, Op. 5 No.3, was also composed this year. The
state.
composer Pauline Viardot. Viardot had studied piano with Liszt and was close friends
with George Sand, Clara Schumann, and Johannes Brahms, who had not long before
dedicated his Alto Rhapsody to her. Viardot took an interest in Fauré’s musical career,
advising him on compositions and even performing some of his songs at Société
Nationale de Musique gatherings. 50 It is likely that some of Viardot’s attention was tied
to the possibility of Fauré marrying her youngest daughter, Marianne. In 1877 Fauré and
Marianne were engaged, but after a prolonged wedding planning period, the engagement
was called off in November. Though crushing to his personal life, Fauré’s marital
misfortune led to a prolific time in his song writing. During this time Fauré’s vocal music
took a turn from the strophic style of the romance to the freer style of the mélodie. Many
of his best known mélodies were composed in the years that immediately followed the
canceled engagement with Marianne, such as Poème d’un jour, Op. 21(1878), Automne,
Op. 18 No. 3 (1878), Les Berceaux, Op. 23 No. 1 (1879), Le Secret, Op. 23 No. 3 (1881),
Throughout this emotionally difficult period in his life, which also included the
death of his father in 1886 and of his mother in 1887, Fauré’s musical style evolved into
something more sophisticated and complex than previous compositions. In mélodies such
as Claire de Lune, Op. 46 No. 2 (1887), Larmes, Op. 51, No. 2 (1888), and Au cimetière,
Op. 51 No. 2 (1888), Fauré experiments with long and multifaceted harmonic sequences,
50
Nectoux, Gabriel Fauré: A Musical Life, 30.
14
as well as composing with strong use of mediant harmonies, a characteristic which
progresses into his later compositions, including La Chanson d’Ève. The death of his
parents may have influenced Fauré’s decision to compose his Requiem, Op. 48 in 1888.
Criticism by the Catholic clergy for liberties he took with the liturgical text of the
Requiem resulted in a strict decree set forth by the Congregation of Rites forbidding
“musical settings that leave out a single word belonging to the liturgy, or in which the
text is transposed or imprudently repeated.” 51 This decree rendered Fauré’s Requiem unfit
for ceremonial use in the church. The changes that Fauré made to the text reflect his
theological ideas, which would manifest in the text choices of his later songs on religious
themes, such as La Chanson d’Ève. He elaborated on his text and musical choices in
Requiem in a 1902 interview with Louis Aguettant: “People have said my Requiem did
not express the terror of death; someone called it a lullaby of death. But that’s the way I
perceive death: as a happy release, an aspiration to the happiness of beyond rather than a
grievous passage.” 52
Fauré’s evolving musical style after his Requiem met with disapproval from other
composers, also. In 1892, he applied for a professorial position with the Paris
Conservatoire, but was turned down by Ambroise Thomas, who thought his
compositional approach too modern. 53 It is interesting to note that after Thomas’ death in
1896, however, Fauré was named professor of composition at the Conservatoire. In 1903,
he became a music critic for Le Figaro and two years later was promoted to director of
the Conservatoire. From 1905 until his death in 1924, Fauré’s song output lessened
51
Caballero, Fauré and French Musical Aesthetics, 189.
52
Ibid.
53
Nectoux, Gabriel Fauré: A Musical Life, 224.
15
Vocal works during this time include La Chanson d’Ève Op. 95 (1910), Le Jardin clos,
Op. 106 (1914), Mirages, Op. 113 (1919), and L’Horizon chimérique (1921). Perhaps, as
Fauré was approaching old age, it was his reflections upon his own death which
year, Belgain poet Albert Mockel serendipitously introduced Fauré to Charles Van
Lerberghe’s book of ninety-six poems entitled La Chanson d’Ève. 54 With this separation
of the political and religious, Fauré was finally free to interpret the Biblical character of
Eve in his music without criticism of clergy members. Almost immediately, Fauré began
setting Crépescule, which would eventually become the penultimate song in his song
cycle. In September of 1906, Fauré wrote to his wife, “It’s a large volume containing a
lot of poems and one has to make a deliberate choice among them – [Van Lerberghe]
Chanson d’Ève (published in 1904) likely stemmed from his strong dislike of Milton’s
Paradise Lost. 56 In a letter to Mockel, Van Lerberghe writes: “Milton’s Eve is nothing
more than a cuisinière…stupidly submissive to her God and her master.” 57 He goes on to
a feminine soul, very sweet, very pure, very tender, very dreamy, very wise and at
the same time very voluptuous, very capricious, very fantastic […] the soul that I
54
Johnson, Gabriel Fauré: The Songs and Their Poets, 305.
55
Nectoux, Gabriel Fauré: A Musical Life, 366.
56
Johnson, Gabriel Fauré: The Songs and Their Poets, 305.
57
C. Van Lerberghe et al., Lettres À Albert Mockel, 1887-1906 (Brussels: Labor, 1986), 300.
16
should have had in another existence, when men did not yet exist, and when
of God, but at the same time a part of the earth. He never mentions Adam at all, nor does
he include the Biblical version of man’s fall from grace. Rather, Eve tastes the golden
fruit while angels sleep and instead of being punished, she sees the world anew. God and
His angels attempt to shield her from her new knowledge, which will bring her
unhappiness, by discouraging her from eating any more of the fruit. Van Lerberghe
presents Eve’s actions with innocent, instead of selfish, motivations, and therefore she is
not punished for her “sin.” 59 In the last section of La Chanson d’Ève, Eve’s soul is
ultimately returned to the earth from which she came and the angels descend to take her
to Paradise. Perhaps it was Van Lerberghe’s gentle depiction of life and death in La
Chanson d’Ève that led Fauré to pursue the poetry for his music.
At the time that Fauré began setting La Chanson d’Ève, he was not particularly
Pantheism distinguishes itself from theism and atheism in that there is a belief in the
existence of the idea of God, but not in God as a divine person or being. God is in and
Fauré’s religious views, or lack thereof, evolved over time and by the time he was
writing La Chanson d’Ève and no longer working for any religious institutions, he was
able to more openly express some of his thoughts on God. Friend and librettist, Eugène
58
Ibid.,301.
59
Caballero, Fauré and French Musical Aesthetics, 205.
17
For him—and I have it from his lips—the word “God” was merely an immense
synonym for the word “Love.” This belief…by its sheer breadth…sooner or later
must have worn down the protests of slack epicurean indifference and irreligiosity
which various musical camps heaped upon him, really out of partisanship, though
“Those poor people” was all Fauré would say, marking this utterance with his
Perhaps Fauré’s most candid reflections on the subject of God and “original sin” are in a
In one of your recent letters you spoke to me of your admiration for the created
world and your disdain for its creatures. Is that fair? The universe is order, man is
disorder. But is that his fault? He was thrown onto this earth, where everything
seems harmonious to us and where he goes lurching, stumbling from his first day
to his last; he was thrown here weighted down with a burden of physical and
moral ailments (to the point that original sin had to be invented to explain this
phenomenon!). 61
Fauré further confirms his skepticism of original sin by omitting any of Van
Lerberghe’s poetry from La Faute. By dismissing any evidence of Eve’s fall, he portrays
her as an innocent being, much like man as he described him in the above remarks to his
wife. Perhaps the greatest look into his view of the divine is in his choice of poems for La
Chanson d’Ève, particularly his choice of “O mort, poussière d’étoiles” to end the cycle.
60
Ibid., 205.
61
As cited in Caballero, Fauré and French Musical Aesthetics, 217.
18
Van Lerberghe ends his La Chanson d’Ève with a picture of Eve ascending with
angels up to heaven to be with God, whereas Fauré ends with Eve quietly returning to the
earth where her soul might “perfume the dark earth and the breath of the dead.” 62
Fauré abolishes original sin from the garden of Eden and forces us to imagine
Eve’s relation to the world anew. Unredeemed because never guilty, Eve does not
transcend the world through personal immortality but rather returns to the world,
is absorbed by it, becomes it. Fauré specifically suggests the inseparability of life
and death through Eve’s immersion and reflection in nature, in which joy and
Fauré composed the songs of La Chanson d’Ève out of order over a period of four
years (see Table 2.1). “O mort, poussière d’étoiles,” the last song in the cycle, was
completed in January of 1910. The entire set was published later that year by Heugel &
Cie. In April of 1910 the first performance of La Chanson d’Ève in its entirety took place
in Paris, sung by Fauré’s personal friend and long-time musical collaborator, mezzo-
soprano Jeanne Raunay. 64 Fauré and Raunay performed La Chanson d’Ève, as well as
many other of Fauré’s compositions, throughout Europe. Even into the 1920s, shortly
62
Gabriel Fauré and Charles van Lerberghe, La Chanson d'Ève (Heugel: 1908), 44.
63
Caballero, Fauré and French Musical Aesthetics, 205.
64
Johnson, Gabriel Fauré: The Songs and Their Poets, 302.
65
Dunoyer, Marguerite Long: A Life in French Music, 1874-1966 (Bloomington: Indiana University Press:
1993), 87.
19
Table 2.1 Composition year for each song of Faure's La Chanson d'Ève
Prelude 2 poems
La Tentation 36 poems
La Faute 18 poems
Crépuscule 12 poems
20
Table 2.3 Division of Faure's songs in relation to Van Lerberghe's sections
Fauré includes only one poem from Van Lerberghe’s section of thirty-six poems,
La Tentation. Fauré positions this poem, “Veilles-tu, ma senteur de soleil,” out of its
original order, which deemphasizes the message of temptation. This ordering, between
“Eau vivante” and “Dans un parfum de roses blanches” creates a sense of innocent
discovery and stimulation by the nature around her, whereas Van Lerberghe’s positioning
Fauré creates a symbolic arc within La Chanson d’Ève beginning with Eve being
born of the earth in “Paradis” and her body and soul returning to the dust from where it
came in “O mort, poussière d’étoiles.” Instead of the traditional narrative of Adam and
Eve being created by God, falling victim to temptation and therefore damning the whole
of humankind, Eve is presented as an extension of God put on the earth to give voice to
nature. This gentle image of the divine, which was also seen in the Requiem, points to
66
Johnson, Gabriel Fauré: The Songs and Their Poets, 317
21
Fauré, Impressionism, and the Styles of La Chanson d’Ève
Nectoux divides Fauré’s oeuvre into four stylistic periods. 67 The last one,
beginning around 1900, contains a number of elements from the impressionist style, but
of his music also contains Romantic elements such as an emphasis on nature and longing.
