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Category Archives: Music

Sir Karl Jenkins’ “L’Homme armé”

07 Wednesday Apr 2021

Posted by michelinewalker in Genocides, Liturgy, Music, War

≈ 2 Comments

Tags

Burgundian School, cantus firmus, Franco-Flemish school, Kosovo genocide, polyphony, Sir Karl Jenkins, The Fall of Constantinople, The Ottoman Empire

Christ Pantocrator, Sainte-Sophie, Istamboul (fr Wikipedia)

The Fall of Constantinople

Setting a Mass to a secular song, the 15th-century L’Homme armé, is an oddity. But the title of this Mass is otherwise intriguing. Sir Karl Jenkins (b. 1944), a Welsh composer, dedicated his Armed Man: a Mass for Peace to the victims of the Kosovo genocide, giving his Mass a “contemporary resonance.” (Early Music Muse.)

The genocidal wars that followed the dissolution of the Soviet Union reflect ethnic discrimination in Eastern Europe. Such discrimination is probably rooted in the very last Crusades, the fall of Constantinople.

On 29 May 1453, the Byzantine Empire fell to the Ottoman Empire. Greek scholars fled to Italy initiating or buttressing the Renaissance. Moreover, Ottoman Turks invaded neighbouring countries, creating Muslim communities. In 1529, they nearly reached Vienna.

By the 15th century, the expanding Ottoman Empire overpowered the Balkan Peninsula, but faced successful rebellion and resistance led by Gjergj Kastrioti Skanderbeg. By the 17th and 18th centuries, a substantial number of Albanians converted to Islam, which offered them equal opportunities and advancement within the Ottoman Empire. Thereafter, Albanians attained significant positions and culturally contributed to the broader Muslim world.

(See Albanians, Wikipedia)

L’Homme armé

The composition of the secular L’Homme armé has been attributed to Johannes Regis (c. 1425 – c. 1496), but it appears that Antoine Busnois (c. 1430 – 6 November 1492) is the song’s composer. Sources differ. Both Regis and Busnois were younger members of the Burgundian School, younger than Guillaume Du Fay (5 August 1397 – 27 November 1474). However, all three composers lived in the 15th century and were active in or after 1453. Busnois, Regis, and Du Fay were members of the Burgundian School, whose chief purpose was the development of polyphony. Although the Greeks invented polyphony, “the term polyphony is usually used to refer to music of the late Middle Ages and Renaissance.” (See Polyphony, Wikipedia.)

Conclusion

The fall of Constantinople and the conquest by Ottoman Turks of several European countries, the future Balkans mainly, led to battles and bloodshed. So, it is less surprising that 15th-century composers set the Ordinary of the Mass, the Mass’ permanent elements, to L’Homme armé, its cantus firmus, or fixed melody. “Some have suggested that the ‘armed man’ represents St Michael the Archangel.” (See L’Homme armé, Wikipedia.)

As for compositions of L’Homme armé that followed the breakdown of the Soviet Union, they reflect distant conflicts. Karl Jenkins’ Armed Man: a Mass for Peace, composed in 1999, is a commemoration. One is also reminded of Benjamin Britten‘s War Requiem, an anti-war piece. 

Fifteenth-century composers who have set a Mass to L’Homme armé are Josquin des Prez, Matthaeus Pipelare, Pierre de La Rue, Cristóbal de Morales, Guillaume Du Fay, Giovanni Pierluigi da Palestrina, Guillaume Faugues, Johannes Regis, and Johannes Ockeghem. Most were members of the Burgundian School or the Franco-Flemish School.

One cannot forget L’Homme armé.

—ooo—

RELATED ARTICLES

  • Guillaume Du Fay’s L’Homme armé (2 April 2021)
  • The Last Crusades: the Ottoman Empire (12 February 2015)
  • The Chigi Codex: “L’Homme armé” (12 February 2012)

Sources and Resources

L’homme armé / The armed man: the remarkable life of a 15th century song and its contemporary resonance.
(Early Music Muse.)

L’homme armé doibt on doubter.
On a fait partout crier
Que chascun se viegne armer
D’un haubregon de fer.
L’homme armé doibt on doubter.

The armed man should be feared.
Everywhere it has been proclaimed
That each man shall arm himself
With a coat of iron mail.
The armed man should be feared.

(See L’Homme armé, Wikipedia.)

—ooo—

Love to everyone 💕

Sir Karl Jenkins conducts his Armed Man: a Mass for Peace
Renesansowa pieśń żołnierska Renaissance Soldier Song L’Homme armé (ballada na niej oparta)
L’homme armé in the Mellon Chansonnier, c. 1470 (Photo credit: Wikipedia)

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Guillaume Du Fay’s L’Homme armé

02 Friday Apr 2021

Posted by michelinewalker in Music, polyphony, The Church

≈ 4 Comments

Tags

L'Homme armé, Liturgical Music, madrigals, music, polyphony, Sacred & Secular, the Franco-Flemish School, the Venetian School

L’homme armé in the Mellon Chansonnier, c. 1470

In the 15th century, musical compositions, both liturgical and secular, often blended several independent voices. Such compositions are labelled polyphonic. Polyphony is a musical texture blending independent voices as do Barbershop quartets.

