Tiziana De Carolis - Théodora Cottarel - Digressione Music
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Tiziana De Carolis - Théodora Cottarel
Les voies de l’AMOUR Les voix de l’ENFANCE
1 Dansons la gigue 01:30 18 Loulou 06:41
2 La vie, l’amour 04:02 19 Et pourquoi? 03:26
3 L'heure exquise 02:20 20 Non! 02:00
4 L’inconstante 02:03
5 Barcarolle 02:12 Les voix de la CONTEMPLATION
6 Les lilas qui avaient fleuri 02:29 21 Reflets 02:56
22 Deux ancolies 01:36 Théodora Cottarel soprano
Les voix de la NATURE 23 Pâle aurore 03:30 Tiziana De Carolis pianiste et compositrice
7 Une mouche 00:30 Sabino Manzo chef de chœur
8 Le cerf 02:11 Les voies du VOYAGE
9 L’araignée 00:25 24 Philéasine Foggette 01:30
Florilegium Vocis chœur
10 Les feuilles frissonnent 00:48 25 Le bocal 04:34 Maria Gabriella Bassi pianiste accompagnatrice chœur
11 Le lézard 00:54 26 Mensonge pour de vrai 03:31
12 Le Chêne et le Roseau 03:06
13 Le Corbeau et le Renard 02:19 Les voix contemporaines des MIGRANTS
pour chœur et piano Digressione Music studio d’enregistrement
Les voies SANS ISSUE 27 Linea riflessa 04:14 Giovanni Chiapparino ingénieur du son
14 Vrai dieu qui m’y confortera 02:03
15 Souvent un air de vérité 01:16 TT 64:52
16 Mon mari m'a diffamée 00:53
17 Les trois présents 00:51
DCTT105 & © 2020 DIGRESSIONE MUSIC srl · Via Santa Colomba, 6
70056 Molfetta (Italia) • www.digressionemusic.it • www.areadig.itLes voies de l’AMOUR Les voies SANS ISSUE
1 Dansons la gigue musique de Régine Poldowski - paroles de Paul Verlaine 14 Vrai dieu qui m’y confortera musique de Germaine Tailleferre - Anonyme
2 La vie, l’amour musique de Graciane Finzi - paroles de Lamartine 15 Souvent un air de vérité musique de Germaine Tailleferre - paroles de Voltaire
3 L’heure exquise musique de Régine Poldowski - paroles de Paul Verlaine 16 Mon mari m’a diffamée musique de Germaine Tailleferre - paroles XVe
4 L’inconstante musique de Isabelle Aboulker - paroles de Charles Cros 17 Les trois présents musique de Germaine Tailleferre - sarrasin XVIIe
5 Barcarolle de l’amour musique de Graciane Finzi - paroles de Pierre
de Marbeuf Les voix de l’ENFANCE
6 Les lilas qui avaient fleuri musique de Lili Boulanger - paroles de Francis 18 Loulou musique de Tiziana De Carolis - paroles de Grégoire Solotareff
Jammes 19 Et pourquoi? musique de Tiziana De Carolis - paroles de Michel van Zeveren
20 Non! musique de Tiziana De Carolis - paroles de Jean du Frout
Les voix de la NATURE
7 Une mouche (extrait des Petites histoires naturelles) musique de Isabelle Les voix de la CONTEMPLATION
Aboulker paroles de Jules Renard 21 Reflets musique de Lili Boulanger - paroles de Maurice Maeterlinck
8 Le cerf (extrait des Petites histoires naturelles) musique de Isabelle Aboulker 22 Deux ancolies musique de Lili Boulanger - paroles de Francis Jammes
paroles de Jules Renard 23 Pâle aurore musique et paroles de Graciane Finzi
9 L’araignée (extrait des Petites histoires naturelles) musique de Isabelle
Aboulker paroles de Jules Renard Les voies du VOYAGE
10 Les feuilles frissonnent (extrait des Petites histoires naturelles) musique de 24 Philéasine Foggette musique de Tiziana De Carolis - paroles de Florence Vittel
Isabelle Aboulker paroles de Jules Renard 25 Le bocal musique de Tiziana De Carolis - paroles de Florence Vittel
11 Le lézard (extrait des Petites histoires naturelles) musique de Isabelle 26 Mensonge pour de vrai musique de Tiziana De Carolis - paroles de Jean du Frout
Aboulker paroles de Jules Renard
12 Le Chêne et le Roseau musique de Tiziana De Carolis - paroles de Jean de la Les voix contemporaines des MIGRANTS pour chœur et piano
Fontaine 27 Linea riflessa musique de Tiziana De Carolis - paroles de Manolo Luppichini
13 Le Corbeau et le Renard musique de Tiziana De Carolis - paroles de Jean de
la Fontaine
Théodora Cottarel soprano Sabino Manzo chef de chœur
Tiziana De Carolis pianiste et compositrice Florilegium Vocis chœur
Maria Gabriella Bassi pianiste accompagnatrice chœurAt the heart of Voies(x) de Femmes is the idea that finding one’s voice (voix) seven decades. Yet her name remains out of the core classical liturgy.
and being able to express it, leads to finding one’s way (voie). For centuries, Born in 1893, Lili Boulanger lived a short but brilliant life. Lili was born into
patriarchal societies have confined women to domestic roles; often dictating a family of musical genius: her grandmother, Marie-Julie Hallinger, was one
the direction their life’s path will take, limiting their ability to follow intellectual of the most famous singers of her era; her father, Ernest, a successful opera
or personal pursuits. Nevertheless, despite the obstacles, some women have composer, won the Prix de Rome; and her sister Nadia became one of the
gifted us with remarkable works throughout the ages. Too often these pieces foremost musical professors of a generation. Her father died prematurely
are unpublished, unknown or underappreciated in preference for male and her mother, Raïssa, a Russian princess, ensured that Lili and Nadia
composers that have become the standard of the classic liturgy. This project lacked for nothing in their life or in their musical education. Her talent was
aims to help these women’s voices be heard. discovered and fostered from a young age. She studied under Vidal, Fauré
It is said that Germaine Tailleferre, born Germaine Taillefesse, changed her and Caussade in composition. The Prix de Rome allowed women to compete
name when her father refused to pay for her musical education. Whether only after 1903. But even then, their eligibility was severely restricted and
that was the true motive or if it was due to the racy nature of the name, most were reluctant to apply. The first female candidate retracted her
the fact remains that her father did not approve of her musical pursuits. He application soon after learning she was not allowed to bring a chaperon and
deemed them unbefitting of a lady of her station, and likened her vocation fearing how that would reflect on her reputation. In 1906, Nadia entered the
to prostitution. Despite the obstacles, in 1912, Germaine began her studies competition and although many considered her piece to be the best, she did
at the conservatoire where she showed exemplary prowess as a musician, not win. In 1910, chronically ill, Lili decided she wanted to compose and within
winning First Prize in Counterpoint and in Fugue. It was there she met Auric, two years she began at the Conservatoire and for the first time competed for
Milhaud and Honneger. Together with Poulenc and Durey, they would go on the Prix de Rome. Falling ill, she withdrew from the competition, only to work
to form the group known as Les Six, which has been described as a reaction tirelessly through her illness, and win the following year. Pierre Lasserre, a
against impressionism. Tailleferre has often been considered as the least significant French critic wrote on her: “If she becomes an original musician,
significant member of the group, but remained associated to it long after she will be the first since Eve.” As well as, “If I said, this 20 year old young
their collaboration stopped. Commenting on her membership to Les Six, woman had created anything truly original, you wouldn’t believe me and
Cecil Gray (1895-1951), a prominent Scottish critic, wrote in his 1927 Survey you would think, with good reason, that this young woman is a teratological
of Contemporary Music, “‘Sir, a woman’s composing is like a dog’s walking subject.” Teratology is the study of birth defects or abnormalities. Lili died at
on his hind legs. It is not done well, but you are surprised to find it done at the young age of 24, leaving behind her a rich and beautiful body of work.