La Chanson d’Ève, which falls into his late style period, encompasses a number of
impressionistic traits.
of the world through perception, conveying a general impression of a scene, rather than
in time rather than in a permanent state. For instance, the artwork of Renoir, Manet, and
Monet often painted scenes as a moment of continued time, rather than a still, captured
moment. 68 Fauré makes use of the abundant natural themes and landscapes within La
Chanson d’Ève, many of which are expressed through Eve’s perception. He also uses text
painting through the piano accompaniment as a character, such as the imitation of rushing
water in “Eau vivante,” communicating a moving scene rather than a static moment.
pitch, the use of ample parallel chords, static, non-climatic melodies, the use of whole-
tone scales, and intervals of 9ths, 11ths, and 13ths instead of triads. 69 Some examples of
this style are the melodic lines of “Prima verba” and “O mort, poussière d’étoiles,” as
67
Jean-Michel Nectoux. "Fauré, Gabriel." Grove Music Online, Oxford University Press, accessed April
March 8, 2014, http://www.oxfordmusiconline.com.ezproxy.uky.edu/subscriber/article/grove/music/09366.
68
David Cummings, Random House Encyclopedic Dictionary of Classical Music, 1st U.S. ed. (New York:
Random House, 1997).
69
Jann Pasler, Impressionism, Grove Music Online. Oxford University Press, accessed March 8, 2014,
http://www.oxfordmusiconline.com.ezproxy.uky.edu/subscriber/article/grove/music/50026.
22
well as the numerous parallel chords throughout “Paradis.” Static melodies appear in
“Paradis” and “O mort, poussière d’étoiles.” Fauré uses chromaticism in every song, and
most songs employ 9ths, 11ths, or 13ths within their harmonic structures. Further
impressionistic qualities throughout La Chanson d’Ève are examined in depth within the
23
CHAPTER 3: THE MEZZO-SOPRANO VOICE
Fauré’s familiarity with the mezzo-soprano voice began through his professional
relationship with mezzo-soprano Pauline Viardot. 70 Many of his early songs were
performed by Viardot’s two daughters, Claudie and Marianne. Pauline Viardot managed
a popular salon during the 1870s in Paris. Before her role as salon overseer and teacher,
Viardot had been a successful opera singer throughout Europe. She maintained close ties
to many popular French composers such as Berlioz and Gounod. In fact, Berlioz’s
reinstatement of the mezzo-soprano voice for the title role in Gluck’s Orféo ed Euridice
was in Viardot’s honor. 71 Viardot performed opera, song, and oratorio during the 1850s
and 60s.
Fauré’s future success. Even after his broken engagement with Viardot’s eldest daughter,
he preserved a professional relationship with the family. It is likely that through his
activities and reputation in Viardot’s salon, Fauré met and collaborated with famous lyric
in the first performances, and her repertoire on the whole, help to identify the best type of
voice for the song cycle. Though any classification of mezzo-soprano is appropriate to
sing La Chanson d’Ève, the tessitura, range, and style may best suit the lyric mezzo-
70
Johnson, Gabriel Fauré: The Songs and Their Poets, 85.
71
Ibid.
72
“London Concerts,” The Musical Times 52, No. 815 (1911): 31.
24
soprano voice. Perhaps Fauré’s close collaborative relationship with Raunay, as well as
Figure 3.1 Gabriel Fauré au piano chez Jeanne Raunay, avec Paul Daraux, René Lenormand, Georges
Mauguière. 73
understanding of the registers and specific needs of the mezzo-soprano voice, such as
where each register lies and where passaggi notes occur. There are a number of theories
among pedagogues as to the number of registers in the singing voice. For the purposes of
this document, a register will be defined as “homogenous tone qualities produced by the
73
“Gabriel Fauré au piano chez Jeanne Raunay, avec Paul Daraux, René Lenormand, Georges Mauguière,”
photograph, 1903, Bibliotèque Nationale de France Online Catalog,
http://gallica.bnf.fr/ark:/12148/btv1b8417732w/f1.item.r=jeanne%20raunay (accessed May 23, 2014).
74
Ware, Basics of Vocal Pedagogy, 113.
25
The most widely discussed theories argue the existence of one, two, or three
registers. William Vennard reasons that the idealistic approach to registers is the
The voice, if possible, should produce all the pitches of which it is capable
technic. This is the goal toward which all teachers are striving, and many believe
that the best way to make an ideal come true is simply to assume it is true, and
He goes on to assert that the realistic approach, a theory most widely accepted by
teachers today, is the presence of three main registers. Some singers possess auxiliary
registers at the top or bottom of their voices, but these auxiliary registers are not included
The three registers in the female voice refer to the chest register or heavy
mechanism; the middle or mixed register; and the head register or light mechanism. The
chest register manifests itself when yelling or speaking and receives its name from the
sympathetic vibrations felt in the chest cavity. When used properly in singing, with
correct airflow, the chest voice adds body, strength, and drama to lower notes. Adversely,
forcing the chest voice too high is dangerous over extended periods of time. 76 The middle
voice, or mixed register, is best described as a blending of the chest and head voices. This
register is where most vocal music, including La Chanson d’Ève, lies for female singers.
The middle register poses challenges for the young or inexperienced singer. Vennard
says:
75
Venard, Singing: The Mechanism and the Technic, 69.
76
Ibid., 76.
26
Teachers agree that most women beginners need to “find their middle voice.”
Sopranos sing largely in “head” and contraltos largely in “chest,” but when they
discover the “middle” and how to get into it, their vocal development really
begins. 77
head voice. William Earl Brown credits his voice teacher, Giovanni Battista Lamparti, to
this analogy: “You do not water a tree at the top but at the roots – and the tree spreads
and blooms as a natural consequence. It is the proper training of the middle voice that
The head register distinguishes itself by a light, soaring, “heady” sound with
minimal overtones. 79 The larynx stays low, the palate is lifted, and the epiglottis is
completely raised. Arnold Rose adds that a singer may be able to sing for longer periods
of time without vocal fatigue when implementing correct use of the head register. 80
Except in operatic or art song, the head voice is widely underused by female singers, as
transitions throughout the voice. Transition notes, or passaggi, vary between voice
classifications, but are mostly uniform within each Fach. For the purpose of this
document, only the registers of the mezzo-soprano voice will be discussed (see Table
3.1).
77
Ibid., 73.
78
William Earl Brown, Vocal Wisdom - Maxims of Giovanni Battista Lamperti (New York: Arno Press,
1931), 137.
79
Doscher, The Functional Unity of the Singing Voice, 133.
80
Arnold Rose, The Singer and the Voice (London: Faber & Faber, 1962), 148.
27
Table 3.1 Typical register breakdown and transition notes for the mezzo-soprano voice
Vowel modification can largely aid in negotiating through the passaggi. Ralph
Appelman provides a clear explanation of the need for vowel modification in the singing
voice:
The teachers of bel canto taught the development of a vocal scale without the
singing up and down the scale, demanded a modification of the vowel in the
upper notes to preserve the true vowel sound as well as to prevent such notes from
Vowel modification throughout a scale is gradual, but in wider skips and leaps within
music, a modified vowel must be decided beforehand. Appelman goes on to explain the
pitch, and vocal force demand larger opening of the oral and pharyngeal cavities
and prevent the sound from being the same…If the singer is singing the word lord
in the middle voice range, and wishes to crescendo the phoneme, open [ô] on the
same pitch over four beats. He must choose between the phoneme [o] or [ɔ]…The
81
Appelman, The Science of Vocal Pedagogy: Theory and Application, 220-221.
28
listener is apt to hear these vocalized sound as some kind of aw, and to depend
upon the word order to give the meaning of the text…If the word is properly sung
on a pitch on the top of the staff, the word will be heard as [lʌd]. 82
Without expounding too much upon the intricate acoustical reasons behind vowel
measured on frequencies, and the frequencies that can best travel through the vocal tract
are called formants. 83 Formant frequencies can be modified by the position of the lips,
larynx, jaw, soft palate and tongue. 84 For instance, if a singer attempts to sing the vowel
[i], (which has a formant frequency upper limit of 400 Hz) on F5 (which has a frequency
of 700 Hz), the vowel must be modified to one that includes a formant frequency that
accommodates 700 Hz. 85 In short, the combination of the vowel stated in the text, the
frequency of the note, the required formant frequencies for optimal sound, and the
singer’s registers and passaggi all determine the best vowel for any given pitch within a
song.
registers. Doscher refers to these transitional notes as “bridge notes.” 86 These bridge
notes, for the mezzo-soprano, lie between C4 and E4 for the primo passaggio and between
C-sharp5 and F5 for the secondo passaggio. 87 Doscher goes on to quote Mathilde
82
Ibid., 221.
83
Sundberg, The Science of the Singing Voice, 82.
84
Doscher, The Functional Unity of the Singing Voice, 133.
85
Ware, Basics of Vocal Pedagogy, 168.
86
Doscher, The Functional Unity of the Singing Voice, 180.
87
M. Garcia, Hints on Singing (London: E. Ascherberg & Company, 1894), 9.
29
Marchesi’s advice on negotiating through the primo passaggio: “To equalize the scale,
through the bridge notes: “For example, the [e] vowel is shaded toward [ɛ], the [i]
migrates toward [e] or even [ɛ] in bigger voices, the [o] absorbs some of the [ɔ] vowel
and the [u] modifies to [ʊ], [o], or [ɔ], depending upon the voice size, classification,
Such sophisticated intricacies within the voice, vowels, and the French language
lead us to conclude that La Chanson d’Ève is best suited for the advanced singer. Since
most of the cycle sits in the middle voice, the mixed register must be highly developed.
88
Doscher, The Functional Unity of the Singing Voice, 179.
89
Ibid.,181.