Secular madrigals, songs in the mother (madre, Spanish) tongue, had been monophonic (one voice), but they were a form used in the development of polyphonic music. So was the Motet, liturgical music. Polyphony could at times blend more than the soprano, alto, tenor and bass (SATB), the four voices we are most familiar with. But more importantly, a Mass by Guillaume Du Fay combined the sacred and the secular. The Ordinary of the Mass was set to L’Homme armé (the armed man) a secular theme. A Mass’ permanent components constitute the Ordinary of the Mass.

Guillaume Du Fay (5 August 1397 – 27 November 1474), the most prominent composer of the 15th century, was associated with the Burgundian School. The Burgundian School was a close predecessor to the Franco-Flemish School. In the 15th century and during most of the 16th century, the Netherlands were the cultural hub of Europe. For instance, Adrian Williaert (c. 1490 – 7 December 1562), of the Franco-Flemish school, would be a teacher in Venice. He founded the Venetian School.

L’Homme armé (Wikipedia) was a very popular tune. “Over 40 settings of the Ordinary of the Mass using the tune L’Homme armé survive from the period between 1450 and the end of the 17th century.” (See L’Homme armé, Wikipedia.)

Du Fay set the Missa L’Homme armé to a cantus firmus “a pre-existing melody forming the basis of a polyphonic composition” (Wikipedia). However, the pre-existing melody was L’Homme armé, the armed man.

Composers still write sacred music. Examples are Benjamin Britten (22 November 1913 – 4 December 1976) and John Rutter (b. 1945). Earlier, Hector Berlioz (11 December 1803 – 8 March 1869) wrote his Grande Messe des morts or Requiem.

In fact, L’Homme armé is still used. Pieces on L’Homme armé are listed in its Wikipedia entry. British composer Peter Maxwell Davies composed “a parody mass Missa super L’Homme armé (1968, revised 1971).” Canadian pianist and composer Marc-André Hamelin (b. 1961) wrote Toccata on “L’Homme Armé” “on commission by the Van Cliburn Foundation for the Fifteenth Van Cliburn International Piano Competition. Every competitor was required to perform it in the preliminary stage of the competition.” (See L’Homme armé, Wikipedia.)

I should also mention rock opera Jesus Christ Superstar, with music by Andrew Lloyd-Webber (b. 1948) and lyrics by Tim Rice (b. 1944). The rock opera does not use L’Homme armé, but it is a theater musical based on a Christian theme.

One never forgets L’Homme armé.

RELATED ARTICLES

  • Feasts & Liturgy (page)

—ooo—

Love to everyone 💕

L’Homme armé de Guillaume Du Fay
Marc-André Hamelin performs his Toccata on “L’Homme armé”
Du Fay (left), with Gilles Binchois in a c. 1440 Illuminated manuscript copy of Martin le Franc’s Le champion des dames[n 1] (Photo credit: Wikipedia)

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1st April 2021
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Blanche comme neige

28 Friday Aug 2020

Posted by michelinewalker in Art, Canada, Music

≈ 9 Comments

Tags

Acadian, Blanche comme neige, Canadian, Canadiana, French, Legend

Leonardo da Vinci

 

La belle s’est endormie sur un beau lit de roses
The beauty fell asleep on a beautiful bed of roses
La belle s’est endormie sur un beau lit de roses
The beauty fell asleep on a beautiful bed of roses
Blanche comme la neige belle comme le jour
White as snow, beautiful as [the] day
Ils sont trois capitaines qui vont lui faire l’amour
There are three captains who will make love with her


Le plus jeune des trois la prend par sa main blanche
The youngest of the three takes her by her white hand
Le plus jeune des trois la prend par sa main blanche
The youngest of the three takes her by her white hand
Montez, montez princesse dessus mon cheval gris
Climb, climb Princess on top of my gray horse
A Paris j’vous mène dans un fort beau logis
To Paris, I’m taking you, to a beautiful home

Finissant ce discours le capitaine rentre
As he stopped speaking, the captain comes in
Finissant ce discours le capitaine rentre
As he stopped speaking, the captain comes in
Mangez buvez la belle selon votre appétit
Eat and drink Beauty to your appetite
Avec un capitaine vous passerez la nuit
With a captain you will spend the night

Au milieu du repas la belle a [sic] tombé morte
In the middle of the meal, the beauty dropped dead

