Duo Phidylé - Programmes

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DON QUICHOTTE AND CERVANTES - all audience show -

... I, Miguel de Cervantes Saavedra, born on the 29th day of September in the year of our Lord 1547, want to confess before the Lord and mankind, in these days of old age of the year 1615 and the day after the publication of the second part of my famous novel, my sins, errors, and the acts of my life...

A staged performance based on the magnificent melodic pieces written in honour of the famous hidalgo, intended to evoke the primordial aspect of this myth, one of the greatest that has crossed the few centuries before us.

We will witness the final confession of Miguel de Cervantes, who, feeling death coming, relives the events and reasons that led him to create this character.

From his conviction for a duel to the battle of Lepanto, from his captivity in Algiers to his setbacks with the ecclesiastical courts, from the immense and unexpected success of his hero to the need to make him die to fight counterfeits, we will accompany the author's last moments, just after having made Don Quixote die.

Or how the ridiculousness makes the hero, how the prince of clowns can evoke, without risking the reactions of a still very powerful inquisition (which he knows well), the ridiculousness of a church that has remained immobile in a world that is so changing and reborn.
This prism will allow us to propose a contextual reading of the myth, which will take its place among the many other contributions induced by the incredible power and longevity of this sad-faced knight.

The irruptions of Don Quixote himself during this confession will be an opportunity to perform :

Maurice Ravel, the three songs from Don Quixote to Dulcinea
Jacques Ibert, the four songs of Don Quixote
Jacques Brel, excerpts from Man of La Mancha
Manuel De Falla, excerpts from El retablo de Maese Pedro
 

HALLUCINATORY JOURNEYS,
an invitation to the hell of artificial paradises

Romanticism was a great purveyor of hallucinations.

We have chosen to start from the Wintereise, to extract the most important moments of it and to clash them with the delirious moments of the Dichterliebe finale, and with the most enchanting evocations of Duparc's melodies. It will be a hallucinatory schubertiade, closer to the meetings between Baudelaire, Gauthier and their friends in the artificial paradises than to the amiable encounters that are usually described by that term.

Schubert, Wintereise:
die Wetterefahne (2)
der Lindenbaum (5)
die Krähe (15)
Täuschung (19)
die Nebensonnen (23)
der Leierman (24)

Ausgewählte Lieder:
der Erlkönig

Schuman, Dichterliebe :
ich hab' im Traum geweinet (13)
Allnächtlich im Traume (14)
Aus alten Märchen (15)
Die alten bösen Lieder (16)

Duparc, melodies:
Invitation to a journey
The wave and the bell
Rosemonde
La vie antérieure

These pieces may be interspersed with two readings of excerpts from Baudelaire's Les paradis artificiels.
 

POULENC AND ELUARD

"We can never know enough about everything I owe to Ėluard, everything I owe to Bernac. It is thanks to them that lyricism has penetrated my vocal work. The first because of the warmth of his images, the second because of his admirable musical understanding and above all because of what he taught me about the art of singing during our years of work. »
This homage by Poulenc to Eluard, interspersed with a beautiful declaration to the Bernac muse, confirmed to us that the desire to bring Poulenc's melodies to life on Eluard's verses had an important meaning.
The friendship between these two men, the "monk and thug" on the one hand, and the communist surrealist on the other, was the ferment of an astonishing production, not very given because it was very original and off the beaten track.
This friendship is one of those encounters made possible by this century made of oppositions, tensions and extremes that confront each other. But here, these two representatives of such different backgrounds have found a place to express this tension with extraordinary refinement: whether it be "this day this night" or the "work of the painter", or the "five poems", this meeting takes us into a hitherto unknown world, which tells with immense acuity the substantial artistic marrow of the 20th century.
We propose to mix in this adventure the cheerful songs which, with their truculence and lightness, will carefully disturb the seriousness and sensitivity of the rest of the programme.

- Tel jour telle nuit
- Le travail du peintre
- Les cinq poèmes de Paul Eluard
- Les chansons gaillardes
 

« HISTOIRES DE LA NATURE DANS LA MELODIE ET LE LIED » 

Schubert's winter voyage, a long journey recounting the wanderings of a young man rejected by the illusions of love, then gradually fleeing from humanity in the solitude of winter nature, will sing the melodies of both landscapes and animals.
They will pass successively through Berlioz, Duparc, and Poulenc, before entering a magnificent animal reserve thanks to Poulenc's Bestiaire, and then some of Ravel's natural stories.

Excerpts from the cycles
Schubert: Winterreise (Winter trip)
Berlioz: Summer nights
Duparc : Melodies
Poulenc : Tel jour tel nuit / The work of the painter / 5 melodies on poems by Eluard / The bestiary
Ravel: Natural stories
 

INTEGRALE DES MELODIES BY HENRI DUPARC

Chanson triste
Sérénade florentine

1869, Lettre de H. Duparc à Jean Cras « ...Je vous ai dit que j’ai attendu 3 ans mon mariage [...] Or c’est pendant ce temps d’épreuve que j’ai écrit la petite mélodie que vous connaissez, Soupir... »
Soupir
Au pays où se fait la guerre

1870, lettre de la mère de H. Duparc « Henri est plus fanfaron et belliqueux que jamais, très crâne et très gai... »
L’invitation au voyage
La vague et la cloche

1871, Lettre de H.Duparc à Vincent D’indy, « mais la vague réellement je n’aime plus cela [...] c’est bien un type de ce que nous appellerions de la musique inutile. »
Élégie
1874, lettre d’H.Duparc à Jean Cras « ... Nous autres musiciens français nous sommes loin de connaître assez la musique populaire de notre pays. »
Extase
Le manoir de Rosemonde
Phidylé

1883, Lamento, version complète du poème de Théophile Gauthier
Lamento
Testament

1884, extraits de lettres de H.Duparc, « ...Je me suis acharné des journées entières ! Le lendemain matin je m’empressais de déchirer ou d’effacer ce que j’avais si péniblement écrit la veille... et ainsi j’ai crayonné la valeur d’au moins vingt morceaux comme celui que je voudrais faire... »

Approximate duration: 1h15
Technical requirements: At least a quarter-tail piano Speakers for the diffusion of texts

MASTER CLASS & CULTURAL ACTION
Sandra and Emmanuel are both teachers at the Grenoble Conservatory. They offer a master class on the interpretation of French melody and Lieder. They accompany the students towards a chamber music behaviour where each instrument sings the other. Any other mediation action can be envisaged.