all.’ Considered apart from her sex, her music is wholly negligible.”1 Germaine In 1879, Régine Wieniawski was born in Brussels into a musical family; chiefly,
Tailleferre’s prolific legacy includes 150 compositions and a career spanning her father, Henryk, was a famous violinist. There is not much known about her
musical education and it is largely accepted that she was self-taught. She
1
Cecil Gray, A Survey of Contemporary Music (London: Oxford University Press, 1927), 245-6 considered herself a rebel in music and strove for independence from theFrench impressionists. Despite her best efforts, she was coined the “daughter Conservatory in Paris studied music theory, music history, sight-reading and
of Debussy” as the influence of Debussy and Fauré are evident in her works. piano led by Joseph Benvenuti. During her time at the conservatory, she was
Fiercely independent and ambitious, she chose Poldwoski as her professional awarded First Prize in Harmony, Counterpoint, Fugue, and Composition. Her
name, no doubt in efforts to avoid gender bias but also to ensure she achieved works have been played worldwide by major orchestras and soloists and
success independently from her father’s. While she enjoyed professional has won several prestigious awards over the years. Her compositional style
success during her lifetime, performing in London, Brussels and New York, her takes into account the individuality of each instrument to then unite them in
music was rarely performed after her death. It had up until recently forgotten juxtaposed groups, while reflecting their own dynamics, pulse and timbre.
to the annals of the classical liturgy. Prior to the 2001 edition, the New Groves This creates rich harmonies and unanticipated colors. Her pieces reach the
Dictionary II had even removed Poldowski from the list of female composers. fundamental expression of humanity and touch on the universal values of the
On her deathbed she is alleged to have told her son “Do look after my music.”2 human condition.
These female artists were pioneers. They gradually removed societal Tiziana De Carolis, was born in Bari, Italy in 1970. She inherited her passion for
obstacles that confined their talent and paved the way for more recent creating from her father, a woodworker; her love of detail and counterpoint
artists such as Isabelle Aboulker, Tiziana De Carolis, and Graciane Finzi to get from her mother, a professional knitter; and her proclivity for melody from
their voices heard. her home country. Though she did not grow up in a household of musicians,
Isabelle Aboulker was born on October 23rd, 1938 in the Parisian suburb her talent was discovered and fostered from a young age. She studied at
of Boulogne-Billancourt. Her father was the Algerian-born film director and the National Conservatory in Bari where she graduated with honors in Piano
writer Marcel Aboulker and her maternal grandfather was the composer Henry and Composition. Former director of the conservatory, Nino Rota left behind
Février. While following a course in composition and keyboard studies at him a rich legacy of classical and film composition that had a deep impact
the Conservatoire National Supérieur de Musique in Paris, she started on her composition. She continued her studies in Paris in the footsteps of
composing for the theatre, cinema and television. She then worked for the Debussy, who with Bach and Prokofiev are some of her favorite composers.
Conservatoire as their head accompanist and voice teacher and authored Her imaginative and evocative music originates from her passion for cinema.
several educational compositions. In 1980 she turned to composing operas The vital energy found in her compositions arises from an ardent need to
and subsequently many other vocal works. Because of her work with children, communicate and to move the listener.
Isabelle Aboulker made a particular specialty of composing pieces of this genre. Continuous efforts are still needed to advocate for gender diversity in
Graciane Finzi was born in Casablanca, Morocco in 1945. Her parents, both classical music and correct a lasting bias towards male composers. In the
teachers at the Casablanca Conservatory, instilled in her a deep love of end, talent should transcend gender when it comes to music: to quote Nadia
music. At 10 years old, she was admitted to the National Advanced Music Boulanger “Forget that I am a woman and let’s talk about music.”3
2
David Mooney, “Poldowski Rediscovered”, Dublin Institute of Technology of Music and Drama: Articles.
http://arrow.dit.ie/aaconmusart/4 (accessed January 26, 2020) 3
Anna Beer, Sound and Sweet Airs: The Forgotten Women of Classical Music” (Oneworld, 2016), 249The paths of LOVE of Lili Boulanger’s most celebrated cycles Clairières dans le ciel, the piece In this theme, we discover the various lights these composers have shone on for which she remains most well known. The harp-like arpeggiation of the the subject of love. Poldowski’s Dansons la gigue (Let’s Dance the Jig!) uses beginning, as the hands move in opposite directions, quickly establishes the the poetry of Paul Verlaine who penned this poem in 1874, after watching nostalgia of lost love before the voice even comes in. The bittersweet nature a jig at a pub in London. True to her musical style, Poldowski structures her of the piece changes to impassioned as the poem speaks of the protagonist’s composition to the poetry’s structural integrity. The piece is misleadingly feelings, ending in an almost secco accompaniment indicating despair, with jubilant, speaking fondly of love lost. the vocal line anxiously rising. La vie, L’amour (Life, Love) composed by Graciane Finzi gorgeously sets an adaptation by Gilbert Levy of Lamartine’s Hymne du Matin. The repeated The voices of NATURE iterations of the text in conjunction with Finzi’s rich harmonic language and Une mouche (A fly), Le cerf (A Stag), L’araignée (The Spider), Les feuilles colors allow the listener to imagine the infinite possibilities that life can provide. frisonnent (The Leaves Shiver), and Le Lèzard (The Lizard) are all pulled from Poldowski sets Verlaine’s L’heure exquise (Exquisite hour) in her characteristic Isabelle Aboulker’s Les Petites histoires naturelles (Short Natural Stories), a declamatory style and whole tone writing, creating a different accompaniment collection of pieces written by Jules Renard. These charming pieces bring for each stanza. to life scenes of nature as seen through the eyes of a child. Nature and the L’inconstante (The Inconstant Woman) by Isabelle Aboulker puts to music animal kingdom have often been used as metaphors to teach lessons to both Sidonie by Charles Cros, in four stanzas. The first stanza underlines the joy adults and children, such as in the classic Les Fables de la Fontaine. Tiziana that the narrator experiences in recounting the story, the second takes on a De Carolis sets two of these fables: Le Chêne et le Roseau (The Oak Tree and seductive tone as the narrator speaks on Sidonie’s lasciviousness, the third the Reed) and Le Corbeau et le Renard (The Crow and the Fox). evokes the suppleness of the accompaniment as both Sidonie and the snake hypnotize their prey, returning to the same joy for the final stanza. The paths with NO EXIT Pierre de Marbeuf was a Master of Waters and Forests, as a result, much of Written in 1929, the Six Chansons Françaises (Six French Songs) exemplify his body of works is inspired by nature. He wrote the poetry for La Barcarolle Germaine Tailleferre’s restrained neoclassical aesthetic. They were composed de l’amour (The Barcarolle of Love) that speaks to the tumultuous nature after a traumatic divorce and miscarriage after her husband, caricaturist of love, which, as tempestuous seas, can easily turn bitter and result in Ralph Barton, threatened her at gunpoint. The poetry, dating from the 15th shipwreck. Graciane Finzi evokes the waves of the sea as the piano and vocal Century, depicts women who have been mistreated in their relationships and line follow one other ebbing and flowing, almost as two waves crashing one is particularly poignant. This program presents Vrai dieu qui me confortera after the other. The piece culminates in a calmer tone, as the tempest has (True God Who Will Comfort Me), Souvent un air de vérité (Often a Grain of faded, the vocal line mimicking the waves splashing onto the rocks. Truth), Mon mari m’a diffamée (My Husband has Slandered Me) and Les trois Les lilas qui avaient fleuri (The lilacs that had bloomed) originates from one presents (The Three Presents).