Au milieu du repas la belle a tombé morte
In the middle of the meal, the beauty dropped dead
Sonnez, sonnez les cloches, tambour au régiment   
Ring, ring the bells, beat the drums regiment
Ma maîtresse elle est morte à l’âge de quinze ans
My mistress she has died at the age of fifteen


Mais au bout de trois jours son père s’y promène
But at the end of three days her father walks by
Mais au bout de trois jours son père s’y promène
But at the end of three days her father walks by
Ouvrez, ouvrez ma tombe mon père si vous m’aimez
Open, open my coffin my father if you love me
Trois jours j’ai fait la morte pour mon honneur garder
For three days I’ve played dead, for my honor to keep


The translation above is mine. It is mostly word for word, so one can understand the original French. It is a folk song and folk legend, from French Canada or France. It is only remotely related to Christmas, because Beauty is as white as snow.

Kate and Anna McGarrigle

Love to everyone 💕

 

French Cathedral, Quebec City, Mary M. Chaplin, 1839 – C856

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28 August 2020
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Quebec in the Nineteenth Century: a Beginning

22 Wednesday Jul 2020

Posted by michelinewalker in 19th Century, Canadian Confederation, Covid-19, Music

≈ 4 Comments

Tags

Covid-19, Mischa Maisky, Quebec, Suzor-Côté

M.A. Suzor-Coté (1869-1937)

Still Life with Lilies by M. A. Suzor-Coté, R.C.A., 1894 (Courtesy: Galerie Klinkhoff)

suzor-cote-marc-aurele-de-foy-nature-morte-avec-des-marguerites

Still life with Daisies by Suzor-Coté

I have been trying to post an article on 19th-century Quebec. As workers tried to organize, many priests sided with the boss. Some threatened excommunication, if workers got together. A few workers were killed. In short, it’s heartbreaking.

Yet, I will write the shortest of posts. We are living and dying in the age of Covid-19. There are new outbreaks. So I want to tell you to wear a mask. It’s your only defense.

Social distancing does not work very well unless one also wears a mask. Nature has made us gregarious, so we automatically approach others.

Artist Suzor-Coté was a protégé and friend of Sir Wilfrid Laurier.

Stay safe.

Love to everyone 💕

Mischa Maisky plays  JSBach’s Cello Suite No. 1 in G 

copie

Suzor-Coté (Pinterest)

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22 July 2020
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Quote

Oberturas de ópera

23 Tuesday Jun 2020

Posted by michelinewalker in Masterpiece, Music

≈ 4 Comments

via Oberturas de ópera

I could not resist. The last overture, to Bizet’s Carmen, is extremely powerful and joyous.
I thank our colleague Manuel Cerdá .

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Valérie Milot plays Smetana

Featured

Posted by michelinewalker in Music, Sharing

≈ 8 Comments

Tags

Bedrich Smetana, Harp, Moldau, Prague, sharing, Valérie Milot

Brigde

The Moldau Pinterest

TOP 10 Amazing Photos of The Magnificent Prague

Valérie Milot plays the Moldau

Escale à Versailles

Love to everyone ♥

 

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The “Figaro Trilogy,” revisited

04 Wednesday Sep 2019

Posted by michelinewalker in Art, Comedy, Commedia dell'arte, French Literature, History, Music

≈ Comments Off on The “Figaro Trilogy,” revisited

Tags

Barber of Séville, Figaro triology, La Mère coupable, Mozart's Figaro, opera buffa, Pierre Caron de Beaumarchais, Rossini, The Barber of Seville, The Guilty Mother, The Marriage of Figaro

Portrait de Pierre-Augustin Caron de Beaumarchais, by Jean-Marc Nattier

Portrait de Pierre-Augustin Caron de Beaumarchais by Jean-Marc Nattier

Augustin Caron de Beaumarchais (24 January 1732 – 18 May 1799) had recruited men who fought in the American Revolutionary War  and had also supplied arms to American revolutionaries.

One of his recruits was Pierre-Charles L’Enfant (9 August 1754 – 14 June 1825), an architect and engineer who designed the Washington National Mall. L’Enfant was dismissed and replaced by Andrew Ellicott (24 January 1754 – 28 August 1820) who criticized L’Enfant Plan and Pierre-Charles L’Enfant. In 1902, the McMillan Commission did away with Andrew Ellicott’s revisions. The Washington Mall was redesigned using L’Enfant Plan.

The Figaro Trilogy

The Barber of Seville (1773; 1775)
The Marriage of Figaro (written in 1778, performed in 1784, published in 1785)
The Guilty Mother (1791; 1966[opera])
The Marriage of Figaro as the center-piece of Beaumarchais’ “Figaro trilogy” 
Mozart’s Marriage of Figaro (K. 492, 1786)
Le Mariage de Figaro, 1784
Le Mariage de Figaro, 1784
Le nozze di Figaro, Mozart, 1786
Le nozze di Figaro, Mozart, 1786

The Marriage of Figaro (1784)

At an early point in his life, Beaumarchais did recruit men willing to join the Americans in their struggle for independence, but he is known mainly as the author of the Figaro trilogy, which consists of three plays: The Barber of Seville (1775), The Marriage of Figaro  (1784), and The Guilty Mother (1791).