30
CHAPTER 4: PARADIS
Key: E Minor
Range: Tessitura:
Paradis
paradi
Paradise
Glissements d'ailes,
glisəmɑ̃ dɛlə,
Gliding of wings,
90
Note: All translations and IPA pronunciation guides throughout this document have been written by the
author
31
Table 4.1 (continued)
32
Table 4.1 (continued)
Analysis
is extensive, the structure of “Paradis” is simple. It is built on two main musical themes,
which appear in alternating sections throughout the song. The eight musical sections of
33
“Paradis” correlate directly with the poetic strophes. Each stanza varies in length;
“Paradis” begins in a simple style, comprised of a single, tied whole-note for each
of the first three measures in the piano part. This extended, ascending pattern in the piano
part of mm. 1-4 is Theme I, which Fauré uses as an idée fixe throughout La Chanson
Theme I
The vocal line enters softly and sustained with an open fifth leap on the syllables “C’est
le premier matin du monde.” The sparse harmonies and the stationary vocal line create a
In m. 21, at the end of “Un jardin bleu s’épanouit,” the key changes to the parallel E
major and a different, arppegiated quality emerges in the accompaniment as the empty
earth fills with life. Fauré marks this new section cantando and the more rapidly
changing harmonic rhythm introduces Eve’s “jardin bleu.” Theme II is present in the
34
Example 4.2 Fauré, “Paradis,” mm. 16-23
m. 16
m. 21
Theme II
This theme returns throughout the song as the text depicts God’s continuing creation of
new beings. At m. 50, the tempo slows and Theme I returns. This is the first time Eve is
mentioned in the text. The serene characteristic of Theme I that Fauré returns to in the
accompaniment suggests that the once rapidly blooming earth pauses with Eve’s creation.
In m. 60, the piano drops out completely, indicating the anticipatory silence of all
creation as it waits for Eve to opens her eyes. The forte return of Theme II marks Eve’s
first breath on a G-sharp major chord in m. 61 and continues through m. 72 (see Example
4.3).
35
Example 4.3 Fauré, “Paradis,” mm. 57-63
m. 57
m. 61
In m. 73, the texture and harmony suddenly change and an open F major chord
announces God’s presence as he finally speaks to Eve in m. 76. As God tells Eve to go
out and “give to all beings that I have created, a word from your lips. A sound by which
to know them,” the piano plays four two-bar descending sequences on mostly open
4.4).
36
Example 4.4 Fauré, “Paradis,” mm. 76-81
m. 76
m. 79
This late entrance of God may reflect the challenges Fauré faced in giving God a musical
voice. He expresses in a letter to his wife, “The writing is difficult. It’s descriptive and
unsentimental. And then one has to set words for God the Father and his daughter Eve. It
In mm. 87-89, the descending chromatic chords emphasize Eve’s apprehension in the
words “And Eve, docile to her master…” as the audience awaits her response to God’s
command. M. 90 ascends, though, and declares her obedience to her master in m. 91 with
the third, and final return of Theme II on E major (see Example 4.5).
91
Nectoux, Gabriel Fauré: A Musical Life, 366.
37
Example 4.5 Fauré, “Paradis,” mm.87-93
m. 87
m. 91
A crescendo and accelerando represent Eve’s excitement as she gives names to all living
creatures.
An abrupt texture change appears at m. 107 and signifies the end of the day as
“Eden goes to sleep and sheds/Into the silence of a blue dream.” An A minor chord
represents the twilight, while the quiet, static vocal line over thin or non-existent
accompaniment paints the picture of the day coming to a close as all of creation becomes
silent. One last textural change occurs at m. 126 with a quick E major arpeggiation in the
piano and Theme I appearing in the bass line. The time signature shifts back to 3/2. This
quickening of the tempo illustrates the anticipation of creation as Eve begins to sing (see
Example 4.6).
38
Example 4.6 Fauré, “Paradis,” mm. 122-128
m. 122
m. 126
Interpretation
The overriding vocal quality for “Paradis” is one of coolness and detachment,
especially in the beginning when the sustained, static vocal phrases symbolize the
vastness of the empty earth. This cool vocal quality is best achieved through piano
precise melody characterizes the vocal line; therefore, the expression of the text is of the
utmost importance. The singer’s goal is to tell the story by bringing out descriptive words
For instance, though it may be tempting to sing with full force and crescendo too
early during the vocal ascent in mm. 7-8, it is not until mm. 11-15, “Au souffle nouveau
qui se lève des ondes,” that the music broadens to convey the text. In mm. 45-46, the
singer might minimize vibrato on the word “silence” to paint the stillness of the text.
39
Steadily building vocal intensity in mm. 53-60 signals Eve’s awakening in m. 61
on the word “Dieu.” At this point, the singer may introduce warmth and depth of tone as
Eve comes to life. It is acceptable to slightly accelerate the tempo in mm. 62-69 as the
earth opens up before Eve, but the piano serves the text by pulling back at m. 70 to
As God’s voice enters in m.76, a different vocal character suits the representation
of the Divine. A gentle, yet commanding, vocal tone serves well God’s loving instruction
to his “fille humaine.” As the story unfolds and Eve names all the creatures of the earth,
the excitement builds and the music accelerates. The climax of the song, and
consequently the most vocally intense, occurs in m. 105 on the word “vole,” as Eve
completes her task. “Vole” may be sung with strength and fervor, with a strong
As the song closes and evening falls over the earth, the singer may strive for quiet
and fluid legato, though the cool detachment present in the beginning of the song
subsides as the once empty earth is now filled with life. The last section of the song is
reminiscent of a lullaby, as Eve sings her song sweetly and tenderly to earth’s new
inhabitants.
Vocal Considerations
intonation throughout the several vocally static sections. These placid moments occur
with minimal support from the piano and usually a dynamic marking of piano or mezzo
piano. The opening line of “Paradis” provides a perfect example of such a passage.
40
The first four notes create an open fifth with the one-note accompaniment. The
voice must be securely in the center of the pitch in order to tune correctly with the B-
natural. To keep the tone soft, the singer must employ a steady stream of air, careful not
to hold back air, which may cause the throat to tighten. Since the notes between E-flat4
and F-sharp 4 mark the primo passaggio for most mezzo-sopranos, the vowels should be
sung as closed as possible to aid in a smooth transition into the middle register and to
Another vocal challenge in this selection for the mezzo-soprano is the negotiation
of vowels through the secondo passaggio, which is usually found somewhere between D5
and F5. In m. 40, the word “murmure” appears on E5. Singing a pure [y] in this part of the
voice would result in a tight, squeezed sound, so the vowel is best modified to [œ] (see
Example 4.8).
41
Example 4.8 Fauré, “Paradis,” mm. 39-41
The [u] may be more comfortable for the singer if slightly opened to [ɔ] (see Example
4.9).
A useful tool to prepare “Paradis” is to practice the entire song with only the
vowels of the text to ensure a smooth vocal transition from word to word, as many of the
phrases occur on the same note or only move by half steps. For example, in mm. 76-77,
one would sing the vowels in “Va, fille humaine,” as [a-i-y-ɛ-ə] to make certain the
42
To sum up, “Paradis” is a lesson on legato singing. To guarantee an effective
performance of this lovely first song of La Chanson d’Ève, one must pay careful attention
to the text, while maintaining adequate breath support and seamless motion between
notes.
43
CHAPTER 5: PRIMA VERBA
Range: Tessitura:
Prima Verba
prima vɛrba
First word
44
Table 5.1 (continued)
Analysis
Set in G-flat major, “Prima verba” is shorter than “Paradis.” The style is compact
and homogenous and the accompaniment plays a greater role throughout than the
previous song. “Prima verba” is divided into two sections, with the first set in 4/4 time
and the second in 3/2 time. These sections are organized by poetic strophes, with the first
three appearing in the first section. Fauré includes the first line of the last strophe at the
end of the first musical section, creating a dovetail effect into the second section.
The first musical section opens with a phrase set in a series of eighth and
sixteenth notes with little melodic movement, painting the picture of the softly
murmuring fountain. The vocal line follows the natural flow of the French language,
which, although exhibits a loose rhyme scheme, is set in a free meter. The second stanza
45
is close to a structured poetic meter with the rhyming of “paradis,” “rubis,” and “fruit.”
The three lines containing these rhymes each consists of eight syllables. Fauré begins
each line of the second stanza on an up-beat and places all three of the rhymed words at
the end of the line on the third beat. The phrases are positioned in a rising and
The meter changes to 3/2, indicating the second musical section, in m. 17 with the
phrase “Depuis que mon soufflé a dit leur chanson.” This signifies the change in Eve’s
demeanor from excitement about her first words to contentment as she ponders the
“silence heureux et profond.” The tempo, dynamic, and harmonies all simultaneously
decrease and end quietly on the tonic as Eve calmly basks in the wonder around her (see
Example 5.1).
46
Interpretation
slow enough to convey the serenity of the text and adhere to the Adagio molto marking,
but fast enough that the phrases have direction. A tempo set between = 72-80 is ideal.
The song begins with a gentle quality and builds in joyful intensity throughout mm. 6-10.
Fauré facilitates this natural upsurge through this section with a poco a poco cresc.
marking, as well as the rise in pitch through sequencing in both the vocal and piano parts.
adds to the delight expressed by Eve, but remains subdued in relation to the climax of
mm. 6-10. The rest of the song maintains as much warmth as possible to the end,
Vocal Considerations
extended vocal phrases. There are many choices, depending on tempo. For instance,
depending on an agreed upon metronomic marking between singer and pianist, a breath
can be taken in m. 2 after “voix,” or the phrase can be carried through until after
catch breath may be taken after “En des sons” in order to crescendo during m. 15 and
Managing one’s breath in the final phrase presents a few different possibilities. In
m. 19, a breath may be taken after “profond” or after “âmes.” If a breath is taken after
47
“âmes,” the singer must ensure the break of airflow is with intention and highlights the
word “allégées.” A third option is to breath after “leurs,” connecting “âmes allégées" as
on the word “fruits” in m. 9 because the word is sung in the secondo passaggio on an E-
flat5 and the [i] in the vowel combination [ɥi] is best sung slightly opened toward [I] (see
Example 5.2).
The second instance is in m. 19, where the word “nait” occurs in the middle of the primo
passaggio. Closing slightly from [ɛ] more toward [e] keeps the tone forward and resonant
48
CHAPTER 6: ROSES ARDENTES
Key: E Major
Range: Tessitura:
Roses ardentes
Rozə ͜ zardɑ̃tə
Blazing roses
Roses ardentes
rozə ͜ zardɑ̃tə
Blazing roses
Dans l'immobile nuit,
dɑ lɛmobilə nɥi
In the motionless night,
C'est en vous que je chante
se ͜ tɑ̃ vu kə ʒə ʃɑ̃tə
It is in you that I sing
Et que je suis.
e kə ʒə sɥi
And that I am.