The voices of CHILDHOOD The voice of JOURNEY
On this theme, Tiziana De Carolis has composed three pieces to which Written by Tiziana De Carolis, Philéasine Fogette and Le Bocal both belong
anyone’s inner child can relate – stories of wolves, unwavering friendship, to a set on the experience of traveling and living abroad. Phileasine Fogette,
consuming curiosity and feeble self-control. This set is a testimony to De whose name references Jules Verne’s character in Around the World in
Carolis’ strength in voicing the texts and evoking the voice of the child. Based on Eighty Days, recounts how the life of expats is paraded and caricatured at
Grégoire Solotareff’s text, Loulou relates the unexpected friendship between home when they move abroad. The piano sometimes evokes carousel music,
a rabbit and a wolf. In the piece, she neatly evokes the development of the reinforcing the comic tone of the piece. Le Bocal (The Jar) argues that the
friendship, as she sets each event to a new theme. In the accompaniment, bubble one creates around their lives comforts and protects them while also
De Carolis quotes Prokofiev’s Peter and The Wolf in a playful manner. Next, isolating them no matter where they are. The third piece under this theme is
Et Pourquoi? (Why?) juxtaposes the story of Little Red Riding Hood with Mensonge Pour de Vrai. In this piece, Tiziana De Carolis evokes the moving
every child’s preferred question. It features two clear voices for each of the train as we board the witty ride Jean du Frout scripted in this modern-day
characters: one sung and the other recited by the pianist. Lastly, Non! (No!), a fable.
child’s soliloquy on the theme of temptation and food envy.
The voices of REFUGEES
The voices of CONTEMPLATION Written in 2018, for the 70th Anniversary of the Universal Declaration of
For Reflets (Reflection) Lili Boulanger chose this piece by Maeterlinck, Nobel Human Rights, this choral piece was composed by Tiziana De Carolis on a
Prize recipient in 1911 and considered as one of the greatest writers of his poem especially written by Manolo Luppichini for this occasion. At the heart
generation. Throughout the piece she creates an unstable harmonic and of the project, it broaches the painful subject of migration endured by women
melodic movement, which perfectly expresses the fear and anxiety the poet and the appalling discrimination they are often victims of.
wishes to highlight. Written in 1911, Lili Boulanger had reached the stride
of her compositional style. Deux ancolies (Two Columbines) takes a more
pastoral voice, evoking the swaying of the flowers. This piece was also taken
from Clairières dans le ciel. Last in this contemplation is Pâle Aurore (Pale
Dawn) written and composed by Graciane Finzi. This piece, almost in contrast
to La vie, L’amour that opens infinite possibilities, addresses the pervading
existential question of one’s significance. This is reflected in the truncated
iterations of the text and the descending chromatic line shared between the
voice and the piano.Les voies de l’AMOUR The paths of LOVE Adaptation de Gilbert Lévy Adapted by Gilbert Lévy
1. Dansons la gigue! Let’s Dance the Jig! Dans l’ombre assouplie In the supple shadow
Régine Poldowski (1879 – 1932) Régine Poldowski (1879 – 1932) Le ciel se replie. The sky folds.
Paul Verlaine (1844 - 1896) Paul Verlaine (1844 - 1896)
Le léger nuage monte, flotte et nage The nimble cloud rises, floats and swims
Dansons la gigue! Let's dance the jig! Il avance, il foule ce chaos qui roule. It advances, it treads on the riding chaos.
J’aimais surtout ses jolis yeux Above all I loved her pretty eyes L’espace étincelle, The space sparkles,
Plus clairs que l’étoile des cieux, Clearer than the starlight of the skies. La flamme ruisselle. The flame trickles.
J’aimais ses yeux malicieux. I loved her malicious eyes.
Les flots éclairés The waves lit,
Dansons la gigue! Let's dance the jig! des monts colorés. By the colorful mountains.
Elle avait des façons vraiment She really had some ways La cime est jaunie, The summit is yellowed,
De désoler un pauvre amant, To desolate a unfortunate lover Des rayons dorés. By the golden rays.
Que c’en était vraiment charmant! That was really quite charming.
Tout reçoit la pluie Everything greets the rain,
Dansons la gigue! Let's dance the jig! Tout vit, tout s’écrie : Everything lives, everything exclaims:
c’est lui, c’est le jour ! It is him, it is the day!
Mais je trouve encore meilleur But I find even better C’est lui, c’est la vie ! It is him, it is life!
Le baiser de sa bouche en fleur The kiss of her blossoming mouth C’est lui, c’est l’amour ! It is him, it is love!
Depuis qu’elle est morte à mon coeur. Since she is dead to my heart
L’amour n’a pas de sons qui puissent Love has no sound that can express it
Dansons la gigue! Let's dance the jig! l’exprimer To reveal its language, you must love
Je me souviens, je me souviens I remember, I remember Pour révéler sa langue, il faut aimer, A look, a silence, an accent of its voice.
Des heures et des entretiens, The hours and our discussions Un regard, un silence, un accent de sa voix, A word, always the same, repeated one
Et c’est le meilleur de mes biens. And that's my most valuable possession. Un mot toujours le même répété cent fois, hundred times,
C’est lui, c’est la vie, It is him, it is life!
Dansons la gigue! Let's dance the jig! c’est l’amour ! c’est lui c’est le jour, It is love! It is him, it is the day,
tout vit, tout s’écrie : Everything is alive, everything exclaims:
2. La vie, l’amour Life, love Tout reçoit la pluie. Everything greets the rain.
Graciane Finzi (1945) Graciane Finzi (1945) L’espace étincelle. The sky sparkles.