A problematical comedy

the second installment in the Figaro trilogy
Accepted for production in 1778 (Comédie-Française)
Vilification of French aristocracy: condemned by Louis XVI
Revised: change of location
Performed in France in 1784
Published in France in 1785
 

The Marriage of Figaro is the second installment in Beaumarchais’ Figaro trilogy, but constitutes the centerpiece of Beaumarchais’ trilogy. It was written in 1778 and accepted for production by the Comédie-Française in 1781. However, as first written, it vilified French aristocracy and so shocked Louis XVI that he banned the production of the play.

The play was problematical because Count Almaviva, who marries Rosina in The Barber of Seville, or the Futile Precaution (1778), wants to consummate Figaro’s marriage to Susanna, Figaro’s bride. Beaumarchais revised the play and moved the action to Spain. Ironically, Count Almaviva wanted to avail himself of a right he had abolished: “the feudal droit du seigneur, the right of the lord of the manor to sleep with his servant’s bride on her wedding night.”[I]  

The Marriage of Figaro is a comedy inspired by the commedia dell’arte. Given the conventions of comedy, the Count’s plans will therefore be foiled. The innmorati will be helped not only by clever zanni and other servants, but also by Rosina, Almaviva’s wife, whose marriage to the Count, a philanderer, did not end altogether “well.” The play also features a redeeming discovery. The Count wants Figaro to marry Marcellina, Bartolo’s housekeeper, but it turns out that Figaro is the love child of Marcellina and Bartolo. One does not marry one’s mother. Bartolo therefore proposes marriage to Marcellina. There will be two weddings, which is not uncommon in comedy.

Zanni

The Marriage of Figaro’s Cherubino,[II] a character reminiscent of Cupid, the mythological god of desire, could be called a zanni. He is forever in love and gets into trouble. However, he also provides comic relief as do zanni in the commedia dell’arte. Zanni are stand-up comics. In Passion Plays, comic interludes were inserted between the acts. The same stratagem can also be used inside comedy. Some “comic” is always at the ready not only to “fill in,” but also to support zanni (servants, one of whom is clever, but the second, clumsy).

As part of the props, we have incriminating letters and, in the case of the Barber of Seville, the Count, disguised as Lindoro, a name borrowed from the commedia dell’arte, we have musicians serenading Rosina. Guitars are inextricably linked with the commedia dell’arte. They are a prop that Watteau and Picasso, Picasso especially, depicted abundantly.

Moreover, to fool the Count, the Countess dresses as Susanna, Figaro’s bride-to-be, while Susanna dresses as the Countess. Therefore, when the Count court Susanna, he is in fact courting his wife. He reveals his plans to seduce Susanna, but find Rosina attractive. It is quite normal in comedies for the Alazṓn , the Count, to undo himself, except that comedy is kind. Cross-dressing is also a frequent device in the comic text and it is rooted in the topsy-turvy world of the Roman Saturnalia, not to mention the last days of l’ancien régime. 

Beaumarchais and the Revolution  

After Beaumarchais relocated The Marriage of Figaro, “[t]he feudal droit du seigneur” became a distant right and wrong. Louis XVI lifted the ban on the production of The Marriage of Figaro and the play was performed by the Comédiens français ordinaires du Roi, on Tuesday, 27 April 1784, and the text was published in 1785. Yet the play remained problematical. Although The Marriage of Figaro is a Shakespearean “all’s well that ends well,” the conventional ending, or dénouement, of comedies, in the Marriage of Figaro, this ending seems a little theatrical.

First, the Barber of Seville‘s Rosina has married a philanderer. Second, Georges Danton  commented that Beaumarchais’ Marriage of Figaro had “killed off the nobility.” (See The Marriage of Figaro, play, Wikipedia). Jesus of Nazareth might have said “And why beholdest thou the mote that is in thy brother’s eye, but considerest not the beam that is in thine own eye?” (Matthew 1:5-7). Georges Danton voted in favour of the execution of Louis XVI. (See Georges Danton, Wikipedia.)

Mozart’s Le nozze de Figaro (1786)

Beaumarchais or Pierre de Beaumarchais’ Marriage of Figaro was made famous by Mozart‘s (27 January 1756 – 5 December 1791) Nozze di Figaro, a four-act opera buffa, or comic opera composed in 1785 on a libretto (the text) by Lorenzo da Ponte (10 March 1749 – 17 August 1838). Mozart’s Marriage of Figaro (Le nozze di Figaro) premiered in Vienna at the Burgtheater, on 1 May 1786. It has remained a favourite opera often associated with Mozart only, not Pierre de Beaumarchais.

