La belle époque... médiévale
Middle Ages in Parisian salons at the beginning of the 20th century
KATARINA LIVLJANIĆ voice & concept
DANIJEL DETONI piano
Claude Debussy (1862.-1918.)
Jesu Christ filh de Dieu viu
Guiraut Riquier (c. 1230.-c. 1300.)
Paris, Bibliothèque Nationale de France, ms. fr.22543.
arr: Y. Guilbert (1865.-1944.)
Chanteries du Moyen Age, Paris, 1926.
La passion du doux Jésus
arr: Y. Guilbert, Chansons de la vieille France,Paris, 1907.
text: F. Tristan L'Hermite (c.1601.–1655.)
La flûte de Pan (iz Trois chansons de Bilitis)
La chevelure (iz Trois chansons de Bilitis)
text: P. Louÿs (1870.-1925.)
E. Satie (1866.-1925.)
Je te veux
text: H. Pacory (1873.-?)
Paris, c. 1890.
Le diner à l'Elysée
Chez le docteur
Tango (iz Sports et divertissements)
Eloge des vieux
J.A. Vignix (?)
text: Chanoine de Lattaignant (1697.-1779.)
Les vieux messieurs
Le feu d’artifice (iz Sports et divertissements).
La journée du musicien
text: E. Satie
Katarina Livljanić (voice) and Danijel Detoni (piano) present a new programme featuring Parisian repertoire from the beginning of the 20th century. The focus of this project is on several literary personalities of that period and their relationship to the Middle Ages: among them, we will meet the fascinating and controversial Yvette Guilbert (1865-1944), singer, actor, writer and intellectual. Yvette Guilbert performed a rich musical repertoire in a format called 'café-concert', appeared as an actress in theatres and films, published her prose writings, and was the author of an intriguing book about vocal interpretation. In collaboration with the French musicologist Jean Beck, she became an important personality in the revival of songs of the medieval troubadours and trouvères, which she performed, with piano accompaniment, in Carnegie Hall in New York City. This charismatic artist inspired Katarina Livljanic and Danijel Detoni in creating their project, in which Guilbert's songs and stories intertwine with the medieval songs which served as models, recreating the intimate atmosphere of a Parisian salon.
In this elegant but also frivolous, ironic and ambling stroll through Paris of the belle époque, we will meet some other personalities as well: the excentric gentleman from Montmartre in his velvet suit, Erik Satie (1866-1925), and we will pay a short visit to the refined salon of Claude Debussy (1862-1918) who knew, better than anyone, how to serve delicate impressionistic madelaines along with the elegant melodies of the gothic era.
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