The Music Lesson

The Music Lesson Content : The Music Lesson, Scene of The Barbier of Seville by Rossini
Did Victor Hugo like music ?
Franz-Peter Schubert, Musician of Vienna
Bicentenary Schubert
Robert Schumann, Musician of Zwickau
Richard Wagner, Musician of Meudon
The Canso from Gasto Febus to Gabriel Fauré and Frédéric Mistral, ‘lyrical Koïné’ or ‘Voice of a People’ ?
Gabriel Fauré (1845-1924) Musician of the Ariège
Gabriel Fauré, Musician of Verlaine
The last recital of the Hall Gabriel Fauré
Rachmaninov at Ivanovka
Tony Poncet, Tenor (1918-1979)
The Violetta of the Century
Schwanengesang (Schubert)
An die Musik (CD1, CD2)
Homage to Yves Nat (1890 -1956)
Tourgueniev - Gounod - Mireille

Schwanengesang (Schubert)


Remembering that E.M. Forster (St. John’s, Cambridge, Nobel Prize) expressed the belief that "music is the deepest of the arts" and contrasting the Schwanengesang of the Salzburger Festspiele 1956 (Fisher-Dieskau / Gerald Moore) with Monsegur Vaillant’s Schwanengesang (ADG Paris, 2006, where the artist - in the best Schubertian elegance – sings and is her own accompanist), perhaps one might better apprehend why Goethe preferred Zelter to Schubert, utterly assured that Zelter’s song-settings would go on making music the menial abigail of poetry, a choice obviously aloof from Shakespeare’s timid prayer :

"O ! Stay and hear ; your true love’s coming,
That can sing both high and low…" (Twelfth Night)

Monsegur Vaillant at Home (Private Collection)

the "Swan of the Avon" thus enforcing the tradition of "true love" (fin’amors) such as sung by the mediaeval poets of the Oc language, and such as unravelled, in our time, by L.T.Topsfield (St. Cath’s, Cambridge, Troubadours and Love, 1975) and Claude d’Esplas (MHRA, Cambridge, Tristan and Isolt, IMA Press, Moscow, 1994) who, last but not the least, sails over the incommensurable oceans of the Mephistophelian "trobar clus" of our Universe (Stephen Hawking’s courtesy).

CLAUDE D'ESPLAS - The Music Lesson

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