The Barber of Seville, or The Futile Precaution

The Barber of Seville, or The Useless Precaution (Photo credit: Wikipedia)

The Barber of Seville (1775)

The Barber of Seville; or, the Useless Precaution[III] was performed and published in 1775 as Le Barbier de Séville; ou, la précaution inutile. It is the first play in Beaumarchais Figaro’ trilogy. The play was written in 1773, but it was not performed until 23 February 1775, when it premiered at the Comédie-Française in the Tuileries. Although I have prepared a point by point description of the plot of The Barber of Seville, I am quoting Britannica’s summary. Simply add the name Lindoro, a guitar, and a few suspicious letters. The Count first dresses as a poor student named Lindoro.

“Rosine (known as Rosina in the opera), the ward of Dr. Bartholo, is kept locked in her room by Bartholo because he plans to marry her, though she despises him. Young Count Almaviva loves her from afar and uses various disguises, including one as Alonzo, a substitute music teacher, in his attempts to win her. Bartholo’s roguish barber Figaro is part of the plot against him. Indeed, it is Figaro who steals the key to Rosine’s room for Almaviva. Unfortunately, Almaviva is in his disguise as Alonzo when he meets Rosine. Though in love with “Alonzo,” Rosine is convinced by the suspicious Bartholo that Alonzo intends to steal her away and sell her to a wicked count. Disappointed, she agrees to wed Bartholo that very night. All of Figaro’s ingenuity is required to substitute Count Almaviva for Bartholo at the wedding ceremony.”[IV]
 

Portrait of Gioachino Rossini in 1820, International Museum and Library of Music, Bologna

Portrait of Gioachino Rossini in 1820, International Museum and Library of Music, Bologna (Photo credit: Wikipedia)

Rossini’s Il Barbiere di Siviglia (1816)

In 1816, Le Barbier de Séville; ou, la précaution inutile (four acts)[V] was made into a two-act opera by Giaochino Rossini on a libretto by Cesare Sterbini. The Barber of Seville, or the Futile Precaution or Il barbiere di Siviglia, ossia L’inutile precauzione premiered on 20 February 1816 at the Teatro Argentina, in Rome.

Beaumarchais’ Guilty Mother (1792)

The Guilty Mother, subtitled The other Tartuffe (La Mère coupable ou l’autre Tartuffe), a play in five acts, is the final part of the Figaro trilogy. Tartuffe is a play by Molière. The character Tartuffe feigns devotion. The Guilty Mother was completed in 1791, but not performed until 1792 at the Théâtre du Marais. The French Revolution had gained impetus, which made it necessary for Beaumarchais to take away his title from Count Almaviva. The Guilty Mother   will be discussed in a later post.

Marius Milhaud‘s The Guilty mother or La Mère coupable (1966)

The Guilty Mother or The other Tartuffe was set to music: an opera in three acts (Op. 412), by Marius Milhaud, to a libretto by Madeleine Milhaud. It is the final instalment in Beaumarchais’ Figaro trilogy and was first performed at the Grand Théâtre de Genève, on 13 June 1966. (See La Mère coupable [The Guilty mother], Wikipedia.)

Jean-Antoine Watteau‘s Italian comedy.

 

Mezzetin, Jean-Antoine Watteau
Mezzetin, Jean-Antoine Watteau
The Italian Comedy, Watteau
The Italian Comedy, Watteau
La Surprise, Watteau
La Surprise, Watteau
The Love Song, Watteau
The Love Song, Watteau

The Rebirth of Brighella and the Birth of Figaro

Figaro is heir to the commedia dell’arte‘s Brighella, a zanni. He joins Pedrolino-Pierrot, Harlequin, Scapino, and other zanni. In fact, Figaro himself joins the rank of the zanni. As portrayed above, he looks like Harlequin, but he may disguised as Harlequin. Figaro is an iconic figure in France. To be precise, Figaro is an institution: a newspaper, founded in 1826 and published in Paris. Le Figaro is the second-largest paper in France. It takes its motto from Beaumarchais’ Figaro trilogy:

“Sans la liberté de blâmer, il n’est point d’éloge flatteur.”
(“Without the freedom to criticise, there is no true praise.”)
 

