large/7215/rameaus_nephew_bb3_librivox_64kb_mp3/rameausnephew_6_diderot_64kb_70
large/7215/rameaus_nephew_bb3_librivox_64kb_mp3/rameausnephew_6_diderot_64kb
English
7215
Accent is the breeding ground of melody. Judge from that just how difficult and how important it is to know how to deal with recitative well. There is no fine tune from which one cannot make a fine recitative, and no fine recitative from which a expert cannot derive a fine tune. ACCENT IS THE BREEDING GROUND OF MALADY JUDGE FROM THAT JUST HOW DIFFICULT AND HOW IMPORTANT IT IS TO KNOW HOW TO DEAL WITH RECETATIVE WELL THERE IS NO FINE TUNE FROM WHICH ONE CANNOT MAKE A FINE RECETATIVE AND NO FINE RECETATIVE FROM WHICH AN EXPERT CANNOT DERIVE A FINE TUNE
ones when he entrusts his gold to it, saying, O terre, reçois mon trésor. And that little girl who feels her heart beating, who blushes, who's confused, and who begs the gentleman to let her go--would she express herself any differently? In these works there are all sorts of characters, an infinite variety of declamations. That's sublime--I'm the one telling you this. Go on, go on and listen to the piece where the young man who feels himself dying, cries out, Mon coeur s'en va. Listen to the song. Listen to the instrumental accompaniment, and then tell me what difference there is between the real actions of a man who's dying and the form of the melody. You'll see whether the line of the melody coincides completely with the line of the declamation or not. I'm not going to talk to you about measure, which is another condition of melody. I'm confining myself to the expression, and there is nothing more obvious than the following passage which I read somewhere--musices seminarium accentus. ASN'T SINGING HE WOULD SPEAK TO THE EARTH IN THE SAME TONES WHEN HE INTRUSTS HIS GOLD TO IT SAYING O TERRE LAISOIS MO TRAILS HER HEART BEATING WHO BLUSHES WHO'S CONFUSED AND WHO BEGS THE GENTLEMAN TO LET HER GO WOULD SHE EXPRESS HERSELF ANY DIFFERENTLY IN THESE WORKS THERE ARE ALL SORTS OF CHARACTERS AN INFINITE VARIETY OF DECLAMATIONS THAT'S SUBLIME I'M THE ONE TELLING YOU THIS GO ON GO ON AND LISTEN TO THE PIECE WHERE THE YOUNG MAN WHO FEELS HIMSELF DYING CRIES OUT MON COUP SONG VASS TO THIS SONG LISTEN TO THE INSTRUMENTAL ACCOMPANIMENT AND THEN TELL ME WHAT DIFFERENCE THERE IS BETWEEN THE REAL ACTIONS OF A MAN WHO'S DYING AND THE FORM OF THE MELODY YOU'LL SEE WHETHER THE LINE OF THE MELODY COINCIDES COMPLETELY WITH THE LINE OF THE DECLAMATION OR NOT I'M NOT GOING TO TALK TO YOU ABOUT THIS MEASURE WHICH IS ANOTHER CONDITION OF MELODY I'M CONFINING MYSELF TO THE EXPRESSION AND THERE IS NOTHING MORE OBVIOUS THAN THE FOLLOWING PASSAGE WHICH I READ SOMEWHERE MUSICAISE SEMINARIUM ACCENTUS
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