FRANK STEMPER, COMPOSER
On Ferrai Quelque Choses de Toi Si le Petit Couchon ne te Mange Pas (1997)
for soprano and 13 instruments and percussion (13.5 mins.)
Poetry by René Char
World Premiere 18 March 1998 by the Altgeld Chamber Players, Ed Benyas – conductor, with Jeanine Wagner – soprano, on the Altgeld Performing Artists Series.
Opus 38 — A.S.C.A.P. work I.D. 451280516
SCORE
Opus 38 — A.S.C.A.P. work I.D. 451280516
SCORE
NOTES
“Couchon” is scored for soprano solo with flute, Bb clarinet/bs.cl., bassoon, contra bassoon, horn in F, trumpet in C, trombone, string quartet, c.bass, piano, and 2 percussionists. The music was commissioned for the debut of Southern Illinois University’s ensemble-in-residence, THE ALTGELD CHAMBER PLAYERS. Since this first appearance, the ensemble has performed dozens of modern works on its principal venue, the OUTSIDE THE BOX annual new music festival. The ensemble has championed the music of Bernard Rands, Andrew Imbrie, Charles Ives, Zhou Long, Igor Stravinsky, Chen Yi, Terry Riley, Steve Reich, Augusta Reed Thomas, Olly Wilson, Aaron Copeland, Liviu Danceanu, Lee Hyla, to name a few, and of course SIUC’s own composers Kathleen Ginther, Eric Mandat, Christopher Walczak, and myself.
René Char (14 June 1907 – 19 February 1988) is a French poet. He was a member of the Paris elite and was friends with many artists including Picasso, Miró, and other writers such as Camus and Blanchot.
During World War II, when Germany invaded and imprisoned France (and other countries), Char joined the French Resistance. During the Occupation, Char refused to publish any of his work, while working undercover. I was introduced to his poetry by the music of Pierre Boulez, particularly Le Marteau Sans Maître, which taught me a great deal when I was a student. Thus, I am paying homage to one of my composer idles, Boulez, by using Char’s poetry in this music, and also when I titled a different piece Le Maître du Marteau.
The title of this piece is an expression used by one of my five sisters. Its literal translation is roughly, “Somebody is going to do something (bad) to you if the little pig doesn’t eat you first!” But the expression really means “Go Figure” or “Huh?” or the Wise-guy “Forget About It.”
As for “Couchon’s” music, isn’t it obvious?
“Couchon” is scored for soprano solo with flute, Bb clarinet/bs.cl., bassoon, contra bassoon, horn in F, trumpet in C, trombone, string quartet, c.bass, piano, and 2 percussionists. The music was commissioned for the debut of Southern Illinois University’s ensemble-in-residence, THE ALTGELD CHAMBER PLAYERS. Since this first appearance, the ensemble has performed dozens of modern works on its principal venue, the OUTSIDE THE BOX annual new music festival. The ensemble has championed the music of Bernard Rands, Andrew Imbrie, Charles Ives, Zhou Long, Igor Stravinsky, Chen Yi, Terry Riley, Steve Reich, Augusta Reed Thomas, Olly Wilson, Aaron Copeland, Liviu Danceanu, Lee Hyla, to name a few, and of course SIUC’s own composers Kathleen Ginther, Eric Mandat, Christopher Walczak, and myself.
René Char (14 June 1907 – 19 February 1988) is a French poet. He was a member of the Paris elite and was friends with many artists including Picasso, Miró, and other writers such as Camus and Blanchot.
During World War II, when Germany invaded and imprisoned France (and other countries), Char joined the French Resistance. During the Occupation, Char refused to publish any of his work, while working undercover. I was introduced to his poetry by the music of Pierre Boulez, particularly Le Marteau Sans Maître, which taught me a great deal when I was a student. Thus, I am paying homage to one of my composer idles, Boulez, by using Char’s poetry in this music, and also when I titled a different piece Le Maître du Marteau.
The title of this piece is an expression used by one of my five sisters. Its literal translation is roughly, “Somebody is going to do something (bad) to you if the little pig doesn’t eat you first!” But the expression really means “Go Figure” or “Huh?” or the Wise-guy “Forget About It.”
As for “Couchon’s” music, isn’t it obvious?
Poetry by René Char
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L’AMOUREUSE EN SECRET
Elle a mis le couvert et mené à la perfection ce à quoi son amour assis en face d’elle parlera bas tout à l’heure, en la dévisageant. Cette nourriture semblable à l’anche d’un hautbois. Sous la table, ses chevilles nues caressent à présent la chaleur du bien-aimé, tandis que des voix qu’elle n’entend pas la complimentent. Le rayon de la lampe emmêle, tisse sa distraction sensuelle. Un lit, très loin, sait-elle, patiente et tremble dan l’exil des draps odorants, comme un lac de montagne qui ne sera jamais abandonné. |
SECRET LOVE
She has set the table, refined what her love, seated across, will speak softly of, looking deeply into her eyes. Food like an oboe’s reed. Under the table’s cover now, her bare ankles stroke her lover’s warmth, while voices she does not hear sing her praises. The lamp’s stream of light tangles, weaves voluptuous daydreams. She knows a bed – far, far away – waits patiently, trembling in exile of sheets fragrant with musk, like a mountain lake that will never be forsaken. |