Brighella, Maurice Sand

Brighella, Maurice Sand

Scapino, a Zanni

Scapino, Maurice Sand

RELATED ARTICLES

  • Beaumarchais’ Trilogy: The Guilty Mother (18 July 2014)
  • Picasso in Paris (9 July 2014)
  • Picasso’s Harlequin (3 July 2014)
  • Arlecchino, Arlequin, Harlequin (30 June 2014)
  • Leo Rauth’s “fin de siècle” Harlequin (27 June 2014)
  • Pantalone: la Commedia dell’arte (20 June 2014)
  • Designing Washington, DC (cont’d) (25 May 2014)
  • Designing Washington, DC: Pierre-Charles L’Enfant (23 May 2014)

Notes

The Commedia dell’arte
Bartolo is a dottore
Lindoro is one of the names innamorati used in the commedia dell’arte
Figaro is a Brighella, a zanni in the commedia dell’arte, who helps the innamorati overcome obstacles to their marriage)
The guitar is an essential prop
Letters are used all the time: false, anonymous, incriminating…
 
Sources and Resources
  • The Marriage of Figaro is an Online Library of Liberty, full text EN
  • Le Mariage de Figaro is a Gutenberg Project [EBook #20577] FR
  • Male innamorati are called: Arsenio, Aurielo, Cinthio, Fabrizio, Flavio, Fedelindo, Florindo, Leandro, Lelio, Lindoro, Mario, Ortensio, Ottavio, Sireno, often the son of Pantalone, Silvio, Tristano
  • Female innamorati are called: Angelica, Aurelia, Beatrice, Bianchetta, Celia, Clarice, Clori, Cinzio, Emilia, Eularia, Flaminia, Florinda, Filesia, Filli, often the daughter of Pantalone, Isabella, Lavinia, Lidia, Orazio, Ortensia, Silvia, Turchetta, Vittoria 
  • Brighella
  • Maurice Sand, Masques et bouffons (comédie italienne), 1860

Flûte de Brighella, Henrico Brunelleschi (Photo credit: Christi'e)

Flûte de Brighella, Enrico Brunelleschi
(Photo credit: Christie’s) (This image cannot be enlarged.)

____________________

[I] Watteau depicted Mezzetino, a zanni, playing the guitar. The guitar is also a major motif in Picasso’s art.

[II] See Commedia dell’arte, Wikipedia, under Subjects.
 
[III] “The Barber of Seville.” Encyclopaedia Britannica. Encyclopaedia Britannica Online.
Encyclopædia Britannica Inc., 2014. Web. 13 Jul. 2014.
<http://www.britannica.com/EBchecked/topic/52863/The-Barber-of-Seville>.
The Count also calls himself Lindoro.
 
[IV] Op. cit.
 
[V] Op. cit.
 

Love to everyone 💕

This post was published several years ago, but it is related to our current posts.

 
Gioachino Rossini : The Barber Of Seville – Overture 
 
 
 

Figaro

Figaro

 
© Micheline Walker
(revised 4 September 2019)
13 July 2014
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Molière’s Dom Juan

02 Saturday Mar 2019

Posted by michelinewalker in Comedy, Commedia dell'arte, Literature, Music

≈ 4 Comments

Tags

Brighella, commedia dell'arte, Dom Juan, Dramma giocoso, Faux-dévot, Molière, Noblesse oblige, Sganarelle

don-juan-illustration-1938-1_jpg!Blog
Don Juán, illustration by Carlos Saenz de Tejada, 1938
(Photo credit: WikiArt.org)

I’ve been writing a chapter on Molière‘s enigmatic Dom Juan (1665), the same Don Juán as Tirso de Molina‘s (24 March 1579 – 12 March 1648) Burlador de Sevilla y convidado de piedra and Mozart‘s Don Giovanni (1587) composed on a libretto by Lorenzo Da Ponte.

A Dramma giocoso

Molière’s Dom Juan does not seem a comedy. It lacks a young couple trying to marry despite a heavy father’s objections. However, it borrows elements from the Italian commedia dell’arte. Molière’s Dom Juan has in fact been labelled a dramma giocoso, a playful or comic drama, blending tragic and comical elements, which violates the rules of 17th-century French drama.

For instance, Sganarelle is a descendant of Brighella, a zanni in the Italian commedia dell’arte. He and Dom Juan are nearly always together, which makes for an incongruous relationship: Dom Juan is the master and Sganarelle, the valet. Molière’s play is a Saturnalia.

The Characters and other Elements

Our main characters are Dom Juan and his valet, Sganarelle (Mozart’s Leporello), played by Molière when the play premièred on 15 February 1665.

Dom Juan is Done Elvire’s husband. She has left a convent to marry him, but he no longer wishes to be her husband. He wants to be “free.” Done Elvire’s brothers, Dom Carlos and Dom Alonse, must avenge Done Elvire: (point d’honneur, point of honour), but fail to do so. When Dom Carlos speaks to Done Juan (V. iii), the latter has become a faux dévot, a man who feigns devotion to serve earthly needs. It appears Molière is meditating his Tartuffe (1664).