En vous, étincelles
ɑ̃ vu etɛ̃sɛlə
In you, sparkles
A la cime des bois,
a la simə də bwa
At the summit of the woodsl
Que je suis éternelle
kə ʒə sɥi͜ ͜ zeternɛlə
That I am eternal
Et que je vois.
e kə ʒə vwa
And that I see.
Ô mer profonde,
o mɛr profõdə
O deep sea,
49
Table 6.1 (continued)
Analysis
“loud shouts for joy.”92 Indeed, the text expresses Eve’s abundant joy at being one with
her surroundings. The poetry is set in four clear stanzas containing end rhymes on
alternating lines (abab/cdcd, etc.). Fauré divides the music according to the text in a
binary form, placing two stanzas in each section. The first section begins with the piano
declaring a series of tonic chords. The voice enters on the dominant, but instantly rises to
92
Friedrich, Christian, Daniel Schubart and Ted DuBois, "On the Human Voice and the Characteristics of
the Musical Keys," New England Review (1990-) 25, no. 1/2 (2004), 170.
50
Example 6.1 Fauré, “Roses ardentes,” mm. 1-6
m. 1
m. 4
The first stanza ends in mm. 9-10 with a cadence on I. The second strophe begins in m.
11. The melodic line follows the same rhythmic and harmonic pattern Fauré uses in the
first verse. These opening two stanzas are set in a parlando style to convey Eve’s
excitement.
As the third stanza and, then, the second musical section begin in m. 18, Fauré
slows the rhythm in the vocal line. Suddenly, “O mer profonde” is broad and legato as the
dynamic swells to the first appearance of the dynamic marking forte. The harmony
dramatically shifts to C major, and the intensity slowly climbs with a poco a poco cresc.
to the climax on “âme” in m. 32. The last vocal phrase, “Atteint son dieu!” in mm. 34-35,
ends triumphantly on a V-I cadence. The final vocal interval and accompaniment chords
that follow reflect the perfection of God and the peaceful resignation Eve experiences as
51
Example 6.2 Fauré, “Roses ardentes,” mm. 31-37
m. 31
m. 34
Interpretation
Although it is easy to dismiss the text in the compact rhythms that Fauré writes,
clear diction is essential in “Roses ardentes” in telling Eve’s story. The tempo marking is
Andante with the = 72. The lively text and light, staccato accompaniment lend
themselves to a slightly faster tempo. Between = 82 and 102 is ideal; anything faster
tends to create a feeling of frantic anxiety, rather than excited wonder. Some rubato may
During the opening, the 3/4 meter includes a hemiola in the accompaniment,
creating rhythmic interest and a feeling of 2/4. The opening vocal phrases peak on “nuit”
in m. 5 and “suis” in m. 9, reinforcing the metric structure of the song by allowing the
downbeats in the piano to momentarily align with the vocal part. Forward motion, with
52
clear arrivals on subsequent downbeats, helps the pianist and singer to stay together
The singer may broaden in m. 18 and sustain a forte dynamic throughout the third
verse, but should take care to reserve the fullest use of the vocal tone until after the
crescendo in mm. 28-29. The pinnacle of the song occurs on the word “âme” in m. 32,
but at a dynamic level that allows the subsequent phrase, which is marked sempre forte,
to remain at the same volume. Otherwise, the reverential ending would be overshadowed
Vocal Considerations
Many notes throughout “Roses ardentes” appear in the bridge notes of the
secondo passaggio and thus may need vowel modifications. The first of these notes, a D5,
appears in m. 5 on the word “nuit.” As in the word “fruit” in “Prima verba,” the vowel
combination [ɥi] in “nuit” may be slightly opened toward [ɥI] (see Example 6.3).
The word “Renait” in mm. 21-22 already contains the open vowel [ɛ], and it is
recommend one keeps the vowel true. The same holds for the second syllable of the word
“suprême” in mm. 28-29. In mm. 28-29, the first syllable of the word “suprême,”
however, may need to open slightly toward [ø]. Because the note is short the singer may
53
want to ensure the vowel does not become narrow on a [ɥ] in this range as she moves
54
CHAPTER 7: COMME DIEU RAYONNE
Key: C Minor
Range: Tessitura:
Table 7.1 IPA Pronunciation and Poetic Translation of “Comme Dieu rayonne”
55
Comme il se baigne dans la lumière
kɔm il se bɛŋə dɑ̃ la lumjɛrə
How he bathes himself in the light
Avec amour, mon jeune dieu!
avɛk amur mɔ̃ ʒœnə djø
With love, my young god!
Toutes les choses de la terre
tutə le ʃɔzə də la tɛrə
All the things of the earth
Sont ses vêtements radieux.
sɔ̃ se vɛtəmɑ̃ radjø
Are his radiant garments.
Analysis
“Comme Dieu rayonne” is divided into two musical sections, with the first two
verses comprising the first section and the last verse, the second. The first section
accompaniment. This time, Theme I is set in C minor, a key of longing, with an altered
rhythm. 93Again, Fauré uses this theme to convey Eve’s innocence and her desire to bathe
in God’s loving presence, a presence that is represented by nature all around her.
rayonne” as part of a contrapuntal texture within four other voices of the piano. The vocal
line enters in m. 2 and creates a fifth melody intertwined with the complex piano
counterpoint. The harmonic sequence in mm. 1-2 is repeated in mm. 3-4 (see Example
7.1), with slightly modified rhythms, and, likewise, the harmonies in mm. 5-7 are
m. 1
93
Ibid., 169.
56
m. 4
While the piano material is separated into four, 2-bar phrases, the vocal line in mm. 2-8 is
broken into a 2-bar phrase, followed by a 3-bar phrase, and then another 2-bar phrase.
this new shimmering quality vividly paints the text “Comme il se baigne dans la
lumiére,” as one visualizes God appearing, bathed in gleaming light. The vocal leap in m.
17 to the highest note of the song, F5, is descriptive of the word “lumiére” and further
paints the picture of Eve’s admiration and exhilaration as she beholds God. Large vocal
leaps also appear in m. 18 on the word “amour” and m. 19 on “jeune dieu” to echo the
As the song ends, one last large skip in the vocal line during mm. 22-23 symbolizes
58
A diminuendo represents Eve’s reverent awe and the harmony shifts to C major,
the key of innocence and simplicity, 94 with the song’s ending on a pianissimo I chord.
The shift from C minor to C major signifies that by the end of the song, the Eve’s longing
Perhaps the most fascinating aspect of the poetry in “Comme Dieu rayonne” is
how Van Lerberghe capitalizes “Dieu” in the first strophe, but deliberately uses the lower
case “dieu” in the last strophe. This suggests that Eve views God as a supreme being only
in the beginning of the song. Throughout it, she comes to realize that every living
creature and everything that has life is an embodiment of God, and she sees Him in
everything around her. Placing “god” in the lower case implies that all of creation,
including Eve, is merely an extension of the divine and not subjects bowing to His
control.
Interpretation
“Comme Dieu rayonne” is unique from the other songs in La Chanson d’Ève in
that the piano and vocal material is written in a contrapuntal style. The piano
accompaniment, in this regard, could stand on its own as a solo piece. There are clear
melodic lines throughout the piano separate from the voice that may be brought out as
such. Because of the intricate and continual harmonic movement, the dynamics are
crucial to allowing the music to remain vibrant. Robert Gartside suggests allowing each
phrase to “blossom with an ever so slight crescendo in the middle, which then dies off at
94
Ibid., 169.
95
Gartside, Interpreting the Songs of Gabriel Fauré, 243.
59
The vocal leaps in this song require a legato breath connection at all times to
preserve the nature of the text. The texture change of the piano in m. 14 prompts the
suggests a subito piano at this point in both the voice and piano, this could prove jarring
in an otherwise tender vocal moment. 96 Instead, the previous phrase, beginning in the
second part of m. 9, remains soft to allow for the crescendo through mm. 14-15, and
m. 15
Mm. 16-21 should remain strong and forte; only m. 21 should allow a decrescendo begin
Vocal Considerations
rayonne.” This song contains a multitude of vocal leaps throughout, many of which occur
96
Ibid., 244.
60
on bridge notes. Knowing which vowels to modify significantly helps in the undertaking
of these trouble spots. Another potential problem is the tessitura, which sits higher than
many of the other songs in the cycle. From beginning to end, constant negotiation
between middle and head registers occurs and most of the notes hover around the
secondo passaggio.
“exulte” occurs on E-flat5 and an [ø], as opposed to a pure [y] vowel, may better suit the
Likewise, in m. 7, the word “murmure” sits too high in the voice to sing a resonant and
pure [y]. The singer might consider opening toward [ø]. In m. 10, opening the last
syllable of “oiseaux” from [o] to [ɔ] allows for optimal resonance. In m. 18 a pure [u]
vowel may be difficult on “amour.” Modifying toward [ɔ] may remedy this challenge
involved, the vowel preceding the modified one anticipates the higher vocal position. For
instance, in m. 9, the first syllable of “oiseaux” maintains a height in the soft palate that
61
Example 7.6 Fauré, “Comme Dieu rayonne,” mm. 9-10
More space is needed in preparation for the second syllable of “oiseaux” than if the note
were being sung alone with no leaps following. The palate remains in a high position
during the vocalization of the [z]; otherwise the pitch may go flat. A good exercise for
this song is to sing all the upper notes in a phrase, leaving out any notes that drop into a
lower register, to feel how the vowels are formed and the position of the soft palate. Once
the higher notes maintain a legato and resonant musical line, the lower notes may be
added back in. This exercise ensures that the disjointed vocal line is sung with optimum
62
63
CHAPTER 8: L’AUBE BLANCHE
Range: Tessitura:
L'aube blanche
lo bə blɑ̃
The white dawn
64
Table 8.1 (continued)
Analysis
Fauré includes only the first three verses of Van Lerberghe’s poem in his setting
of “L’aube blanche.” By omitting the fourth verse, Fauré chooses to end the song with
Eve awakening to the beauty of the earth that surrounds her. This decision allows
“L‘aube blanche” to seamlessly transition to the next song, “Eau vivante,” where Eve
observes the splendor of the rushing stream. Fauré creates a musical and textual arc in
“L’aube blanche.” Though not a true ternary form, “L’aube blanche” exhibits a sense of
unity between the first and third sections. Harmonically, the song begins and ends in D-
flat major. Likewise, the poetry begins with Eve’s soul listening to the dawn and ends
with her soul awakening to the love of God represented by the earth around her.
