D'un Journal D'amour

"根据诗歌创作的音乐，重要的是诗歌所激发的情感，是诗歌本身所蕴含的音乐和情感的力量。诗人皮埃尔-雷弗迪（Pierre Reverdy）于 1949 年写下的这句话给作曲家贝茜-茹拉斯（Betsy Jolas）留下了深刻的印象。Shed 刚刚寄给作家她根据其代表作《Plupart du temps》中的诗句创作的六首女中音和钢琴旋律。这些歌曲还附有一封信，信中透露出她害怕歪曲他的想法。在创作方面，贝特西-尤拉斯无需担心，她一定是将这一信念作为她思考文字与音乐之间关系的核心。将近六十年后，这位音乐家决定从雷维尔迪深爱的诗歌中撷取几个片段，以引文的形式将其置于新的音乐和戏剧视角中。这首为声乐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）和小提琴家安托万-塔梅斯蒂（Antoine Tamestit）的结婚礼物，两人于 2010 年在蒙特勒伊首演了这首作品""

作曲家: Betsy Jolas
出版社: Alphonse Leduc
原文简介:
“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.”