D'un Journal D'amour

"根據詩歌創作的音樂，重要的是詩歌所激發的情感，是詩歌本身所蘊含的音樂和情感的力量。詩人皮埃爾-雷弗迪（Pierre Reverdy）於 1949 年寫下的這句話給作曲家貝茜-茹拉斯（Betsy Jolas）留下了深刻的印象。Shed 剛剛寄給作家她根據其代表作《Plupart du temps》中的詩句創作的六首女中音和鋼琴旋律。這些歌曲還附有一封信，信中透露出她害怕歪曲他的想法。在創作方面，貝特西-尤拉斯無需擔心，她一定是將這一信念作為她思考文字與音樂之間關係的核心。將近六十年後，這位音樂家決定從雷維爾迪深愛的詩歌中擷取幾個片段，以引文的形式將其置於新的音樂和戲劇視角中。這首為聲樂和中音而作的微型康塔塔舞曲是女高音歌唱家埃莉埃特-普雷沃特（Eliette Prévôt）和小提琴家安東莞-塔梅斯蒂（Antoine Tamestit）的結婚禮物，兩人於 2010 年在蒙特勒伊首演了這首作品""

作曲家: Betsy Jolas
出版社: Alphonse Leduc
原文簡介:
“Whats important in music thats based on a poem on the emotion inspired by a poem is the music and power of emotion it harbours within itself. These words, written in 1949 by poet Pierre Reverdy, would make a deep impression on composer Betsy Jolas. Shed just sent the writer her Six mélodies for mezzo-soprano and piano composed on poems from his masterwork Plupart du temps. The songs were accompanied by a letter that betrayed her fear of distorting his ideas. In creative terms, there was no need to worry Betsy Jolas must have placed this conviction at the heart of her reflection on the relation between text and music. Nearly sixty years later, the musician decided to take several fragments of these beloved poems of Reverdy and place them, in the form of quotations, into new musical and theatrical perspectives. The exalted memory of the words led to DUn Journal DAmour, a mini-cantata for Voice and Alto offered as a wedding gift to soprano Eliette Prévôt and violist Antoine Tamestit, who premiered it together in Montreuil in 2010.”