Tchaikovsky Research : Six French Songs, Op. 65

No	Title	Key	Text	Dedication
1	Sérénade (Où vas-tu, souffle d'aurore) Серенада (Ты куда летишь)	D major	Edouard Turquety, from his poem Aurore in th collection Amour et Foi (by 1833).	Désirée Artôt-Padilla (all 6 songs)
2	Déception Разочарование	E minor	Paul Collin, from his poem of the same name in the cycle Mélodies (by 1878).
3	Sérénade (J'aime dans le rayon) Серенада (В ярком свете зари)	B-flat major	Paul Collin, from his poem Sérénade in the cycle Mélodies (by 1878).
4	Qu'importe que l'hiver Пуская зима	D minor	Paul Collin, from an untitled poem in his cycle Poëme d'Octobre (by 1878).
5	Les larmes Слезы	G major	Augustine-Malvine Blanchecotte [1], from her poem of the same name (by 1874).
6	Rondel Рондел	G major	Paul Collin, from his poem of the same name in the cycle Mélodies (by 1878).

History

The idea for the romances arose from Tchaikovsky's meeting with Désirée Artôt in Berlin during his foreign tour. Tchaikovsky met with her for the first time in twenty years on 23 January/4 February 1888 [2]. On 26 January/7 February the composer spent an evening with Désirée Artôt [3], during which she asked him to write a romance for her.

The origins of the romances' composition can be inferred from Tchaikovsky's correspondence with Désirée Artôt. The latter wrote on 2/14 April 1888: "I am impatiently awaiting my Lied, which you promised me. I need not tell you that, allowing for my voice, I shall put all my soul into it" [4]. Tchaikovsky replied on 16/28 May: "Do not take it as a mere compliment it tell you that the memory of our wonderful evening at 17 Landgrafstraße will literally be forever imprinted on my mind ... Of course I will write the Lied you honoured me by requesting. But permit me to do it a little later, since at the moment I have a large work on my hands, and I want to write something worthy of you, which I cannot do until this task is completed. The Lied will be ready no later than August" [5]. In a letter from Désirée Artôt to Tchaikovsky we read: "I want to reassure you regarding the Lied, which I asked you for... that there is no need to hurry. If one day you write some Lieder and think that I could perform one of them well, then just think of dedicating it to me - that's all I would like" [6].

During the summer, the composer’s time was taken up with various works, and the last of these - the overture-fantasia Hamlet- was completed on 7 October. On 8 October, Tchaikovsky wrote to Anna Merkling: "Now... all my main works are already finished and only trifles remain, which should be done by the end of the month" [7]. According to a note on the fair copy of the manuscript, the romances were finished on 10 October 1888.

They were soon on their way to Petr Jurgenson, to whom Tchaikovsky wrote on 16 October: "Partly in view of the speed with which I wrote these romances and their small size, but chiefly because you will have to pay for a translation, I’ve decided that I don't want more than 300 roubles from you" [8]. In the same letter, the composer asked for a copy of the romances to be given to the singer, Elizaveta Lavrovskaia, at her request.

On 17/29 October 1888, Tchaikovsky wrote to Désirée Artôt: "I have just delivered to my publisher, P. Jurgenson, 6 mélodies which I have written for you, and for which I ask you to consent to accept the dedication. I have tried to please you and I think you could sing all of them - in other words, all six will suit the present range of your voice. I would very much hope that these melodies will please you, but unfortunately, I am not at all sure. I must confess to you that I have been working too much of late, and it is more than probable that my new compositions are rather the product of good intentions than of true inspiration. And then, one is a little intimidated when one is composing for a singer one considers the greatest among the great" [9].

Désirée Artôt replied: "I wished for only one Lied, but you have so generously written six for me. They say "as generous as a king", but they have forgotten to add "or as an artist". Naturally I am very curious to make this new acquaintance, but I do not want to cause you additional work, so I will wait until Jurgenson has published them. But then ask him to send them to me as soon as possible. I will not thank you, but you can be sure of my happiness that you have so quickly and finely fulfilled your promise. I only hope that my talents are worthy of your inspiration" [10].

The first edition of the romances was slightly delayed. On 9 March 1889, Petr Jurgenson reported that he was sending out the proofs [11]. The romances were not issued until the spring - probably in April or May 1889 [12]. Around the same 1ime they were printed by Daniel Rahter in Hamburg [13].

Désirée Artôt received the romances in August 1889. She wrote to Tchaikovsky: "At last, dear friend, your Lieder are in my hands, waiting to be transferred to my voice. Indeed, 4, 5 and 6 are superb, while the first Sérénade is adorable and has a charming freshness. La Décéption also pleases me enormously. In short, I am in love with your new offspring, and so proud that you have created them with me in mind. One of my students here is already learning them, and many of others are making ready to perform them in September and October" [14]. "I am falling more and more in love with your last six Lieder which, as I expected, are becoming very popular" [15].