The first verse begins on a first inversion D-flat major chord, with both the vocal
line and the piano eluding the downbeat until m. 6 (see Example 8.1).
65
Example 8.1 Fauré, “L’aube blanche,” mm. 3-6
m. 3
m. 5
Both parts arrive on a B-double flat seventh chord, which, enharmonically, spells
a flat VI chord. This sudden harmonic shift represents the moment Eve moves from a
In the second section, as Eve struggles to fully awaken, Fauré provides a musical
sequence of a repeating melodic motive in the piano to artfully depict the opening and
closing of her eyes. A descending tritone, leading to a major third and followed by a
perfect fifth, appears in mm. 7-15. In the subsequent phrase, beginning with “Une flamme
éveille mes cheveux,” the dynamic marking increases to mezzo forte as Eve is now fully
awake to the wonders around her. The dynamic quickly falls back to piano in m. 19 and
arrives on a root position E major chord as Eve feels the gentle breeze in her hair (see
Example 8.2).
66
Example 8.2 Fauré, “L’aube blanche,” mm. 17-20
m. 17
m. 19
She is fully awake, but still peaceful and basking in the quiet of nature around her. The
vocal line in mm. 11-19 follows a descending whole-tone scale pattern—a technique
Fauré used only rarely in past works 97—representing the rays of light falling on Eve.
The final strophe expresses Eve’s admiration and excitement. As her emotions
intensify, so do the dynamic level and the harmonic intricacies. These musical details
express the opening of her soul to the beauty around her. The dynamic is marked sempre
forte at m. 25, even though the vocal line drops down to an F4. A decrescendo in m. 27
begins the movement toward piano on the D-flat major chord in m. 29, marking the full
arch from the quiet beginning in D-flat to the quiet ending on the same chord (see
Example 8.3). Eve’s reverence and love for God is likened to the feeling left by a
peaceful dream.
97
Ibid., 245.
67
Example 8.3 Fauré, “L’aube blanche,” mm. 27-30
m. 27
m. 29
Interpretation
The tempo for “L’aube blanche” is marked = 76. It is important to adhere to this
marking and not slow down, especially after Eve opens her eyes, to express the wonder
and admiration that she experiences upon her awakening. The arc of dynamics that Fauré
indicates is equally important. Since no dynamic is marked for the vocal entrance,
starting at a mezzo piano or mezzo forte leaves room to crescendo in the middle section.
The forte section, beginning on the pick up to m.16, is not a dramatic statement, but an
outgrowth of admiration and excitement. Even while singing loudly, the singer maintains
a sense of wonder in the voice through exaggerated consonants rather than vocal force.
A legato quality throughout the song from both singer and pianist emphasize the
ambiguity of the downbeats. Clear downbeats occur in both parts in mm. 6 and 10. By
creating a sense of rhythmic vagueness, the downbeats in these measures are pronounced,
depicting the precise moments of the sun’s rising and Eve’s awakening, respectively.
68
Blurring the downbeat is not important for the remainder of the song, as Fauré has
put a clear rhythmic structure back into his writing, but continued legato is essential
throughout. The repeated notes and chromatic movements in the vocal and piano lines
require legato treatment to convey the smoothness of the approaching dawn. Vocal
warmth, representing the warmth of the sun, is the overriding characteristic in “L’aube
blanche.”
Vocal Considerations
The range and tessitura in “L’aube blanche” are both favorable for unmodified
vowels in the mezzo-soprano voice. In fact, there are no instances in which a vowel needs
modification, as the song does not go above a D-sharp5 and the vowels on the bridge
notes are already open (such as “flamme” in m. 16). The challenge in this song is to
carefully manage the many chromatic passages with accurate intonation. This may be
achieved by not singing too heavily and by concentrating on legato singing through
69
CHAPTER 9: EAU VIVANTE
Key: C Major
Range: Tessitura:
Eau vivante
o vivɑ̃tə
Living water
70
Table 9.1 (continued)
Analysis
“Eau vivante” breaks down into three main musical sections, with the three poetic
stanzas correlating to them. The first section includes mm. 1-8; the second includes mm.
9-18; and the third, mm. 19-31. Within these sections, the poetic meter is irregular,
though a clear end-rhyme scheme is evident. Fauré uses the uneven poetic meter to avoid
a sense of musical metric structure throughout the song. Downbeats are continually
blurred by the accompaniment throughout “Eau vivante” with the use of shifting musical
accents. The first instance of metric shift occurs in mm. 2-3 of the piano. The top line
sounds on beat three and is tied through the first beat of the next measure, changing pitch
on beat two. Furthermore, a tie in m. 3 to m. 4 in this same part obscures any sense of
71
Example 9.1 Fauré, “Eau vivante,” mm.1-4
m. 1
m. 3
The piano line, coupled with the vocal part, which does not begin a phrase on a downbeat
effects is a common characteristic of impressionist music. 98 This song is the best example
of Fauré’s use of word painting in La Chanson d’Ève. The piano, with its constant
sixteenth-note texture represents the clear, flowing water described in the text. The first
poetic stanza, and consequently the first musical section, starts in the key of C major with
a sixteenth-note pattern in constant motion, much like the movement of a stream. This
through a series of chromatic passages. A cadence finally occurs in the third stanza. In m.
21, on the word “mousses,” Fauré incorporates a III chord on this measure signifying the
98
Michael Kennedy and Joyce Bourne Kennedy, The Oxford Dictionary of Music, 2nd ed. (Oxford: Oxford
University Press, 1994).
72
moment that the Living Water, or God, descends upon the earth (see Example 9.2).
m. 21
The water continues its journey to the sea as the tonality shifts through
moment that the stream meets the ocean, again on a III chord. Fauré quickly returns to a
simple V-I cadence in the key of C major, which is followed by one of his characteristic
soft and serene endings. The forte dynamic marking in m. 29 decrescendos to a piano in
both the voice and piano in m. 30. “Eau vivante” ends on a root-position C major chord,
with a fermata indicating the sound and the water continuing on infinitely.
Interpretation
accompaniment could stand alone as a beautiful piano work without the vocal part. The
poetry is about water, with the piano as the main character (more so than the voice),
73
which adds a textual picture to complement the piano. Though the singer may regard her
part as secondary in “Eau vivante,” Gartside describes the composition in these terms:
Although singers might tend to dismiss this song as having little vocal interest, it
must be looked at as part of a cycle in which singer and pianist form a duo of
equal importance; they become a true ensemble and each will have his or her
‘moment in the sun’; in this one it is the pianist’s. Use it as a moment of relative
The key to an effective performance of “Eau vivante” lies in the contrasting and
complementary textures of the voice and piano. While the piano is in constant motion,
Fauré uses longer note values and ties over bar lines in the vocal line. The text and lack
of a strong metric center contribute to legato singing by allowing the singer to glide
easily over downbeats without accenting them. In mm. 15-16, the word “colombe” is tied
over the bar line, creating a continuous musical phrase over three measures (see Example
9.3). The long musical phrases create a feeling of forward motion in which no retard is
needed.
99
Gartside, Interpreting the Songs of Gabriel Fauré, 248.
74
Example 9.3 Fauré, “Eau vivante,” mm. 15-17
m. 15
m. 17
Vocal Considerations
“L’aube blanche,” the range and tessitura make for little vocal issues in “Eau
vivante.”The few times that the vocal line goes beyond a C5, Fauré considerately places
the note on an open vowel. There are two instances of octave jumps that may require
75
Example 9.5 Fauré, “Eau Vivante,” m. 25
The tendency may be to lower the palate and sing the lower note with heaviness, as it is a
sustained note and a comfortable place for the mezzo-soprano voice. The singer must be
mindful, however, that both lower notes occur on unaccented syllables. It may be
beneficial to arrive at them gently with a piano dynamic and a high palate position.
76
CHAPTER 10: VEILLES-TU, MA SENTEUR DE SOLEIL
Key: D Major
Range: Tessitura:
Table 10.1 IPA Pronunciation and Poetic Translation of “Veilles-tu, ma senteur de soleil”
77
Table 10.1 (continued)
Analysis
The five stanzas of “Veilles-tu, ma senteur de soleil” are divided into four musical
sections. The first and second stanzas (mm. 1-20) are combined into a single musical
segment. This portion of the song mainly revolves around the tonic, except for a brief
78
beginning of a two-measure sequence in the piano, which repeats four times in an
m. 24
m. 27
The sequence is carefully hidden within the fast-moving texture, as Eve sings about being
a cluster of fruit hidden in the leaves. The fourth stanza begins on m. 33 and meanders
through another series of two-bar sequences that outline an ascending circle of fifths. The
registration of the piano rises throughout this sequence to convey the series of questions
The last musical section occurs from mm. 45-63. Fauré continues the two-bar
sequencing, bringing the tonality back to tonic and cadencing on a pianissimo root-
79
position I chord in m. 59. The quiet ending reflects Eve tentatively questioning whether
as subject matter, than that of the previous songs. Those songs portray a spiritual
atmosphere as Eve relates to God and the earth around her. But the text of “Veilles-tu,”
where it portrays Eve unfastening her hair and reaching out her arms, focuses more on
physical sensations. Eve speaks repeatedly of a “he” in this song, but her subject is never
named. One can assume, because of the different musical treatment of the text, that Eve is
speaking of Adam. Fauré portrays Eve as unsure and unsettled through the rapidly
insecurity in the presence of Adam. The movement finally stops in m.61, but the tonic
chord continues over three measures in longer note values. Eve realizes that her moment
of being noticed by Adam has passed as the sound of the final chord fades through the
use of a fermata.
Interpretation
Fauré has carefully marked all of the dynamic indications within the piano part.
