The Interpretation of French Song (The Norton Library ; N878) |
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P Bernac
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Pages: 344 (Paperback)
ISBN: 0393008789
Pub: W. W. Norton & Co.
Pub date: 1978-04-01
Amazon.co.uk Sales Rank: 878134
Reader Reviews:
Good for native French speakers too (0/0 people found this helpful)
In the Foreword Bernac modestly says that the book "does not claim to be anything more than a guide for English-speaking singers who wish to study a repertoire which may not be very familiar to them". It is in fact far more than that, and French-speaking singers will find his suggestions for interpretation, tempo, expression and dynamics to be invaluable. He has an unerring instinct for when a song merits a few general comments for its interpretation and when it calls for a detailed phrase-by-phrase analysis. His choice of repertoire for inclusion in this relatively compact book is surprisingly comprehensive. Particularly useful are his suggestions for when to use the liaison (final consonants being sounded before a word that begins with a vowel, which happens more frequently in poetic language than in normal speech) and when not to. Liaisons are not always intuitive or obvious, even to those who were born and brought up in French.
Bernac's invaluable guide to this rare art (5/5 people found this helpful)
I have had this book for six years now, and still refer to it on a regular basis when learning new French Songs. As a performer it is extremely useful to have this insight into the detailed thoughts of one of the great song singers of this century. Bernac spent many years working with English singers so he was well equiped to address them in this book, and many of the comments deal with issues peculiar to anglophones, although I have several French colleagues who also look to the book for guidance. Winifred Radford's translations are accurate and usually capture the atmosphere of the poetry, although this is hard when dealing with poets such as Eluard whose implications are welded to the French language. These translations are printed in parallel with the original texts on which Bernac offers suggested breaths and helpful guides to unexpected pronunciations and the sometimes contentious issues of elision. I would recommend this book to anyone who has a serious interest in French Song, as a performer, coach or listener, although most of them will probably know of this text. It must be the next best thing to a masterclass with the great man.
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