large/7215/rameaus_nephew_bb3_librivox_64kb_mp3/rameausnephew_7_diderot_64kb_103
large/7215/rameaus_nephew_bb3_librivox_64kb_mp3/rameausnephew_7_diderot_64kb
English
7215
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. 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
 there which could serve as the basis for a melody. I'd sooner have La Rochefoucauld's Maxims or Pascal's Pensées set to music. The cry of animal passion should dictate 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 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.  SO COLD LISTLESS AND MONOTONOUS THERE'S NOTHING THERE WHICH COULD SERVE AS THE BASIS FOR A MELODY I'D SOONER HAVE LA ROUCH A PAUCOUD'S MAXIMS OR PASTELS PAN SET TO MUSIC THE CRY OF ANIMAL PASSION SHOULD DICTATE 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
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