The romances were written to the original French texts of the poems. In the romances Décéption (No. 2) and Sérénade (No. 3), Tchaikovsky made some alterations to the Russian translations, which were made for the first edition by A. Gorchakova [16]. All the romances are dedicated to Désirée Artôt-Padilla.

From: Музыкальное наследие Чайковского (1958), pp. 460-465
English text copyright © 2006 Brett Langston

Texts

Où vas-tu, souffle d'aurore? Vent de miel qui vient d'éclore, Fraîche haleine d'un beau jour, d'un beau jour? Où vas-tu, brise inconstante, Quand la feuille palpitante Semble frissonner d'amour?
Est-ce au fond de la vallée, Dans la cime échevelée D'un saule où le ramier dort, le ramier dort? Poursuis-tu la fleur vermeille, Où le papillon qu'éveille Un matin de flamme et d'or?
Va plutôt, souffle d'aurore, Bercer l'âme que j'adore: Porte à son lit embaumé L'odeur des bois et des mousses, Et quelques paroles douces Comme les roses de mai.
L'odeur des bois et des mousses, Et quelques paroles douces Comme les roses de mai.
Ëdouard Turquety

Le soleil rayonnait encore. J'ai voulu revoir les grands bois, Où nous promenions autrefois Notre amour à sa belle aurore.
Je mi disais: «Sur le chemin, Je la retrouverai, sans doute: Ma main se tendra vers sa main, Et nous nous remettrons en route».
Je regarde partout. En vain! J'appelle! Et l'écho seul m'écoute!
O le pauvre soleil pâli! O les pauvres bois sans ramage! O, mon pauvre amour, Quel dommage! Si vite perdu dans l'oubli!
Paul Collin

J'aime dans le rayon de la limpide aurore Le reflet de tes jolis yeux, Dans le chant matinal de l'oiseau j'aime encore L'écho de ton rire joyeux.
Dans le calme des lys j'aime ta paix séreine, Dans leur pureté, ta blancheur; J'aime dans le parfum des roses ton haleine Et dans leur fraîcheur, ta fraîcheur.
Dans la mer que le flux ou le reflux agite J'aime tes caprices d'enfant, Et j'aime les soupirs de ton sein qui palpite Dans les longues plaintes du vent.
J'aime la fière ardeur dont ton coeur sent la flamme Dans l'éclat du soleil qui luit; Et j'aime les pudeurs charmantes de ton âme Dans l'ombre chaste de la nuit.
J'aime, dans le printemps qui verdit, la folie De ta jeunesse et ses espoirs; Et j'aime la douceur de ta mélancolie Dans le vague déclin des soirs, Dans le vague déclin des soirs!
Paul Collin

Qu'importe que l'hiver éteigne les clartés Du soleil assombri dans les cieux attristés? Je sais bien où trouver encore Les brillants rayons d'une aurore Plus belle que celle des cieux. Toi que j'adore, C'est dans tes yeux!
Qu'importe que l'hiver ait des printemps défunts Dispersé sans pitié les enivrants parfums? Je sais où trouver, non flétrie, Malgré les bises en furie, Une rose encore tout en fleur. O ma chérie, C'est dans ton coeur!
Ce rayon qui, bravant les ombres de la nuit, Toujours splendide et pur au fond de tes yeux luit; Cette fleur toujours parfumée Qui dans ton coeur est enfermée Et qui sait survivre à l'été. Ma bien aimée, 'est la beauté!
Paul Collin

Si vous donnez le calme après tant de secousses, Si vous courez d'oubli tant de maux dérobés, Si vous lavez ma plaie et si vous êtes douces, O mes larmes, tombez! tombez!
Mais, si comme autrefois vous êtes meurtrières, Si vous rongez un coeur qui déjà brûle en soi, N'ajoutez pas au mal, respectez mes paupières: O larmes, laissez moi, laissez moi!
Oui, laissez moi! je sens ma peine plus cuisante, Vous avez évoqué tous mes rêves perdus: Pitié! pitié! pitié! laisez mourir mon âme agonisante! Larmes, ne tombez pas! ne tombez pas!
Augustine Malvine Blanchecotte

Il se cache dans ta grâce Un doux ensorcellement. Pour leur joie et leur tourment Sur les coeurs tu fais main basse.
Tous sont pris. Nul ne se lasse De ce servage charmant. Il se cache dans ta grâce Un doux ensorcellement.
C'est l'affaire d'un moment, Ton regard qui sur nous passe Est le filet qui ramasse Nos âmes; dieu sait comment! Il se cache dans ta grâce Un doux ensorcellement.
Paul Collin

Six French Songs

Шесть Французский романсов

History

Texts

Notes: