large/7215/rameaus_nephew_bb3_librivox_64kb_mp3/rameausnephew_7_diderot_64kb_95
large/7215/rameaus_nephew_bb3_librivox_64kb_mp3/rameausnephew_7_diderot_64kb
English
7215
No wit, no epigrams, none of these neatly crafted thoughts. That's too far from simple nature. And don't go on thinking that the role playing of theatrical actors and their declamation can serve us as models. Bah! We need something more energetic, less mannered, more true. NO WIT NO EPIGRAMS NONE OF THESE NEATLY CRAFTED THOUGHTS THAT'S TOO FAR FROM SIMPLE NATURE AND DON'T GO ON THINKING THAT THE ROLL PLAYING OF THEATRICAL ACTORS AND THEIR DECLAMATION COULD SERVE US AS MODELS BAH WE NEED SOMETHING MORE ENERGETIC LESS MANNERED MORE TRUE
t follow each other closely. The phrasing must be brief, the sense cut off, suspended, so the musician can use the whole piece and each of its parts, leaving out a word or repeating it, adding a missing word, turning and re-turning it, like a polyp, without destroying it--all that makes French lyric poetry much harder than is the case with languages with inversions which in themselves offer all these advantages. "Cruel barbarian, plunge your dagger in my breast. Here I am ready to receive the fatal blow! Strike. Dare....Oh, I faint, I die....A secret fire lights up my senses....Cruel love, what do you want with me...Leave me to the sweet peace I enjoyed... Give me my reason...." The passions must be strong. The tenderness of the composer and the poet should be extreme. The aria is almost always the peroration for the scene. We have to have exclamations, interjections, suspensions, interruptions, affirmations, negations--we call, we invoke, we cry out, we groan, we cry, we laugh openly. ATE THE LINE WHICH SUITS US THE EXPRESSIVE PASSAGES MUST FOLLOW EACH OTHER CLOSELY THE PHRASING MUST BE BRIEF THE SENSE CUT OFF SUSPENDED SO THE MUSICIAN CAN USE THE WHOLE PIECE ON EACH OF ITS PARTS LEAVING OUT A WORD OR REPEATING IT ADDING A MISSING WORD TURNING AND RETURNING IT LIKE A POLYP WITHOUT DESTROYING IT ALL THAT MAKES FRENCH LYRIC POETRY MUCH HARDER THAN IS THE CASE WITH LANGUAGES WITHIN VERSIONS WHICH IN THEMSELVES OFFER ALL THESE ADVANTAGES CRUEL BARBARIAN PLUNGE YOUR DAGGER IN MY BREAST HERE I AM READY TO RECEIVE THE FATAL BLOW STRIKE DARE OH I FAINT I DIE A SECRET FIRE LIGHTS UP MY SENSES CRUEL LOVE WHAT DO YOU WANT WITH ME LEAVE ME TO THE SWEET PEACE I ENJOYED GIVE ME MY REASON THE PASSIONS MUST BE STRONG THE TENDERNESS OF THE COMPOSER AND THE POET SHOULD BE EXTREME THE ARGA IS ALMOST ALWAYS THE PERORATION FOR THE SCENE WE HAVE TO HAVE EXCLAMATIONS INTERJECTIONS SUSPENSIONS INTERRUPTIONS AFFIRMATIONS NEGATIONS WE CALL WE INVOKE WE CRY OUT WE GROAN WE CRY WE LAUGH OPENLY
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