The play also features two peasant girls, Charlotte and Mathurine, whom Dom Juan tries to “seduce.” He’s told Charlotte that he will marry her, but her fiancé, Pierrot, puts up a fight. Dom Juan has also told Mathurine that he will marry her. However, there is no successful seduction in Molière’s play, not even a kiss, except on Charlotte’s hand, that she describes as black. This scene is the “La ci darem la mano,” of Mozart’s Don Giovanni (see video below).

Molière’s play on Don Juán is singularly devoid of eroticism. His Dom Juan is compiling conquests, as does Leporello in Mozart’s Don Giovanni. However, the catalogo Dom Juan keeps is a metaphorical rather than literal catalogo. Yet, at the beginning of the play (I. i) Sganarelle tells Gusman, Done Elvire’s escort and servant, that Dom Juan is the very devil. He is a grand seigneur [lord] méchant homme, an aristocrat, but an evil man.

Don%20Giovanni2

Don%20Giovanni%201

Don Giovanni by Angela Buscemi
www.teatrodimessina.it
 (Photo credit: Google Images)

The Plot

In fact, other than the above-mentioned events the plot of Molière’s Dom Juan consists in a series of fruitless attempts to save Dom Juan from eternal damnation. The individuals begging Dom Juan to convert are Sganarelle (1), Dom Juan’s valet, Done Elvire (2), Dom Juan’s abandoned wife, and Dom Louis (3), Dom Juan’s father.

When Sganarelle warns his master, whom he calls a pèlerin, a pilgrim, that he may be punished, he is silenced immediately, not by an angry, but verbose or quiet Dom Juan. Sganarelle falls short of words and when his master will not speak, he collapses (III. i).

Noblesse oblige

Similarly, when Dom Louis, Dom Juan’s father, bemoans the fact that aristocracy is no longer as it was, Dom Juan listens, but does not hear. When Dom Louis is finished, Dom Juan simply invites him to sit down so he can speak more comfortably (IV. iv). In 1665, the noblesse oblige of earlier years has been replaced by self-interest.

Later (IV. vi), Done Elvire implores Dom Juan to mend his ways as God is about to strike. He lets her speak, but as she is leaving, he invites her to stay overnight. It is late. Done Elvire leaves. It is as though she had not spoken a word.

Dom Juan as faux dévot

At the beginning of act V, Dom Louis returns and praises his son who now feigns devotion. Dom Louis does not notice that Dom Juan is putting on an act. Moreover, it is as a faux dévot that Dom Juan dismisses Dom Carlos. He will not live with Done Elvire as man and wife, because it is God’s will (V. iii).

Retribution

However, Dom Juan has killed a Commandeur. There is a statue of the Commandeur with whom Dom Juan is to have dinner. At the appointed hour, the statue of the Commandeur takes him by the hand which causes the earth to move and engulf Dom Juan.

Conclusion

The above is an incomplete introduction to Molière’s Dom Juan, not to say le donjuanisme. I have left out the encounter with Francisque, a poor man, and uneven fight, &c. But this is a beginning.

RELATED ARTICLES

  • Bergamo: Arlecchino & Brighella (23 July 2014) ←
  • The Figaro Trilogy (14 July 2014)
  • Picasso in Paris (9 July 2014)
  • Picasso’s Harlequin (3 July 2014)
  • Arlecchino, Arlequin, Harlequin (30 June 2014)
  • Pantalone: la Commedia dell’arte (20 June 2014)

Sources and Resources

  • Dom Juan by Molière/Sganarelle
  • The Trickster of Seville and the Stone Guest (Wikipedia)
  • Synopsis of Don Juan
  • Don Juan, trans. by Brett B. Dodemer, Digital Commons (pdf)
  • Don Juan, ou le Festin de pierre is Gutenberg’s [Ebook #5130] FR
  • Tartuffe; or, the Hypocrite is Gutenberg’s [Ebook #2027]

Baryton Dmitri Hvorostovsky has been diagnosed with a malignant brain tumour. He’s being treated in the best facilities, in London, England, but these are shattering news. He has a very rich voice. I hope he soon recovers.

Dmitri Hvorostovsky died on 22 November 2017. May he rest in peace.

With kind regards to all of you. ♥ 

—ooo—

Don Giovanni, “La ci darem la mano”
Hvorostovsky & Fleming

DMITRI-featured-350039_960x480

Dmitri Hvorostovsky

© Micheline Walker
24 February 2016
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Marc-André Hamelin rearranges… Chopin

04 Friday Jan 2019

Posted by michelinewalker in Humour, Music

≈ 17 Comments

Tags

Frédéric Chopin, Humour, Marc-André Hamelin, Opus 64 No 1, Quebec pianist, The Minute Waltz

An Encore: The “Minute Waltz”

Marc-André Hamelin (b. 1961) is a Canadian virtuoso pianist and a composer, born and raised in Montreal, Quebec. No piece is too difficult for him. He has often praised the nun who taught him how to play the piano. His father should also be praised.

