Friday, April 5, 2013

#75 the cuénod collection


French Troubadour Songs (1950)

1. Il me suffit (ANON)
2. Quand ce beau printemps (ANON)
3. De plus en plus se renouvelle (BINCHOIS)
4. Exultate iusti in Domine (Psalm XXXIII) (CERTON)
5. Quare fremuerunt (Psalm II) (CERTON)
6. Verba mea (Psalm V) (CERTON)
7. Ma chiere dame (MACHAUT)
8. Chanson Balladée (MACHAUT)
9. A madame playsante et belle (DE LANTINS)
10. Misericorde au martyr (NON PAPA)
11. Puisque voulez que je vous laisse (NON PAPA)
12. L'ardent amour (CRÉQUILLON)
13. A vous en est (CRÉQUILLON)
14. Le lai des amants (ANON)
15. Je suis aimé de la plus belle (CRÉQUILLON)
16. Puisque malheur (CRÉQUILLON)
17. Cessez, mes yeulx (CRÉQUILLON)
18. Le jour s'endort (DUFAY)
19. Helas! il n'est mais nuns (DE LA HALLE)
20. Pour ce se d'amer dueil (DE NAVARRE)

Hugues Cuénod (tenor)
Hermann Leeb (lute)
*with embedded lyrics
*I recommend starting on track 14, with the lights closed. Goddamn it, Mr. Cuénod basically turned the clock back to the Middle Ages with his first note!



Italian & Spanish Songs of the 16th and 17th Centuries (1950)

1. Valli profonde GAGLIANO
2. Lute solo Fantasia FLORENTINO
3. Se l'aura spira FRESCOBALDI
4. Fuggi, fuggi, cuor mio VERDELOT-WILLAERT
5. Con lagrime e sospir VERDELOT-WILLAERT
6. Lute solo Veneziana ANON
7. Sventura, cuor mio CARISSIMI
8. Cara e dolce SCARLATTI
9. Perdida MILAN
10. Sospiro MILAN
11. Durandarte MILAN
12. Lute solo Three Pavanes MILAN
13. Si me llaman DE MUDARRA
14. Triste estaba DE MUDARRA
15. Lute solo Pavana DE MUDARRA
19. Israel DE MUDARRA

Hugues Cuénod (tenor)
Hermann Leeb (lute)




Socrate • French Song Cycles (1985)

01 Lettre de Béatrice & Lettre de Christian (Deux lettres d'enfants DE MENASCE)
02 Les cigales (CHABRIER)
03 Villanelles des petits canards (CHABRIER)
04 Pastorales des cochons roses (CHABRIER)
05 Balllades des gros dindos (CHABRIER)
06 Le château du Bartas (Saluste du Bartas HONEGGER)
07 Tout le long de la Baïse (Saluste du Bartas HONEGGER)
08 Le départ (Saluste du Bartas HONEGGER)
09 La promenade (Saluste du Bartas HONEGGER)
10 Nérac en fête (Saluste du Bartas HONEGGER)
11 Duo (Saluste du Bartas HONEGGER)
12 Le bachelier de Salamanque (ROUSSEL)
13 'C' (POULENC)
14 A sa guitare (POULENC)
15 Daphénéo (Trois mélodies SATIE)
16 Le statue de bronze (Trois mélodies SATIE)
17 Le chapelier (Trois mélodies SATIE)
18 Air du rat (Ludions SATIE)
19 Spleen (Ludions SATIE)
20 La grenouille américaine (Ludions SATIE)
21 Le poète (Ludions SATIE)
22 Chanson du chat (Ludions SATIE)
23 Portrait du Socrate - Le banquet (Socrate, drame symphonique avec voix SATIE)
24 Bords de L'Ilissus - Phédon (Socrate, drame symphonique avec voix SATIE)
25 Mort de Socrate - Phédon (Socrate, drame symphonique avec voix SATIE)

Hugues Cuénod (tenor)
Geoffrey Parsons (piano)




Hugues Cuénod chante Debussy (1972)


Hugues Cuénod: various works (file folder)
Including:
  • Le bonne chanson FAURÉ
  • Songs from Shakespeare Plays VARIOUS (with Albert Fuller, harspsichord)
  • Anna Magdalena Buch BACH (Albert Fuller, harspsichord)
  • Songs from La Fontaine (Albert Fuller, harspsichord)
  • Cinq mélodies de Venise FAURÉ
*with lyrics in .html format
*CREDITS to unknown original uploader

Friday, January 25, 2013

#74 dice lui


Dice lui, ch'io son bello
come al neve il raggio solar,
e chiaro il sorriso mio,
è come al fonte il viso stellar.

Ma so ben, che in amore tutto
è in un ombra, buio e confuso;
E so ancor, che il labbro innamorato
di tutto lavora in cui mentir. 

(adapted from "Dice Tirsi" from Endimione, attr. Pietro Antonio Bernardoni)

Friday, December 14, 2012

#73 baroque goodness

I have been listening to two albums of the Baroque genre, showcasing two technically accomplished and aurally extrovert performers of dare I say it, the same fach, namely Joyce DiDonato and Simone Kermes. Miss DiDonato may identify herself as a mezzo-soprano, but what I hear in her voice is a short soprano, of the same ilk as Frederica von Stade, Magdalena Kožená and the early Cecilia Bartoli (the post-milennium Bartoli is another monster altogether). And that's okay in my books, I love these type of singers. There's always something very heart-aching in their voices - to be technical, this is because their vibrato rates are rapid, flickering, so you'd never mistake it for an instrument the way more seasoned Baroque performers like say, Vivica Genaux and Simone Kermes herself, can be.

Miss DiDonato's Drama Queens is a respectable effort. Alan Curtis leads the Complesso Barocco: they are known quantities. As is often nowadays in fashionable Baroque compilations, this album includes world premiere recordings such as Madre diletta, abbriacciami from Giovanni Porta's Ifigenia in Aulide and rarities like Keiser's Fredegunda and Octavia excerpts. The album opens with Da torbida procella from Orlandini's Berenice, a spitfire of an aria. Miss DiDonato's timbre, with that slightly acerbic edge, helps her especially with the text. On the other hand one often finds her voice swamped under the orchestration (surprising, considering she's singing Strauss' Composer and Octavian to rave reviews) and when she pulls the straight voice it sounded almost jarring. The coloratura holds no terror for her, but I notice she performs slightly better in the middle voice compared to her upper range, consistent with many observations that her topmost notes are not of the same quality as they used to be.

I find the Giulio Cesare in Egitto excerpt to be wanting. There are stretches when the vibrato simply vanished from the voice and we're left with a wisp of a voice. Cleopatra is an empress not a lady-in-waiting: her grieve should have been gigantic, awe-inspiring, not simply human. The middle section, while fury-laden enough, is not in the same class as Kermes' version in her Cuzzoni tribute album. Another Cleopatra-inspired piece, Hasse's Morte, col fiero aspetto is miles better, with Miss DiDonato's voice climbing up and up as if challenging her passagio to a duel. Her mini-cadenza, before the coda, is also very beautiful.

Miss DiDonato seems to have a preference for the Porta aria. While I find her approach to the siciliana wonderful, I find her most delectable, however, in Intorno all'idol mio, a very famous piece included in the Arie antiche collection. There is a powerful moment when her straight voice is employed to implore the wind to bring her kisses to her estranged lover. The recitative in the middle is exemplary work, and her final Addio's are heart-wrenching. I do believe she sustains a 30-second F# piano at the end of the piece.

On to Miss Kermes. Opening her album Dramma is an excerpt from De Majo's Arianna e Teseo. One hears a strange trick: as if the orchestra is playing over the phone, or from an old phonograph, before cresting in a wonderful forte. What a clever duck! I don't know whether it's better balance, equipment, acoustics or player spacing, but I find the sound from La magnifica comunità to be more aurally persuasive than that of Il complesso barocco. For example, the introduction to Le limpid'onde is absolutely atmospheric I expected to hear chirping birds and rushing brooks every time I hear it.