Because the texture never changes, the swell and decline of each phrase are enhanced by
the crescendos and decrescendos in the piano. Likewise, the tempo, marked Allegretto
con moto, can further develop the sense of swell and repose. The use of rubato to speed
up the beginnings of vocal phrases, then slowing down at the ends may create the feeling
of tension and release within each stanza. Because the poetry is irregular, emphasizing
the phrase endings can bring out the string of questions present in the poetry.
80
One instance of the need for emphasized phrase endings occurs in m. 36-40,
where Fauré paints the natural flow of a question with a rising melodic line. The musical
accent of the entire phrase falls on the second syllable of “respire” in m. 40, so the singer
may bring it out with a crescendo. The last syllable of “respire” is unaccented and Fauré
indicates this by placing it on a lower pitch. It should be sung more quietly than the
second syllable even as the piano continues to crescendo (see Example 10.2).
m. 39
Vocal Considerations
managing the syllabically set text through different registers. The temptation is to sing
heavily with too much breath force on low notes. However, keeping them light and
speech-like depicts the flutter of excitement expressed by Eve and the bees.
81
The first instance of register management occurs in mm. 5-6 in the skip from
downbeat, but the peak of the phrase actually occurs on the preceding word (see Example
10.3).
m. 6
By keeping “blondes” unaccented, the singer may be able to easily transition from the
middle secondo passaggio bridge note on “abeilles” to the primo passaggio bridge note
on “blondes.” The next critical instance of sharp register changes is in m. 18 at the octave
leap in the word “roses.” Although a piano is not indicated until m. 21, the pinnacle of
the phrase occurs on the first beat in m. 18, so the unaccented second syllable of “roses”
should be softer. Again, the octave transition naturally becomes unproblematic with a
softer dynamic on unaccented syllables (see Example 10.4). The same treatment may be
beneficial for the large vocal leaps in mm. 28-29, as well as mm. 40-41.
82
Example 10.4 Fauré, “Veilles-tu ma senteur de soleil,” mm. 18-20
Another issue in this song is the need for vowel modifications. The first takes
place in m. 18 on the first syllable of the word “roses.” Since this note is forte and is
preceded by a crescendo, it is beneficial to slightly open the vowel towards [ɔ] for
maximum resonance and beauty (refer back to Example 10.4). The next vowel
modification occurs in m. 40 on the second syllable of the word “respire.” A pure [i] may
result in a pinched sound, but if the singer opens slightly to [I], proper resonating space is
83
In m. 43, the words “il” and “syr” occur on a D5, which is a bridge note into the
secondo passaggio. The vowel does not necessarily need to be completely changed, but
the singer can take care to create enough space in the mouth with a raised soft palate and
relaxed tongue to let the note resonate. Using [I] in “Il” and [œ] in “syr” keeps the soft
palate high and forms a favorable resonating space. The same process can be applied in
84
CHAPTER 11: DANS UN PARFUM DE ROSES BLANCHES
Key: G major
Range: Tessitura:
Table 11.1 IPA Pronunciation and Poetic Translation of “Dans un parfum de roses
blanches”
85
Table 11.1 (continued)
Analysis
“Dans un parfum de roses blanches” contrasts against the previous two songs
through its inclusion of a narrator, rather than Eve speaking in first person. The narrator
paints the picture of Eve sitting tranquilly in the shade as petals fall around her. The
poetic description of the “blue paradise” opening to a paradise of gold is the same “blue
garden” described by a narrator in the first song, “Paradis,” as God unfolds the earth
before her. With the mention of the passing of the blue garden, Fauré positions “Dans un
The poetic structure of “Dans un parfum de roses blanches” is mostly free with
few rhyme schemes. Barbara Meister describes the poetry as approaching the “genre
known as prose-poem.” 100 Similar to the poetry, the harmonic structure is free throughout
the song and incorporates multiple dissonant tonalities within a G major framework.
Without the confines of a harmonic structure, Fauré portrays the turbulence of Eve’s
spirit as she approaches death by including the interval of a tritone, second, or seventh
throughout most of the chords in the song. These dissonant intervals are also present in
the chromatic melody of the lower piano line, while the melodic contour is a statement of
100
Meister, Nineteenth-Century French Song, 145.
86
the second theme present in the inner part of “Paradis” (see Examples 11.1 and 11.2). By
making this thematic connection, Fauré highlights the role of nature in Eve’s existence.
parfum,” the white roses mentioned in the first line represent Eve’s innocence and
purity. 101 As she approaches twilight and eventually death in the final song, the last
phrase of “Dans un parfum” depicts the falling petals in the silence. The musical phrase
that accompanies the closing line of poetry, with its widely spaced chords, is reminiscent
of Fauré’s setting of the “Pie Jesu”in his Requiem as the theme turns towards death in the
101
Holland, Robert Afton, "Dante's White Rose of Paradise," The Sewanee Review 13, no. 4 (1905), 398.
87
Interpretation
From beginning to end, the character of the song remains pensive and gentle.
Fauré includes no musical climaxes in this work; instead, he portrays the contemplative
poetry through long, legato phrases in the piano. With the exception of one marking of
dolce at the beginning, Fauré excludes any use of musical shaping devices, such as the
use of crescendo or decrescendo in any of the musical material. Therefore, the singer and
pianist may desire to keep the musical phrases static, without any large dynamic
The lack of dynamic variation in the music alludes to the solemnity of the next
two songs, yet “Dans un parfum” is not melancholy. Although Eve faces a fate of death,
the G major tonality and the tranquil, natural scene in the poetry suggest Eve’s emotional
state is calm and happy. The theme of death is directly addressed in the final two songs,
but not before. The singer may keep “Dans un parfum” uplifting as Eve relishes her final
Vocal Considerations
Aside from the requirement of total legato singing, the vocal issues in this song
are minimal. The low tessitura and narrow range of “Dans un parfum de roses blanches”
eliminate any need for upper-register vowel modification. Similar to previous songs,
Fauré incorporates vocal leaps between registers and through passaggi. In m. 6, the leap
of a tritone from the middle register to the upper bridge region might be a challenge (see
Example 11.3).
88
Example 11.3 Fauré, “Dan un parfum de roses blanches,” m. 6
To overcome this challenge, the soft palate and tongue remain flexible with the formation
of the text, allowing enough resonating space in the mouth before the actual leap.
Although the preceding vowel in “et” is closed, slightly opening it allows the soft palate
to move upward in preparation for the D-flat5 on “songe.” The same technique of keeping
the tongue and soft palate elastic applies to the sequence of leaps in mm. 21 and 23 (see
Example 11.4).
m. 22
89
The long phrases require even and sustained breath flow. The temptation is to
crescendo through repeated notes and on leaps, but the song is best conveyed as statically
exercise for the preparation of the long phrases is to sing them only on vowels before
90
CHAPTER 12: CRÉPUSCULE
Key: D Minor
Range Tessitura
Crépuscule
Krepyskyl
Twilight
91
Table 12.1 (continued)
Analysis
Fauré divides “Crépuscule” into two musical sections. The rhyme scheme of the
poetry is free, so there are no clearly separated stanzas. Instead, Fauré creates the musical
divisions based on the mood of the poetry. The first four lines of text signify Eve’s
questioning and somewhat confused state. The remainder of the poem reveals Eve’s
realization of her impending death. Fauré splits the musical sections mainly through the
use of dynamics; the first musical section is piano and the second section is forte.
“Crépuscule” opens as twilight settles over Paradise. The opening theme from
“Paradis” is stated in the first two measures of “Crépuscule.” In this instance, however, it
is a whole step lower in D minor instead of E minor, and has a slightly faster harmonic
102
Schubart, "On the Human Voice," 169.
92
“Crépuscule” marks the beginning of Eve’s recognition that death is approaching, and,
In the first few vocal phrases, Eve hears a voice, unsettling amidst her happiness.
She asks, “Who sighs, who is it who cries? What is it that comes throbbing on my heart,
like a wounded bird?” Fauré paints these questions with increasing dissonances,
signifying the uncertainty in Eve’s voice. In m. 7 on the word “pleure,” the B-flat in the
opening theme from “Paradis” moves up a half-step to natural, creating a tritone between
the voice and piano. This dissonance, rather than the perfect fourth originally stated in m.
4 of “Paradis,” further illustrates the unrest in Eve as she approaches death (see Example
12.1 and 12.2). The use of ascending chords beneath Eve’s words mirrors the questions in
93
Example 12.3 Fauré, “Crépuscule,” mm. 5-6
In m. 11 Fauré thickens the texture by adding notes in the left hand of the piano.
In m. 15, he includes the marking espressivo in the piano as the note values lessen from
half notes to quarter notes in the bass clef. The increased rhythmic motion represents Eve
listening with anguish for the voice of death (see Example 12.4).
At this moment, she is not certain if it is God who is calling her to death or another entity,
and her angst is palpable in m. 16 with a G-sharp in the left hand piano against a G-
natural and F-natural in the right. Meister describes these chords as having an
“earthbound heaviness, which is perhaps meant to remind us that Eve has fallen from
103
Meister, Nineteenth-Century French Song, 147.
94
Example 12.5 Fauré, “Crépuscule,” m. 16
Eve’s anxiety. In m. 28, Fauré illustrates her mysterious piercing cry on beat one with a
tritone between the voice and piano. Eve’s anxiety is momentarily quelled in m. 29-30,
illustrated with a decrescendo, as she recalls God’s lulling voice. Her anxiety returns in
the next vocal phrase, as she again hears the troubling cry (see Example 12.6).
m. 29
Fauré indicates a poco a poco crescendo and an accompaniment filled with thick,
dissonant chords to signify her angst. M. 37, however, abruptly changes to the triumphant
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key of D major. 104 This sudden transition in mood and key aptly sets up the final song, as
Eve accepts her approaching death and finds comfort in God’s reassuring presence. The
song ends on a pianissimo D major chord. This shift from a minor tonality to a major one
Interpretation
In “Crépuscule,” the piano portrays Eve’s internal struggle to interpret the voice
coming to her through the silence. At times, the piano and vocal parts are in conflict as
Eve says one thing yet feels another. For instance, in m. 9, Eve sings of her throbbing
heart, but the accompaniment underneath is legato and its rhythmic motion seems slow
The singer may choose to portray the anxiety of the text through the use of dynamics.
Fauré marks this section sempre piano. Therefore, soft singing and crisp diction,
Throughout the text, Eve’s apprehension about an unknown future alternates with
between these two moods in performance. In m. 15, a surge of Eve’s trepidation develops
104
Schubart, "On the Human Voice," 169.
