Forgotten Songs

Claude Debussy

The song cycle Ariettes Oubliées was written early in Debussy’s composing career (1885-87 and revised in 1903) yet the songs already bore the hall-marks of his future musical language. A great promoter of his nation’s musical style over pervasive European ones, he looked to the French baroque, modal harmonies, the rhythm within poetry and pictorial images for inspiration.  Debussy was an admirer of Paul Verlaine and familiar with his subtle poetry. It was therefore seemingly natural to turn to him when searching for lyrics.  Though frequently dubbed an “Impressionist” Debussy disliked the term and in fact in this song-cycle he projects a sensory landscape rather than a descriptive one, so that we experience as well as observe.  For example, the languor after love-making (C’est l’extase), a state of depression (Il pleure dans mon coeur), and the excitement then queasiness of riding a carousel at the fair (Chevaux de bois).

The Lucy Havens Portfolio

The selection heard today is part of a much larger sheet music collection donated by Stewart Symonds to Sydney Living Museums (SLM). A lot of the music in the SLM collection has now been digitised, however it came to SLM as domestic sheet music and manuscript transcriptions either as a single piece of music or bound into volumes by owners such as Lucy Havens (1804-1867). She was born in Monimail, Fife in Scotland, moved to Whitehaven, Cumberland in the north of England before migrating to Sydney with her family in 1839. She married a former convict and successful business man Thomas Hyndes in 1850. Later she married Scottish Presbyterian minister William Purves. Her portfolio consists largely of short songs and dances, almost all Scottish in flavour or origin, along with pieces for pianoforte (and other instruments). The collection’s importance lies in giving us a remarkable insight into Australian colonial society, its interests, musical tastes, affiliations, and skills.

Forgotten Songs

Danielle Grant sings Claude Debussy’s exquisite set of songs Ariettes oubliées (Forgotten Songs) together with forgotten songs from a completely different source and setting – Sydney Living Museums. There’s something strangely familiar about these songs and dances that enlivened many a drawing-room in colonial times, often with a strong Scottish flavour. Maybe you’ve heard them before?

Danielle Grant (soprano), Diana Weston (piano/harpsichord), Tara Hashambuoy (violin), Angus Ryan and Lucy Cormack (cellos).

Mosman Art Gallery, Saturday 17 October 2020 at 4 pm

Reviews

ClassikON

Sydney Arts Guide

‘This mixed swag of treasures reached us in the elegant venue with equal swagfuls of elegance, nuance and directness. From the outset we were charmed by Danielle Grant’s mellifluous vocal quality and a subtle, sympathetic piano accompaniment from Diana Weston for this song cycle.’Keyboardist Diana Weston and regular Thoroughbass musicians offered a finely thought out and diverse programme. It both stimulated our senses and contributed boldly to the re-emergence of Live classical music in Sydney.

In a keen juxtaposition which actually works really well, we heard Debussy’s Ariettes Oublieés, the sensual setting of Paul Verlaine’s heart-on-the-sleeve poetry followed by more joyous Ignaz Pleyel’s piano and violin sonata and dance music and songs from the early Australian colony.’ Paul Nolan, Sydney Arts Guide. See full review.