Trois Mélodies Op.7 (Fauré)

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Trois Mélodies is a set of mélodies for solo voice and piano, by Gabriel Fauré. It includes Après un rêve (Op. 7, No. 1), one of Faure's most popular vocal pieces, Hymne (Op. 7, No. 2), and Barcarolle (Op. 7, No. 3). The songs were written between 1870 and 1878. ^[1]

1 Après un rêve
2 Hymne
3 Barcarolle
4 References

[edit] Après un rêve

In Après un rêve, a dream of romantic elopement with a lover, away from darkness, and towards an awakening light is described. However, the dreamer longs to return to the "mysterious night". The text of the poem is an anonymous Italian poem translated to French by Romain Bussine.^[2]

French

English

Après un rêve

Dans un sommeil que charmait ton image
Je rêvais le bonheur, ardent mirage,
Tes yeux étaient plus doux, ta voix pure et sonore,
Tu rayonnais comme un ciel éclairé par l'aurore;

Tu m'appelais et je quittais la terre
Pour m'enfuir avec toi vers la lumière,
Les cieux pour nous entr'ouvraient leurs nues,
Splendeurs inconnues, lueurs divines entrevues,

Hélas! Hélas! triste réveil des songes
Je t'appelle, ô nuit, rends moi tes mensonges,

Reviens, reviens radieuse,

Reviens ô nuit mystérieuse!^[3]

After a dream

In a slumber which held your image spellbound
I dreamt of happiness, passionate mirage,
Your eyes were softer, your voice pure and sonorous,
You shone like a sky lit up by the dawn;

You called me and I left the earth
To run away with you towards the light,
The skies opened their clouds for us,
Unknown splendours, divine flashes glimpsed,

Alas! Alas! sad awakening from dreams
I call you, O night, give me back your lies,

Return, return radiant,

Return, O mysterious night!^[3]

[edit] Hymne

Hymne is set to a poem by Charles Baudelaire. The meaning of the text in Hymne is vague to those not aware of Baudelaire's ongoing theme of paradox (as the meaning is quite apparent in his other works): the spirituality of what is sensual and the sensuality of what is sanctified. Faure's setting of the text centers subtly around this idea. Hymne, just like Après un rêve, retains an ethereal mood. The unchanged harmonic motion after "Forever hail!" indicates the entrance to the untroubled world of spirituality. Interestingly enough, after the word "sel" which literally means salt, (but in this case refers figuratively to something engaging) the harmony begins to change. Under a soft, but highly chromatic piano line the stanza about "incorruptible love" brings the song to a dramatic climax. After this stint, the piece returns to its tranquil state; however, the piece does end with the melody's tonic note and the piano's leading tone clashing for a stunning effect. The phrase "Sachet tojours frais...travers la nuit" is omitted by Faure.^[4]

French

English

Hymne

À la très chère, à la très belle, Qui remplit mon coeur de clarté, À l'ange, à l'idole immortelle, Salut en immortalité, Salut en immortalité!

Elle se répand dans ma vie, Comme un air imprégné de sel, Et dans mon âme inassouvie, Verse le goût de l'Eternel.

Sachet toujours frais qui parfume l'athmosphère d'un cher réduit, encensoir oublié qui fume en secret à travers la nuit.

Comment, amor incorruptible, T'exprimer avec vérité? Grain de musc, qui gîs invisible, Au fond de mon éternité?

À la [très bonne], à la très-belle, Qui remplit mon coeur de clarté, À l'ange, à l'idole immortelle, Salut en immortalité,

Salut en immortalité!^[5]

Hymn

To the very dear one, the very lovely one, Who fills my heart with brightness, To the angel, the deathless idol, Forever hail, Forever hail!

She pervades my life Like a salt-filled breeze, And into my unsatisfied soul Pours the taste of the eternal.

[Sachet ever-fresh that perfumes The air of a beloved recess, Forgotten cencer that smokes In secret through the night.]

Incorruptible love, How to express the truth of you? Grain of musk, that lies unseen At the bottom of my eternity?

To the very good one, the very lovely one, Who fills my heart with brightness, To the angel, the deathless idol, Forever hail,

Forever hail!^[5]

[edit] Barcarolle

Rhythm passed between the singer and the piano

The text for the third piece in the set, Barcarolle, was written by Marc Monnier. This piece remains typical of barcarolle form by using the buoyant flow of a 6/8 time signature. Throughout the song, the rhythmic figure, which consists of an eighth note tied to three triplet sixteenth notes, followed by another eighth note, is passed between the voice and the piano.^[6]

French

English

Barcarolle

Gondolier du Rialto
Mon château c'est la lagune,
Mon jardin c'est le Lido.
Mon rideau le clair de lune.
Gondolier du grand canal,
Pour fanal j'ai la croisée
Où s'allument tous les soirs,
Tes yeux noirs, mon épousée.
Ma gondole est aux heureux,
Deux à deux je la promène,
Et les vents légers et frais
Sont discret sur mon domaine.
J'ai passé dans les amours,
Plus de jours et de nuits folles,
Que Venise n'a d'ilots

Que ses flots n'ont de gondoles.^[7]

Barcarolle

I am a Gondolier of Rialto;
my castle is the lagoon,
and my garden is the Lido.
My curtains are the light of the moon.
I am a Gondolier of the Great Canal:
as a beacon I have the window
illuminated every night
by your dark eyes, my wife.
My gondola is for the happy,
and I take them out two by two;
and the light, fresh breezes
are discreet in my domain.
I have passed in my love
more intoxicated days and nights
than Venice has islands,
than even its streams have gondolas.^[7]