Texte de Lamartine (1790-1869) Text by Lamartine (1790-1869)
Le léger nuage monte, flotte et nage. The nimble cloud rises, floats and swims
Il avance, il foule ce chaos qui roule. It advances, it treads on the riding chaos.Dans l’ombre assouplie In the supple shadow Sidonie a plus d’un amant, Sidonie has more than one lover,
le ciel se replie : The sky folds. C’est une chose bien connue It’s a well known thing
C’est lui, c’est l’amour. It is him, it is love. Qu’elle avoue, elle, fièrement, That she even proudly admits,
Sidonie a plus d’un amant. Sidonie has more than one lover.
3. L’heure exquise The Exquisite Hour
Régine Poldowski (1879 – 1932) Régine Poldowski (1879 – 1932) Parce que pour elle, être nue It is because for her, being nude
Paul Verlaine (1844 - 1896) Paul Verlaine (1844 - 1896) Est son plus charmant vêtement. Is her most charming attire.
C’est une chose bien connue It is well known thing that
La lune blanche The white moon Sidonie a plus d’un amant Sidonie has more than one lover.
Luit dans les bois ; Gleams in the woods,
De chaque branche Off every branch Elle en prend à ses cheveux blonds She ensnares them in her blond tresses,
Part une voix A voice emanates Comme à sa toile, l’araignée As in its web, the spider
Sous la ramée ... Beneath the foliage... ...prend les mouches et les frelons ... ensnares flies and hornets
Elle en prend à ses cheveux blonds She ensnares them in her blond tresses.
Ô bien-aimée. O my beloved.
Vers sa prunelle ensoleillée Towards her sunny eyes,
L’étang reflète, The pond reflects, Ils volent, pauvres papillons. They fly, clueless moths.
Profond miroir, Deep mirror, Comme à sa toile, l’araignée As does the spider in its web,
La silhouette The silhouette Elle en prend à ses cheveux blonds She ensnares them in her blond tresses.
Du saule noir Of the black willow
Où le vent pleure ... Where the wind weeps... Elle en attrape avec ses dents She entraps them with her teeth
quand le rire entrouvre sa bouche When laughter opens her mouth
Rêvons, c’est l’heure. Let us dream, it is time. Et dévore les imprudents, And devours the reckless,
Elle en attrape avec les dents She entraps them with her teeth.
Un vaste et tendre A vast and tender
Apaisement Serenity Elle les mène par le nez She has them wrapped around her finger,
Semble descendre Seems to descend Comme fait, dit-on le crotale As does, allegedly, the rattlesnake
Du firmament From the firmament Des oiseaux qu’il a fascinés. The birds it has hypnotized.
Que l’astre irise ... The orb irises... Elle les mène par le nez. She has them wrapped around her finger.
C’est l’heure exquise. It’s the exquisite hour. Sidonie a plus d’un amant Sidonie has more than one lover
Qu’on le lui reproche ou l’en loue
Whether we condemn or praise her She
4. L’inconstante The Inconstant Woman Elle s’en moque également.
couldn’t care less.
Isabelle Aboulker (1938) Isabelle Aboulker (1938) Sidonie a plus d’un amant
Charles Cros (1842-1888) Charles Cros (1842-1888) Sidonie has more than one lover.Aussi jusqu’à ce qu’on la cloue And until we put the final nail Que j’eusse éteint son feu de la mer de That I would extinguish its fire with the
Au sapin de l’enterrement In her pine casket mes larmes. sea of my tears.
Qu’on le lui reproche ou l’en loue Whether we condemn or praise her
Sidonie aura plus d’un amant ! Sidonie has more than one lover. 6. Les lilas qui avaient fleuri The lilacs that had bloomed
Lili Boulanger (1893 – 1918) Lili Boulanger (1893 – 1918)
5. Barcarolle de l’amour Barcarolle of Love Francis Jammes (1868 – 1938) Francis Jammes (1868 – 1938)
Graciane Finzi (1945) Graciane Finzi (1945) Les lilas qui avaient fleuri l’année
Pierre de Marbeuf (1596 – 1645) Pierre de Marbeuf (1596 – 1645) The lilacs that had bloomed last year
dernière Will bloom again in these doleful beds.
Et la mer et l’amour ont l’amer pour partage, And the sea and love have bitterness to vont fleurir de nouveau dans les tristes Already the slender peach tree has
Et la mer est amère, et l’amour est amer, share parterres. strewn among the blue skies
L’on s’abîme en l’amour aussi bien qu’en And the sea is bitter, and love is bitter, Déjà le pêcher grêle a jonché le ciel bleu Its pink flowers, like a child celebrating
la mer, We sink in love as we do in the sea, As the de ses roses, comme un enfant la Corpus Christi
Car la mer et l’amour ne sont point sea and love are never without tempest. Fête-Dieu. My heart should die amongst these
sans orage. Mon cœur devrait mourir au milieu things,
He who fears the waters, may he de ces choses, Because it was amongst the white and
Celui qui craint les eaux, qu’il demeure remain on the banks, car c’était au milieu des vergers blancs pink orchards
au rivage, He who fears the pains that we suffer et roses That I expected from you I know not what.
Celui qui craint les maux qu’on souffre for love, que j’avais espéré je ne sais quoi de vous. My soul silently dreams on your knees.
pour aimer, May he not allow himself to be ignited Mon âme rêve sourdement sur vos Do not push her away. Do not raise her
Qu’il ne se laisse pas à l’amour enflammer, by love genoux. up
Et tous deux ils seront sans hasard de And both will be free from the hazard of Ne la repoussez point. Ne la relevez pas In fear that in moving away from her, she
naufrage. wreckage. de peur qu’en s’éloignant de vous elle would see
ne voie How weak and troubled you are in her
La mère de l’amour eut la mer pour Love’s mother had the sea as a cradle,
combien vous êtes faible et troublée embrace.
berceau, Fire arises from love, its mother from
dans ses bras.
Le feu sort de l’amour, sa mère sort de l’eau water,
Mais l’eau contre ce feu ne peut fournir But water against fire can only provide
des armes. arms.
Les voix de la NATURE The voices of NATURE
Si l’eau pouvait éteindre un brasier If water could extinguish an amorous
amoureux, blaze, 7. Une mouche A fly
Ton amour qui me brûle est si fort Your love that burns me is so deeply Isabelle Aboulker (1938) Isabelle Aboulker (1938)
douloureux, painful, Jules Renard (1964 – 1910) Jules Renard (1964 – 1910)Une mouche entre par toutes les A fly enters through all the open windows « Quel dommage ! » lui criai-je. “What a pity!” I cried after him.
fenêtres ouvertes et sort sans que and leaves before anyone understood what « Je rêvais déjà que nous faisions route “I was already dreaming that we were
personne n’ait compris quelle nouvelle news she brought. ensemble. travelling together.
elle a apporté. Moi je t’offrais, de ma main, I was offering you from my hand
les herbes que tu aimes, the weeds that you like,
8. Le cerf The Stag et toi, d’un pas de promenade, and you, with a sauntering step,
Isabelle Aboulker (1938) Isabelle Aboulker (1938) tu portais mon fusil couché sur ta ramure. » you carried my rifle laid across your antlers.“
Jules Renard (1964 – 1910) Jules Renard (1964 – 1910)
J’entrai au bois par un bout de l’allée, I entered the woods at the end of the path, 9. L’Araignée The Spider
Isabelle Aboulker (1938) Isabelle Aboulker (1938)
comm’ il arrivait par l’autre bout As he was arriving from the opposite Jules Renard (1964 – 1910) Jules Renard (1964 – 1910)
Je crus d’abord qu’une personne direction
étrangère At first I thought he was a peculiar individual Une araignée a tendu sa toile entre deux A spider wove its web between two
s’avançait avec une plante sur la tête That was walking with a plant on their head fils télégraphiques pour écouter ce qu’on dit. telephone lines to listen to what we have to say.