96
markings. However, the dynamic quickly drops back to piano in m. 16 with the entrance
of Eve’s tentative voice. Her musical material is also marked piano, as she listens for
contrasting dynamics illustrate this paradoxical text of “the sound in the silence.” The
vocal line is marked forte while the accompaniment is still piano; this musical device is
one of many techniques Fauré uses to convey a looming air of uncertainty (see Example
12.8).
m. 16
m. 19
Finally, in m. 27, the singer can vocally communicate the first real sense of panic
in Eve’s voice with a forte entrance. The terror lasts only three measures as Eve calms
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herself with the reassurance of “Ta voix qui me berce” in m. 30. Fauré reflects this brief
moment of calm in the accompaniment with three measures marked piano in mm. 29-31,
but her fear returns in both voice and piano in m. 32. The tension escalates through m. 34
and arrives at a forte dynamic marking, but in m. 35, a sudden resignation to her fate can
be expressed through a decrescendo and crisp, deliberate diction. The piano concludes
with three measures of dotted whole-note D major chords to evoke the feeling of serenity
Vocal Considerations
“Crépuscule” contains descending leaps that require precision. The first large leap occurs
in m. 7 on the word “pleure.” Although the dynamic is marked sempre piano, the first
syllable of “pleure” may be sung mezzo piano so that the second, unaccented syllable can
Keeping the breath flowing, even with a decrescendo on “pleure,” ensures a legato line,
despite an octave skip. The next large interval takes place in m. 19. Since this portion of
the music is forte and the poetic stress of the phrase occurs on the second syllable of
“silence,” the lower and upper Fs can be sung forte (see Example 12.10).
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Example 12.10 Fauré, “Crépuscule,” mm. 19-20
“Crépuscule.” In m. 10, the second syllable of “oiseau” works best if the vowel moves
slightly from a pure [o] to [ɔ]. It is acceptable to open as far as [ɑ] if this vowel suits
better than the previous choices and resonates clearly to the singer (see Example 12.11).
One other instance of vowel modification occurs in m. 19 on the word “son.” The nasal
[õ] moves to [ɑ̃] in order to match the next word, “dans.” This not only provides an
optimal vowel for the F5, but aids in a smoother transition down to F4 (see Example
12.12). Finally, in m. 34, it may be comfortable to sing the second syllable of “ceinture”
99
Example 12.12 Fauré, “Crépuscule,” mm. 19-20
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CHAPTER 13: O MORT, POUSSIÈRE D’ÉTOILES
Range Tessitura
Table 13.1 IPA Pronunciation and Poetic Translation of “O mort, poussière d’étoiles”
101
Table 13.1 (continued)
Analysis
each approximately 10 measures in length. The first musical section, mm. 1-10, includes
strophes 1-3 of text. The second section, mm. 11-17, contains strophes 4 and 5, and the
final musical section, mm. 18-26, consists of the sixth and final strophe. The poetry,
102
however, is in a prose-poem style and the loosely constructed strophes are not evenly
Open V chords, pulsing on steady quarter notes, paint a vivid picture of Eve marching
honorably towards death. This calm, steady pulse, which Fauré sets at = 63, signifies
the unperturbed state of Eve’s soul (see Example 13.1) and persists in the left hand piano
In the text of these two sections, from mm. 1-17, Eve beckons death through a static
melodic line. Although the melody is syllabically set with the use of ample eighth and
sixteenth notes, Fauré incorporates repeated notes and chromatic movement to create a
peaceful atmosphere.
Fauré characterizes Eve’s calm disposition throughout the first musical section of
“solemn but not anguished.” 105 Even while the first vocal phrase wanders through
different harmonies, the end of the phrase, which occurs on the first beat of m. 7, settles
on an open D-flat major chord. Fauré arrives on a tonic chord for the first time, after
opening the song on the dominant, as Eve summons Death to take her away into
105
Meister, Nineteenth-Century French Song, 148.
103
nothingness (see Example 13.2). Perhaps this delayed statement of the tonic signifies
m. 7
A crescendo begins the second musical section in m. 8 and the intensity builds to
a peak on m. 9 as Eve exclaims that she is like a flame drunk in the wind. Her momentary
her prayerful supplication to death. The melody line starts on an E-flat4 and chromatically
ascends as she expresses her hope for death. The climax of the song is in m. 15 with
Eve’s final “Viens!” Fauré incorporates two tritone dissonances in the preceding measure
to set up the vocal peak. Gartside describes these chords in m. 14 as “electrifying and
filled with pain.” He goes on to suggest that the “voice must be as grim as the singer can
106
Gartside, Interpreting the Songs of Gabriel Fauré, 257.
104
Example 13.3 Fauré, “O mort, poussière d’étoiles,” mm. 13-17
m. 13
m. 16
While the music in this section may not sound “joyful,” it is not necessarily pain-
ridden, either. In fact, Schubart describes the key of D-flat major as encompassing a
“character who is able to smile, but not laugh.” 107 Eve may not be filled with frivolity and
joy, but she is certainly not mournful. This middle section is filled with a passion
unknown to Eve up until this time. She may be fearful of the emotions she is discovering
within herself in the face of death, but there is nothing grim in her plea.
The final section of the song, beginning in m. 18, consists of Eve’s last words
before her soul returns to the earth. The mood is serene and the dynamic marking piano.
The vocal range is low, never ascending beyond an A4. The accompaniment in m. 18
ceases the steady quarter note pattern and begins a series of sixteenth and dotted eighth
notes in the left hand. Within the first two beats of m. 18, Fauré includes eight of twelve
chromatic tones, abandoning all sense of harmonic function. This shift in the tonality and
107
Schubart, "On the Human Voice," 169.
105
texture represent the presence of Death. Until this moment, Eve has invited Death to take
her, but here she begins the transformation into the earth (see Example 13.4).
In mm. 22-24, the vocal line vacillates between only two pitches, C4 and F4. The
lack of note variation, coupled with the sempre piano dynamic marking, symbolize Eve’s
waning spirit. Fauré places Eve’s last note on an F4, the third of the tonic, emphasizing
the major mode. By ending the song, and thus the cycle, on a major chord, Eve’s death is
portrayed in a positive light. In past songs, Fauré favored minor tonalities when setting
somber texts and major tonalities for hopeful poetry. These past tendencies support a
conclusion that Eve’s death is peaceful and welcome (see Example 13.5).
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Example 13.5 Fauré, “O mort, poussière d’étoiles,” mm. 22-26
m. 22
m. 24
Interpretation
Fauré indicates a tempo marking of = 63. Anywhere between = 54 and 63 is
recommended. With the somber tone of the text, there is no need to go any faster than
this. There are no exceptionally long vocal phrases, so the singer should be able to
hesitation on the last three words, “dans ton néant,” may emphasize the enormity of
Unlike “Dans un parfum de roses blanches,” Fauré takes care to include ample
dynamic markings in both the vocal and piano material throughout “O mort, poussière
d’étoiles.” It is advisable to adhere to these markings since they aid in the portrayal of
Eve’s emotions. Her emotional state fluctuates phrase by phrase as she struggles to
107
The opening phrase is written in a chant-like manner and is best sung without
emotion. This detached quality is achieved by keeping the dynamic level the same on the
repeated notes. The first instance of real passion in this song occurs in m. 8 with a
crescendo to the downbeat of m. 9. A decrescendo does not appear until the second half
of m. 9, so the sudden octave jump on the first beat remains forte. The next phrase,
beginning on m. 10, is suddenly piano, and should remain as such until m. 15. Fauré
marks a crescendo in the vocal line at m. 13. Allowing this crescendo to only increase to
The last phrase, beginning in m. 18, mirrors the opening in that the
emotion is again left out of the voice, as Eve’s soul leaves her body and returns to the
The song contains a sense of fading seamlessly into the night through the descending
on the last chord, the pianist may allow the sound to resonate until there is complete
silence. This quiet, prolonged ending allows a sense of finality to set in as Eve returns to
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Vocal Considerations
Because of the small range and the low tessitura, there is not a tremendous need
for vowel modifications. In essence, the most challenging element of “O mort, poussière
d’étoiles” is the need for precise intonation. The voice repeats a piano A-flat3 seven times
in the opening phrase. To avoid going flat, a helpful visual for the singer is imagining that
the sustained pitch is light and high and the breath is always moving forward. The same
steady airflow technique applies to mm. 7 and 8 and mm. 22-26. In the last section of the
song, the singer must decide whether she will sing the repeating Cs in a chest voice or a
mixed register. Whichever register she chooses, based on her individual apparatus and
interpretation, the pitch remains in that register for the duration of the song and the
Another vocal consideration within this piece is the many emotional shifts.
A vast array of vocal colors is crucial to the performance. For instance, when evoking
fear or apprehension in Eve’s voice, the singer may wish to incorporate a breathier sound.
Legato phrases encourage a portrayal of serenity. By creating vocal effects through these
means, the singer has the opportunity to convey the great details of the text in conjunction
with the musical indications that Fauré includes. Because the range is narrow and the
tessitura low, the quickest way to a boring performance is to sing the entire song with
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CHAPTER 14: CONCLUSION
for teachers and singers in the vocal studio. By supplying historical and biographical
translations in one place, the study of these songs becomes more readily accessible to
performing Fauré’s masterpiece will spark the programming of more recitals to include
La Chanson d’Ève.
The lack of inclusion of La Chanson d’Ève on many recitals and in the classroom
may be due to the lack of knowledge and resources for teachers and students, especially
from a singer’s perspective. Gartside describes the work as a “difficult cycle to sell to an
audience, but if well done, by the proper kind of voice, people will realize that it contains
some of Fauré’s most beautiful music.” 108 This document reveals the techniques that a
initiates a movement to explore the relationship between IPA pronunciation and vowel
modification within specific voice categories. My unique pronunciation guides take into
consideration the challenges of singing through passaggi as well as other vocal registers
in the mezzo-soprano voice. Speaking and singing in French, as in English, are not
Finally, presenting vocal considerations within each song is a new concept in the
realm of song analyses for performers. While many documents include interpretation
notes, the investigation into detailed concerns relating directly to the voice and vocal
108
Gartside, Interpreting the Songs of Gabriel Fauré, 234.