He is a graduate of L’École Vincent-d’Indy, in Montreal, and then studied at Temple University in Philadelphia.

He lives in Boston, Massachusetts, a fine location, with his second wife, Katie Fuller, a pianist and WGBH classical music broadcaster.

I need not tell you that Marc-André has a sense of humour.

The Minute Waltz is Frédéric Chopin’s Op 64, No 1.

Love to everyone 💕

Hamelin in 2003 (Wiki2.org)

© Micheline Walker
4 January 2019
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Dmitri Hvorostovsky sings Verdi

10 Tuesday Jul 2018

Posted by michelinewalker in Music, Opera

≈ 7 Comments

Tags

Alexandre Dumas fils, Dmitri Hvorostovsky, La Dame aux camélias, La Traviata by Verdi, Marie Duplessis, Pushkin, Tchaikovsky, The Queen of Spades by Pushkin

Hvorostovsky.jpeg

Dmitri Hvorostovsky singing aria from The Queen of Spades during reopening gala of the Bolshoi Theatre, 28 October 2011 (Caption and photo credit: Wikipedia)

It is so difficult to accept the death of Russian baritone Dmitri Hvorostovsky. He was a powerful male singer with a “silver mane” (this description is not mine). Hvorostosky had brown hair, but it turned white in his early thirties. He passed away on 22 November 2017, at the age of 55.

Hvorostovsky was born in Krasnoyarsk, Siberia, on 16 October 1962, to what I would describe as an upper middle-class family. He came to the attention of music lovers everywhere when he won the BBC Cardiff Singer of the World competition, in 1989.

In the summer of 2015, Hvorostovsky announced that he had a brain tumour. After a short leave, he resumed his career, at a slower pace and briefly. An inoperable malignant brain tumour is merciless.

In the above photograph, he is singing an aria from Tchaikovsky‘s Queen of Spades, based on a short story, Pikovaha Dama (La Dame de pique) written during the fall of 1833 by Alexander Pushkin (26 May 1779 – 29 January 1837). Pushkin is also the author of the drama Boris Godunov (1833) and a novel in verse entitled Eugene Onegin. Eugene Onegin was serialized between 1848-1852 and it is the basis for Tchaikovsky‘s 1879 opera Eugene Onegin. The opera’s librettist was the composer’s brother Modest Tchaikovsky.

Verdi’s La Traviata

Baritone Dmitri Hvorostovsky was in good health when he sang Di Provenza, il mar, il suol, an aria from Giuseppi Verdi‘s La Traviata (1852), an opera derived from a novel by Alexandre Dumas, fils‘ (27 July 1824 – 27 November 1895) La Dame aux camélias (The Lady with/of the Camellias) (1848), or Camille, to an English-speaking audience. Dmitri Hvrostovsky is Giorgio Germont, trying to persuade his son, Alfredo, who loves Violetta, to return to Provence, the family home (Scene 2 of La Traviata).

The protagonist of Giuseppi Verdi‘s La Traviata (the fallen woman) is Violetta Valéry. Alexandre Dumas named his protagonist Marguerite Gautier. She had been Marie Duplessis (1824 – 1847) who wore a red camellia when she was menstruating, a message to her lovers. She was born Alphonsine Rose Plessis, in Normandy, to an abusive father who sold her when she was 15.

Marie_Duplessis_(1) (1)

Marie Duplessis by Édouard Viénot

Marie Duplessis

At the age of 16, the beautiful Marie Duplessis conquered Paris. She bore a child to Charles Morny, duc de Morny, but the baby died a month after birth. The duc de Morny, Charles Maurice de Talleyrand‘s illegitimate grandson and a half-brother to Napoleon III, looked after Marie Duplessis, providing her with an apartment and transforming her into a refined courtesan and salonnière, the most famous in her days. She was Alexandre Dumas, fils’ lover and a lover to various aristocrats as well as composer Franz Liszt. Alexandre Dumas, fils, born in 1824, could not afford to marry her.

The lovely Marie Duplessis died of tuberculosis on 3 February 1847, at the age of 23. At her bedside were her husband, a brief marriage, the comte de Perregaux, and her former lover, the Baltic-German count Gustav Ernst von Stackelberg.

RELATED ARTICLES

  • The Dumas Dynasty: Thomas-Alexandre Dumas (26 January 2014) the three Dumas
  • Dumas, père & Marguerite de Valois fictionalized (10 March 2012)

Sources and Ressources

https://www.youtube.com/watch?v=VH8QoBHfjOQ (video on Marie Duplessis)
https://www.britannica.com/biography/Marie-Duplessis
https://www.britannica.com/search?query=La+Traviata

Love to everyone ♥

Hvorostosky sings Verdi’s Di Provenza, il mar, il suol

1181778

Dmitri Hvorostosky (Photo credit: TASS)

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10 July 2018
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