Then I discerned the small tree whose
Puis je distinguai le petit arbre nain branches were spread out and without Les feuilles frissonnent Les feuilles frissonnent
ux branches écartées leaves
10. Isabelle Aboulker (1938) Isabelle Aboulker (1938)
et sans feuilles. Jules Renard (1964 – 1910) Jules Renard (1964 – 1910)
Finally, the stag appeared clearly and
Enfin le cerf apparut net et nous nous we both stopped. Les feuilles frissonnent déjà de froid. The leaves shiver from the cold already.
arrêtâmes tous deux. I told him, "Come closer. Do not fear, Elles voudraient entrer par la fenêtre, et They want to enter through the window
Je lui dis « Approche. Ne crains rien, If I have a rifle, it’s only to keep up s’agitent comme de petites mains glacées. and are agitated like frozen little hands.
si j’ai un fusil, c’est par contenance, appearances,
pour imiter les hommes qui se prennent
au sérieux.
To imitate those men who take 11. Le lézard The Lizard
themselves so seriously Isabelle Aboulker (1938) Isabelle Aboulker (1938)
Je ne m’en sers jamais I never use it Jules Renard (1964 – 1910) Jules Renard (1964 – 1910)
et je range mes cartouches dans leur tiroir. » And I keep my cartridges in their drawer."
Le lézard est le fils de la pierre fendue où The lizard is the son of the cracked stone
Le cerf écoutait et flairait mes paroles. The stag listened and intuited my words. je m’appuie. Il me grimpe sur l’épaule, il on which I lean. He climbs on my shoulder;
Dès que je me tus, il n’hésita point : As soon as I fell silent, he didn’t hesitate: a cru que je continuais le mur parce que he thought that I was the continuation of
Ses jambes remuèrent comme des tiges His legs stirred like twigs je reste immobile et que j’ai un manteau the wall because I remain still and because
qu’un souffle d’air croise et décroise. That a breeze crosses and uncrosses couleur de muraille. Ca flatte tout de my coat is the color of the wall. It’s quite
Il s’enfuit. He fled. même! flattering, isn’t it?12. Le Chêne et le Roseau The Oak Tree and the Reed Du bout de l’horizon accourt avec furie The most terrible child
Tiziana De Carolis (1970) Tiziana De Carolis (1970) Le plus terrible des enfants That the North had ever born in his flanks
Jean de la Fontaine (1621 – 1695) Jean de la Fontaine (1621 – 1695) Que le Nord eût portés jusque-là dans ses flancs. The tree held strong; the reed bent.
L’Arbre tient bon ; le Roseau plie. The wind doubled its efforts,
Le Chêne un jour dit au Roseau : The oak one day told the reed: Le vent redouble ses efforts, With such success that he uprooted
« Vous avez bien sujet d’accuser la Nature ; “You have every right to accuse Nature, Et fait si bien qu’il déracine He whose head was neighbors with the skies
Un Roitelet pour vous est un pesant A Wren for you is a heavy burden Celui de qui la tête au Ciel était voisine And whose feet reached the Empire of
fardeau. The slightest breeze, that perchance Et dont les pieds touchaient à l’Empire des Morts. the Dead.
Le moindre vent, qui d’aventure Ripples the surface of the water Compels
Fait rider la face de l’eau, you to bow your head. Meanwhile my brow,
Vous oblige à baisser la tête : akin to the Caucasus, Not satisfied with 13. Le Corbeau et le Renard The Crow and the Fox
Tiziana De Carolis (1970) Tiziana De Carolis (1970)
Cependant que mon front, au Caucase blocking the sun’s rays, Jean de la Fontaine (1621 – 1695) Jean de la Fontaine (1621 – 1695)
pareil, Braves the storm. All for you is like the
Non content d’arrêter les rayons du soleil, North Wind, all for me feels like the ZephyrIf Maître Corbeau, sur un arbre perché, Sir Crow, perched on a tree,
Brave l’effort de la tempête. only you had been born in the refuge of my Tenait en son bec un fromage. Held in his beak a piece of cheese.
Tout vous est Aquilon, tout me semble Zéphyr. foliage Maître Renard, par l’odeur alléché, Sir Fox, drawn by the smell
Encore si vous naissiez à l’abri du feuillage That protects the vicinity, Lui tint à peu près ce langage : Told him a little something along these lines:
Dont je couvre le voisinage, You wouldn’t have to suffer so much. Et bonjour, Monsieur du Corbeau. “Hey, good morning, Sir Crow,
Vous n’auriez pas tant à souffrir : I would protect you from the storm. Que vous êtes joli ! que vous me semblez How handsome you are! How beautiful
Je vous défendrais de l’orage ; But most often you are born beau ! you look to me!
Mais vous naissez le plus souvent On the humid banks of the Kingdoms of the Sans mentir, si votre ramage Truth be told, if your singing
Sur les humides bords des Royaumes du vent. wind Se rapporte à votre plumage, Matches your feathering,
La nature envers vous me semble bien Nature is quite unjust towards you.” Vous êtes le Phénix des hôtes de ces bois. You must be the Phoenix of these woods.”
injuste. » “Your compassion”, retorted the shrub, À ces mots, le Corbeau ne se sent pas Upon hearing these words, the Crow
- « Votre compassion », lui répondit l’Arbuste, “Comes from a good place but do not fret. Et pour montrer sa belle voix, couldn’t feel any joy,
« Part d’un bon naturel ; mais quittez ce souci. The winds are less disquieting to me than Il ouvre un large bec, laisse tomber sa And to show off his beautiful voice,
Les vents me sont moins qu’à vous to you, proie. He opened his beak wide and let his pray fall.
redoutables. I bend but do not break. Up until now Le Renard s’en saisit, et dit : Mon bon The Fox seized it and said: “My good sir,
Je plie, et ne romps pas. Vous avez jusqu’ici You have resisted against their terrible blows Monsieur, You must learn that any flatterer
Contre leurs coups épouvantables Without breaking your back Apprenez que tout flatteur Exists at the expense of he who listens.