110
production is practically unheard of. It is my hope that these new ideas spark an
exploration by singers of a new area, expanding their knowledge and the popularity of
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APPENDICES
Appendix A: Discography
Charlton, Collis Hill. Master of Music degree recital with a performance major. Southern
Baptist Theologcal Seminary. 1977, cassette tape.
Curtain, Phyllis. Phyllis Curtin Sings Fauré and Debussy.VAI 0089948118626. 1999,
compact disc.
De Gaetani, Jan. Jan DeGaetani in concert. Volume one Volume one. Bridge 9023. 1991,
compact disc.
Ernest Chausson, Gabriel Fauré, Claude Debussy, Francis Poulenc, Erik Satie. Le
premier matin du monde cycles. Cambria 0021475011438. 2009, compact disc.
Fauré, Gabriel. Mélodies : op.95 "La chanson d'Eve," Op. 3, 10, 23, 72. Anne-Marie
Rodde (soprano) Théodore Paraskivescs (piano).Calliope 1844/46. 1975, compact
disc.
---. La bonne chanson, La chanson d'Eve, Le jardin clos, L'horizon chimérique. Berthe
Monmart (soprano) , Simone Gouat (piano). Pléïade8.112062. 1955, compact
disc.
---. La Chanson d'Ève and other songs. Janet Baker (mezzo-soprano), Geoffrey Parsons
(piano). Hypérion 66320. 1990, compact disc.
---. Dans un parfum des roses. Geraldine McGreevy (soprano), Graham Johnson (piano).
Hyperion 0034571173368. 2005, compact disc.
---. La chanson d'Ève. Mireille Delunsch (soprano), Marie-Josèphe Jude (piano). S.l.
370023222257. 2010, compact disc.
112
---. La Chanson d’Ève. Katherine Bergeron (mezzo-soprano), Dana Gooley (piano). CD
Baby 700261292366. 2010, compact disc.
Kolassi, Irma. Irma Kolassi sings French mélodies. Testament B000089AQJ. 2003,
compact disc.
Mayer, Nancy. Nancy Mayer, mezzo-soprano. Eastman School of Music. 1989, sound
tape reel.
Shelton, Lucy. Poemes pour mi. Nonesuch 13117849. 1985, compact disc.
Upshaw, Dawn. Voices of Light: music of Messiaen, Debussy, Golijov & Fauré.
Nonesuch B0002JNR4U. 2004, compact disc.
Upton, Radha. 2010. Radha Upton, collaborative piano graduate recital. University of
North Carolina Greensboro. 2010, compact Disc.
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Appendix B: Review of Selected Recordings
Chanson d’Ève on her 2009 recording. Her voice is perfectly suited for the tessitura of La
Chanson d’Ève. Moreover, she sings in her native language, bringing a lyricism and
beautiful moments in the cycle. She negotiates through her registers with ease,
particularly in the opening and closing sections of the song. The lower-middle register
notes are filled with warmth, and always sound comfortable in her voice. The text is clear
and the tone is even from bottom to top. As she sings about the “limpid air of paradise,”
her voice floats over the accompaniment with splendid legato and sempre dolce as Fauré
indicates. Deshayes ends the song with a sweet statement about the “profound silence”
with a seamless meandering through the lower bridge notes to end on a piano G4 that,
= 66- with some sections slowing to almost 64. As the text illustrates “blazing roses”
and Eve’s blood reviving in the presence of the deep sea, a slow tempo ruins Eve’s
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excitement at the world around her. The music sounds trudging and laborious and seems
76, but Deshayes sings it at = 65. The poetry, this time, is more forgiving to a slow
tempo than “Roses ardentes” as Eve is awakening to the white dawn from her deep
slumber. The “sleepy” tempo could be interpreted as Eve’s reluctance to wake from her
dreams at the sun’s first light. However, as the song progresses and Eve fully awakens,
this tempo fails to portray her wakefulness. She is happy and excited to see the world
around her in the fresh morning light. Perhaps Deshayes takes the line “Et mon âme,
comme une rose Troublante, lente, tout le jour, S'éveille à la beauté des choses” literally.
The final song, “O mort, poussière d’étoiles,” includes some of the most
beautiful singing on the recording. Deshayes maneuvers through chromatic passages with
velvety legato as she sings Eve’s invitation to death. As the song intensifies, Deshayes
uses her chest register in a poignant image of Eve as a flame in the wind. She ends the
song with such quiet assurance in her voice that one can imagine Eve’s confident and
fearless death.
Chanson d’Ève should be at the top of the listening list for anyone interested in this song
cycle. Her voice is ideal for Fauré’s composition, and throughout the performance her
115
Recording: Voices of Light: music of Messiaen, Debussy, Golijov& Fauré
Singer: Dawn Upshaw, Soprano; Gilbert Kalish, piano
Year: 2004
Dawn Upshaw’s recording of “La Chanson d’Ève” from her 2004 compact
best suited for mezzo-soprano. The low tessitura throughout the cycle and the fact that
the beauty of Upshaw’s voice occurs in her upper register, leave the listener
underwhelmed.
“Paradis,” Upshaw floats a flawless piano E5 near the beginning of the song. But as the
song progresses and the world unfolds around Eve, there is never a strong sense of the
powerful presence of God. At the point in which God speaks, “Go, human daughter and
give to all the earth a word on their lips.” Upshaw’s sweet voice lacks the authority one
“Roses ardentes,” with its light and energetic tone and higher tessitura, is the best
suited song for a soprano in La Chanson d’Ève. Upshaw keeps the mood lively and the
text clear, but her tendency to begin long notes with a straight tone, adding vibrato only at
The tessitura in “Eau vivante” is low for Upshaw. Most of the song lies around
G4, a note that for her sounds dull at times. The song ends on a G4 as the poetry refers to
the vastness of the sea as it melts into the sky, but there is no depth in Upshaw’s tone.
116
Finally, in “Crépuscule,” Upshaw rids her voice of the brassy tone quality she
possesses in her lower register. The opening phrase, sung on a D4, is lovely and rich. She
maintains this richness throughout “Crépuscule” and into “O mort poussière d’étoiles.”
Perhaps it was her intention to keep the tone bright in the beginning of the cycle and
composed the cycle in a lower tessitura, with no notes higher than an F-sharp5, making it
ideal for a mezzo-soprano. Even a dramatic or full lyric soprano may bring the depth and
warmth of tone essential to Eve, but Upshaw’s voice does not convey the full potential of
Fauré’s masterpiece.
recording in 1990. Baker’s unique vocal timbre and vast song experience lend themselves
throughout the work are impeccable. She typically heeds Fauré’s editorial markings, only
altering a small number of tempo recommendations. Her rich and mature vocal color
portrays Eve in an “earthy” light; Eve is not a young nymph or sprite, but a woman
The opening phrase of “Paradis” is one of the most exquisite moments of the
117
and “hazy” match the open and sustained quality of the accompaniment. Especially on
“matin,” where she sings a B4 against the piano’s C5, the perfectly tuned notes impart and
immediate tension and release in the opening four bars, captivating the listener.
Another enthralling moment isduring the fourth song, “Comme Dieu, rayonne.”
As she sings of the manifestation of Gods voice in all of nature, Baker arrives on a
pianissimo E5 during the word “haleine,” which leaps out of the middle-voice tessitura.
She floats the note effortlessly while still maintaining warmth and core in the sound.
Baker’s vocal finesse is apparent as she achieves another beautiful pianissimo on the final
The vocal refinement and vast array of dynamics are not only obvious in Baker’s
crescendos with verve. Particularly, on “ma voix,” the climax of the song, she possesses
richness of tone through the forte F5. The notes in her upper range never become pushed
or steely.
Baker chooses to take the tempo of “Veilles-tu, ma senteur de soleil” slower than
the Allegretto con moto that Fauré indicates. He includes a suggested = 84, but Baker’s
tempo is closer to = 75. Eve does speak of roaming silently in the night. Perhaps the
relaxed tempo reflects the calmness in Eve’s words amidst the constant current of the
In “Roses ardentes,” Baker significantly alters the tempo marking. The indication
is Andante, = 72, but Baker takes the tempo at a brisk = 100. This Allegretto speed
may provide a better depiction of the text, which describes the blazing roses. Baker
118
decides to intensify Eve’s excitement through her faster tempo, but it feels rushed at
beautiful vocal moments. She skillfully utilizes a vast array of dynamics to express the
evolution of Eve’s emotions. This recording is a worthwhile listen for anyone interested
remains one of the finer recordings of Fauré’s late song cycle. Known as a great teacher
throughout Paris, Kolassi’s vocal technique stands out as her primary strength. Though
she does not exhibit a wide range of dynamics in her singing, her tone is beautiful and
resonant and her French is fluid. The small range in dynamics may be due to the
recording capabilities of the 1950s. Microphones may not have been able to pick up a
resulting in an even and vibrant vocal tone. One particular instance happens in “Paradis”
on the word “murmure.” The natural, closed vowel of the word poses problems in the
upper range, but Kolassi manages the registration challenge by opening the vowel. In the
second song, “Prima verba,” Kolassi sings the word “roses” on a C5. She opens the vowel
119
in an effort to position her soft palate for the forte E-flat5 on “fruits.” The vowel in “fruit”
which Fauré assigns longer values. In “Paradis,” as she sustains the second syllable of the
word “reve,” the vowel is more akin to [ø] than to [ə]. Another instance occurs in “O
mort, poussière d’étoiles.” In the first phrase, Kolassi sings the last vowel of “étoiles” as
[Ʊ]. Possibly, she intended to cover these vowels to add color to the note, as many of the
other [ə] vowels throughout the cycle are pure. The over-darkening adds an impression of
The greatest downside to the recording remains in the lack of dynamic contrast. If
one does not actively listen, the work can seem to run together. Still, the vocal line is
beautiful and the technique excellent. If one can overlook the monotony of the volume,
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———. La Chanson d'Ève, Op. 95 for Voice and Piano. Master Vocal Series. Boca
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VITA
Bachelor’s of Music
Vocal Performance
Texas Christian University, 2005
Master’s of Music
Vocal Performance
University of Kentucky, 2008
Positions
Vocal Instructor
The Academy for Creative Excellence
University of Kentucky
Sarah E. Klopfenstine-Wear
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