Résisté sans courber le dos ; But let’s wait and see.” Just as he spoke Vit aux dépens de celui qui l’écoute. This lesson is without a doubt worth
Mais attendons la fin. » Comme il disait these words, Cette leçon vaut bien un fromage, sans doute. some cheese.”
ces mots, From off in the horizon hastened with fury Le Corbeau honteux et confus The Crow embarrassed and confusedJura, mais un peu tard, qu’on ne l’y Swore, but a little bit too late, that he 15. Souvent un air de vérité Often a Grain of Truth
prendrait plus. would never again fall for the same trick. Germaine Tailleferre (1892 – 1983)Voltaire Germaine Tailleferre (1892 – 1983)
(1694 – 1778) Voltaire (1694 – 1778)
Often a grain of truth
Les voies SANS ISSUE The paths with NO EXIT Souvent un air de vérité Melds itself to the most dubious lie
Se mêle au plus grossier mensonge One night in the blunder of a dream
Vrai Dieu, qui m’y confortera True God, who will comfort me Une nuit dans l’erreur d’un songe I rose to the rank of kings
14. Germaine Tailleferre (1892 – 1983) Germaine Tailleferre (1892 – 1983) Au rang des rois j’étais monté I loved you and I dared tell you
XV ? XV ? Je vous aimais alors et j’osais vous le dire The gods as I woke didn’t take it all away:
Les dieux à mon réveil ne m’ont pas tout ôté : I lost only my empire.
Vrai Dieu, qui m’y confortera True God, who will comfort me Je n’ai perdu que mon empire
Quand ce faux jaloux me tiendra While this falsely jealous man keeps me
En sa chambre seule enfermée ? Locked in his room all alone? 16. Mon mari m’a diffamée My husband has slandered me
Germaine Tailleferre (1892 – 1983) Germaine Tailleferre (1892 – 1983)
Mon père m’a donné un vieillard My dad gave me an old man XV ? XV?
Qui tout le jour crie : « Hélas ! » Who all the day long cries, “Alas!”
Et dort au long de la nuitée. And sleeps throughout the night. Mon mari m’a diffamée My husband has slandered me
Pour l’amour de mon ami For the love of my lover
Il me faut un vert galant I need a gay old spark De la longue demeurée And the long sojourn
Qui fût de l’âge de trente ans Of thirty years of age Que j’ai faite avec que lui That I had with him.
Et qui dormît la matinée. Who sleeps the morning long. Hé! mon ami Hey! My lover,
Rossignolet du bois plaisant, Nightingale of these pleasant woods, En dépit de mon mari In spite of my husband
Pourquoi me vas ainsi chantant, Why do you sing to me so Qui me va toujours battant Who always beats me
Puisqu’au vieillard suis mariée ? Since I am wedded to this old man? Je ferai pis que devant I will behave worse than ever.
Ami, tu sois le bienvenu : Lover, you are most welcome, Aucunes gens m’ont blamée Some have blamed me
Longtemps a que t’ai attendu I have awaited you a long time, Disant que j’ai fait ami; Saying that I took a lover
Au joli bois sous la ramée. In the charming woods under the foliage. La chose très fort m’agrée But the thing so pleased me
Mon très gracieux souci My quite gracious concern.
Hé! mon ami Hey! My lover,
En dépit de mon mari In spite of my husband
Qui ne vaut pas un grand blanc Who isn’t worth much,
Je ferai pis que devant I will behave worse than everQuand je suis la nuit couchée When I sleep at night Les voix de L’ENFANCE The voices of CHILDHOOD
Entre les bras de mon ami In the arms of my lover
Je deviens presque pamée I nearly swoon 18. Loulou Loulou
Du plaisir que prends en lui From the pleasure he gives me. Tiziana De Carolis (1970) Tiziana De Carolis (1970)
Hé! mon ami Hey! My lover, Grégoire Solotareff (1953) Grégoire Solotareff (1953)
Plût à Dieu que mon mari May it please the Lord that I not see
Je ne visse de trente ans! My husband for thirty years! Il était une fois un lapin qui n’avait Once upon a time there was a rabbit that
Nous nous don’rions du bon temps We would give one another a good time. jamais vu de loup... Et un jeune loup qui had never seen a wolf... and a young wolf
n’avait jamais vu de lapin. Son oncle that had never seen a rabbit. The wolf’s
Si je perds ma renommée If I tarnish my reputation décida de l’emmener à la chasse pour uncle decided to take him hunting for the
Pour l’amour de mon ami For the love of my beloved la première fois de sa vie. Ce jour-là, le first time in his life. That day, the old wolf
Point n’en dois être blamée Never should I be blamed vieux loup était si pressé qu’il se cogna was in such a hurry that he bumped his
Car il est coint et joli For he is pleasant and handsome. et tomba raide mort... C’est ainsi que head and died on the spot. And so the
Hé! mon ami Hey! My lover le jeune loup se trouva tout seul... Alors wolf found himself all alone. As he was
Je n’ai bonjour ni demi I don’t get half a greeting qu’il se demandait ce qu’il allait devenir asking himself what was to become of
Avec ce mari méchant With this mean husband il entend un bruit qui provenait d’un him he heard a sound that came from
Je ferai pis que devant I’ll behave worse than ever. trou creusé dans la terre non loin de là. a hole burrowed in the ground not far
En s’approchant du trou et en y faisant from there. As he approached the burrow
Les trois présents The Three Presents entrer sa tête, le loup voit un petit animal and put his head in, the wolf saw a small
17. Germaine Tailleferre (1892 – 1983) Germaine Tailleferre (1892 – 1983) couché dans un lit en train de lire un animal laying on a bed, reading a book.
Jean François Sarrazin (1614 – 1654) Jean François Sarrazin (1614 – 1654) livre.
- "Eh ! Toi ! Peux–tu m’aider?" fit le loup. • “Hey, you! Can you help me?” said the
Je vous donne, avec grand plaisir I give you, with great pleasure, "Mon oncle a eu un accident. Il est mort. wolf. “My uncle had an accident. He’s
De trois présents un à choisir Out of three gifts, one to choose. Je ne sais pas quoi faire." dead. I don’t know what to do.”
La belle, c’est à vous de prendre Beauty, it’s up to you to select - Eh bien, s’il est mort, fit le petit animal, • “Well, if he’s dead,” said the little animal,
Celui des trois qui plus vous duit The one of the three that most pleases you. c’est simple : il faut l’enterrer, Je vais “it’s simple: we have to bury him. I’ll help
Les voici, sans vous faire attendre : Here they are, without delay: t’aider ! you!”
Bonjour, bonsoir et bonne nuit Good morning, good evening and good night. Et ils allèrent enterrer le loup dans la • And they went to bury the wolf in the
montagne mountain.
Le loup demanda • The wolf asked
- Serais–tu par hasard un lapin ? • “Are you a rabbit by any chance?”
- Oui, moi c’est Tom, Et toi, es–tu un loup ? • “Yeah, I’m Tom. And are you a wolf?”
- Oui, mais je n’ai pas de nom, dit le loup • “Yes, but I don’t have a name.” Said the wolf.Tiziana De Carolis (in red tights), on her right Theodora Cottarel, on her left Sabino Manzo and Maria Gabriella Bassi, all around the choir Florilegium vocis
-Ça ne m’étonne pas ! fit le lapin. Est–ce • “That doesn’t surprise me.” Said the Loulou revient voir Tom et lui dit : almost died from fright.
vrai que les loups mangent les lapins ? rabbit. “Is it true that wolves eat - J’ai compris ce qu’est la vraie PEUR- Loulou went back to Tom and told him:
demanda Tom. rabbits?” Tom asked. DU-LOUP. Je ne recommencerai. Je te le “I understood what FEAR-OF-THE-WOLF
- Il paraît, dit Loulou. Mais moi je n’en ai • “Apparently,” said Loulou. “But I haven’t promets ! Sors de ton trou, Tom, s’il te plaît ! truly is. I won’t do it again. I promise you.
pas encore mangé» eaten any yet.” Tom réfléchit. Il se dit : «S’il a vraiment Come out of your burrow, Tom, please!”
- En tout cas, fit Tom, je n’ai pas peur, • “In any case,” said Tom. “I’m not scared,” eu peur aussi peur que moi, je sais qu’il Tom thought. He told himself “If he really
moi, Dit il, pas peur de toi. he said, “not scared of you.” ne recommencera pas.» Il sort de son was as scared as I was, I know he won’t
Tom et Loulou devinrent de vrais amis. Tom and Loulou became great friends. terrier et se jetèrent dans les bras l’un do it again.” He came out of his burrow
Loulou grandit. Tom lui apprit tout : à Loulou grew up. Tom taught him de l’autre. Puis ils allèrent à la pêche and they ran into each other’s arms. Then
jouer aux billes, à lire, à compter et à everything: how to play marbles, read, comme avant. they went fishing like before.
pêcher pour se nourrir. count, and to fish to feed himself.
Loulou apprit à Tom à courir très, très 19. Et pourquoi ? Why?
vite, bien plus vite que les autres lapins. Loulou taught Tom to run very, very Tiziana De Carolis (1970) Tiziana De Carolis (1970)
Il lui apprit également la peur. Tantôt ils fast. Much faster than the other rabbits. Michel Van Zeveren (1970) Michel Van Zeveren (1970)
jouaient à PEUR–DU–LOUP, tantôt ils He also taught him fear. Sometimes
jouaient à PEUR–DU–LAPIN. Un jour, they played FEAR-OF-THE-WOLF and Ce matin, le petit chaperon rouge se One morning, Little Red Riding Hood went
Loulou effraie tellement Tom que celui ci sometimes they played FEAR-OF-THE- rend chez sa mère-grand, quand tout à to see her grandmother, when all of a
se précipita dans son terrier et décida de RABBIT. One day, Loulou scared Tom so coup, un grand méchant loup lui tombe sudden she came across the big bad wolf.
ne plus en sortir. badly that he ran into his burrow and dessus.
decided to never come out again. “Rah! I am going to eat you.”
As the night came, Tom dreamed that - Rhâââââ ! Je vais te manger ! “Why?”
La nuit venu Tom rêva que Loulou “What do you mean: why? Because I’m
était énorme, noir et rouge et qu’il le Loulou was enormous, black and red and - Et pourquoi ?
that he was eating him. Loulou thought - Comment ça pourquoi ? parce que j’ai hungry!”
mangeait. Loulou crut que son amitié “Why?”
avec Tom était finie pour de bon. Il his friendship with Tom was over forever. faim, tiens !
He took his bundle and went to the - Et pourquoi ? “Well... Because I haven’t eating anything
prit son baluchon et s’en alla dans la for days and nights”
montagne des loups. Mais là-bas, il mountains where the wolves lived. But - Ah, ben, oui... Parce que je me suis rien
once there, there wasn’t a single rabbit mis sous la dent depuis des jours et des nuits “Why?”
n’y avait pas un seul lapin. Loulou se “Because I can’t hunt in peace anymore.”
fit même attaquer par des loups, qui anymore. Loulou was even attacked - Et pourquoi ?
by a pack of wolves that thought he - Parce que je ne peux plus chasser “Why?”
le prirent de loin pour un lapin. Loulou “Because I have to hide all the time.”
connu la PEUR-DU-LOUP. Après une was a rabbit from far off. Loulou finally tranquillement
understood the FEAR-OF-THE-WOLF - Et pourquoi ? “Why?”
poursuite terrible avec les loups où il “Because I am being chased by a hunter.”
faillit mourir de peur. after being chased by the wolves; he - Parce que je dois me cacher tout le
temps ! “Why?”- Et pourquoi ? “To pelt me!” 20. Non ! No!
- Parce qu’un chasseur et à mes trousses ! “Why?” Tiziana De Carolis (1970) Tiziana De Carolis (1970)
- Et pourquoi ? “To sell it to a tradesman.” Jean du Frout (1940) Jean du Frout (1940)
- Pour me faire la peau ! “Why?”
- Et pourquoi ? “To make a fur coat!” Je sais, c’est défendu I know, it’s not allowed.
- Pour la vendre a un marchand ! “Why? Why? Why?” Je le ferais portant. I’ll do it anyhow.
- Et pourquoi ? “Because,” said the wolf who at the end of Je sais bien qu’il faudrait demander à I know very well that I should ask Mom.
- Pour en faire un manteau de fourrure ! his wits swallowed Little Red Riding Hood Maman. I know, she’ll say no pretending that she
- Et pourquoi ? Et pourquoi ? Et pourquoi ? whole. Ah, now I am going to take a nap. Je sais, ce sera non prétendant qu’elle loves me.
- Par ce que, dit le loup qui à bout de “Why? Why?” m’aime. I know, it’s forbidden, I’ll do it anyway.
patience avale le petit chaperon rouge “ Oh no, you’re not going to start that again...” Je sais c’est interdit, je le ferais quand I know, you’re not supposed to!
d’un coup. Ah, maintenant je vais faire “Why?” même But who is going to know?
une petite sieste “Are you going to stop? I can’t take it Je sais, qu’il ne faut pas ! I know, I really shouldn’t.
- Et pourquoi ? Et pourquoi ? anymore!” Mais qui donc le saura ? But who is going to see me?
- Oh ! non... Tu ne vas pas recommencer... “Why?” Je sais, je ne dois pas
Mais qui donc me verra ? I know, it smells so good: ham or
- Et pourquoi ? “If it’s like that, I am going to the hunter!” parmesan?
- Est-ce que tu vas t’arrêter ? J’en peux “Why?” Je sais, cela sent bon : Jambon ou I know either is a tender bite
plus... “To take his knife.” Parmesan ? I know, forbidden fruit tastes better!
- Et pourquoi ? “Why?” Je sais l’un comme l’autre tendre sous I know, it’s dangerous, I find it quite
- Si c’est comme ça, je vais chez le “To open up my stomach.” la dent. exciting.
chasseur... “Why?” Je sais, fruit défendu parait plus savoureux !
- Et pourquoi ? This time, to her big surprise, the wolf Je sais, c’est dangereux cela m’excite un I know that it’s bad, I’ll ask for forgiveness.
- Pour lui prendre son couteau ! didn’t have any time to respond peu ! I know you’re supposed to say no to
- Et pourquoi ? “I wonder why he did that,” said the temptation.
- Pour m’ouvrir le ventre hunter. Je sais que c’est mal je demanderai I know that when you restrain yourself you
- Et pourquoi ? “I know why,” said Little Red Riding Hood pardon. appreciate it more.
Mais cette fois à sa grande surprise le as she came out of the wolf’s stomach. Je sais qu’il faut dire non a la tentation. I know, Mom always tells me
loup n’a pas le temps de répondre Je sais qu’en se privant on apprécie bien “You can if you want.”
- Je me demande pourquoi il a fait ça, dit mieux. I know, I resist, but I want it too bad.
le chasseur Je sais, maman me dit I know, I’m going to get in trouble,
- Moi, je sais, dit le petit chaperon rouge « Tu peux si tu le veux ». Oh well, too bad!
en sortant du ventre du loup. Je sais je résiste mais j’en ai trop envie.
I know, just once,Je sais, que je serais punie. I’ll blame my sister. Des lys, des palmes et des roses Of lilies, palm leaves and roses,
Ma foi tant pis ! I know, in a flash! Pleurent encore au fond des eaux. Are crying in the depths of the waters.
And not even scared.
Je sais, juste une fois ! I know, no snacking between meals. Les fleurs s’effeuillent une à une The flowers shed their leaves one by one,
J’accuserai ma sœur. I know, if I wait a bit my hunger will pass Sur le reflet du firmament. On the reflection of the firmament.
Je sais, vite fait bien fait ! I know, just a bite! Pour descendre, éternellement To descend, eternally
Et même pas peur ! Just a little bit! Sous l’eau du songe et dans la lune. Under the water of the dream and into the moon.
Je sais, pas de grignotage entre les repas. I know, quietly, quietly to sneak through
Je sais, j’attends un peu et l’envie passera that hole. 22. Deux ancolies Two columbines
Je sais, juste une croque ! I know! In the future what to do so that Lili Boulanger (1893 – 1818) Lili Boulanger (1893 – 1818)
Juste un petit bout ! our darlings build their character? Francis Jammes (1868 – 1938) Francis Jammes (1868 – 1938)
Je sais, tout doux, tout doux me glisser
dans ce trou ! Moral of the story: forbidden to forbid! Deux ancolies se balançaient sur la Two columbines were swaying on a hillside.
Je sais ! À l’avenir que faire pour que nos In the future, what should we do so that colline And the columbine said to her sister the
chéris forgent leur caractère? our children build their character? Et l’ancolie disait à sa sœur l’ancolie : columbine:
Je tremble devant toi et demeure “I tremble before you and I remain
Moralité : interdit d’interdire ! À l’avenir confuse. confused.”
que faire pour que nos chéris forgent leur Et l’autre répondait : si dans la roche And the other responded: if in the rock that
caractère ? qu’use the water
l’eau, goutte à goutte, si je me mire, je vois wears, drop by drop, if I look at reflection,
que je tremble, et je suis confuse comme toi. I see that I am trembling and I am as
Les voix de la CONTEMPLATION The voices of CONTEMPLATION confused as you.
Le vent de plus en plus les berçait toutes
deux, The wind, more and more, swayed them both
21. Reflets Reflections
les emplissait d’amour et mêlait leurs Filled them with love and melded their two
Lili Boulanger (1893 – 1918) Lili Boulanger (1893 – 1918)
Maurice Maeterlinck (1862 - 1949) Maurice Maeterlinck (1862 - 1949) cœurs bleus. blue hearts.
Sous l’eau du songe qui s’élève Under the water of the dream that rises 23. Pale aurore Pale dawn
Mon âme a peur, mon âme a peur. My soul is frightened, my soul is frightened. Graciane Finzi (1945) Graciane Finzi (1945)
Et la lune luit dans mon cœur And the moon glistens in my heart Graciane Finzi Graciane Finzi
Plongé dans les sources du rêve ! Deep in the spring of dreams!
aurore / blue / gris / aurore / jaune dawn / blue / grey / dawn / yellow
Sous l’ennui morne des roseaux. Under the dreary boredom of reeds, pâle / aurore / rouge / là haut pale / dawn / red / up there
Seul le reflet profond des choses, Alone, the deep reflection of things, gris / jaune / calme matin grey / yellow / calm morningfleuve sans rive / river without a bank faites avec les autochtones. encounters
lune / sans fin moon / unending With the indigenous peoples.
création / amour / aimer / âme creation / love / to love / soul Ouvre ton placard ainsi que ton cœur
permission d’atteindre l’âme permission to attain the soul partage ton breuvage local avec un biscuit, Open your closet as well as your heart
l’âme du beau the soul of beauty une tranche du quotidien de ta vie. Share your local beverage with a cookie,
le regard est l’âme du beau the gaze is the soul of beauty Si loin de chez toi A slice of your daily life.
vie / joies / douleurs guérisseuses ife / joy / healing pain est-ce que tu t’ennuies ne travaillant pas So far from home,
de-création de-creation autant qu’à Paris n’as tu pas peur de are you ever bored working less than you
ne viendra / moment qui ne viendra will not come / moment that will never come tomber dans l’oubli did in Paris?
jamais / aimer / amour to love / love / source / source of life tu aimes l’aventure, découvrir de Are you afraid of falling into oblivion?
source / source de vie absence / morning / calm / far-away nouveaux mondes You like adventure, discovering new
absence / matin / calme / lointain river / bank parler le chinois, l’italien et l’espagnol worlds, speaking Chinese, Italian and
fleuve / rive / sans rive / l’autre côté without a bank / the other side mais sans amis ni famille près de toi Spanish but with no family or friends
jamais personne / atteindre plus never anyone / never attain anyone comment vis tu donc ça ? close to you, how do you handle it?
personne anymore Allez vous n’êtes pas tous seuls dans le Common’ you’re not all alone in the vast
aurore / rêve / sortir du rêve o dawn / dream grand pays country
matin / lune / calme / matin/ sans rive arise from the dream o morning / moon De tous les expatriés. Of all the expats.
l’âme / commencement calm / morning / without a bank
toujours vivre the soul / beginning / always live 25. Le Bocal The Jar
Tiziana De Carolis (1970) Tiziana de Carolis (1970)
Florence Vitel Florence Vitel
Les voies du VOYAGE The paths of the JOURNEY
24. J’ai une collection de bocaux I have a collection of jars
Phileasine Foggette Phileasine Foggette bien rangée dans mon placard Well organized in my closet
Tiziana De Carolis (1970) Tiziana De Carolis (1970) j’en ai même des nouveaux I even have new ones
Florence Vitel Florence Vitel qui attendent dans un tiroir. Waiting in a drawer.
Notre journaliste Phileasine Foggette Our journalist Phileasine Foggette Dans l’aquarium de la vie In the aquarium that is life
grande reporter à Globe trotter Magazine Hot shot reporter from Globe Trotter c’est un peu toujours pareil It’s always the same
revient d’un périple de quatre vingt jours Magazine on répète a l’infini We endlessly repeat
au pays des expats Just came back from an eighty-day expedition ses routines telle une abeille. Our routines like a bee.
et nous livre le fruit de toutes le In the country of the expats
rencontres And shares with the fruits of all her Mon bocal n’est pas bien grand My jar isn’t very bigVous pouvez aussi lire