The Kermes instrument may be a controversial one - especially live - but her album efforts are always worthwhile, and I always find it very surprising when a very slender timbre such as hers can find the coloration for example, in Tace l'augello from Porpora's L'Agrippina, and the famous Rinaldo piece Lascia ch'io pianga. For coloratura-fanciers, Miss Kermes does not disappoint in arias like Vedra turbato il mare, where her downward runs figure very wonderfully. In Sul mio cor, one finds her defying gravity with octave leaps and excursion into chest voice, all within the first four measures of her entrance.

That is not to say Dramma is a perfect essay. One finds the timbre to be a bit blanche and jarring. On the other hand it is no less expressive. The top notes can sometimes sound glassy, shrill-ish even. But the larger picture remains intact, that Dramma is a wonderful album and worthy of any Baroque fans' shelves.

Monday, November 12, 2012

#72 the dilemma

I'm still alive, duh.

For the past few ages I've been away, first to face one of the most important exams of my life - the fourth year exit exam of medic school. I passed (thank God!), although there were certain things which I could have done better. There was the practical exams (the OSCEs) in which I thoroughly bombed the stations for Orthopaedics and Paediatrics, the former because I was a klutz with no sense of organisation and the latter because it was the first-station jitters. The MCQs being MCQs (I forgot the exact number of questions already but it was certainly more than 120) made me so tired and cold and subsequently sleepy (damn hall air-conds!). The long case was fun, though. I got an easy case, CCF with diabetic complications, the patient was very cool, the examiners were helpful because God knows I was babbling like my life depended on it. Case in point: I couldn't even get the word "BUSE/CREAT" out for five minutes (they were asking for a lab investigation for kidney function), the examiners had to twirl around and around to get it out of me, and they looked intensely relieved the moment it rolled out of my tongue I couldn't help mumbling "I'm sorry".

Then, I went for a LONG-DESERVED HOLIDAY and an awesome elective posting in the Emergency Department of Queen Elizabeth Hospital 1 Kota Kinabalu. The department people was awesome, and our supervisor was one really cool guy who made 'disaster' sounds like an attractive word. I stayed in God-forsaken Petagas, which turned out to be quite a charming suburb area, and went back to Bongawan for the weekends on the NEW TRAIN! NEW TRAIN! NEW TRAIN!

The sea view from the train, about fifteen minutes away from my home.
These two are so cute, but they're probably brothers.
Holiday activity: searching for rubber tree seeds! And they pay you, too! (RM 3 for each measly kilo)
This is my wallpaper now.
Holiday activity: DIY crafts. I sucked.
Then I went back. Boo. Ah well, my first posting for the fifth year was Accident and Emergency. It wasn't like my electives though, because the HOD was quite hands-on with our lot. She even asked me a question (an easy anatomy question, but it was awesome that she even noticed me), and told me she looked like one of her employees: which I don't really adore but hey, you suck it up.

Last weekend I went to a CME held by Philips Respironics, apparently they make CPAP devices. It was the first formal symposium thingy I attended, but it was on a Sunday so maybe it didn't count? There was talk from a really nice sleep lab - I guess the word is owner, because he's actually a cardiologist, and another one from a sleep medicine specialist who looked really young. And really tall. Uh.

Anyway the CME was really nice. It was on obstructive sleep apnea (OSA), which is the fancy term for snoring, hehe. Now, despite having several risk factors for this condition I amazingly did not have it (confirmed by my mother), and I speculated that this was because my tongue and oral passages have a higher muscle tone from all that wailing Massenet, Puccini, Strauss and Verdi. Which is kind of contradictory because as most vocal pedagogues would tell you muscle tension is a definite booboo in classical singing, at least the Italian school.

Which brings me to another point: during the holidays I've been experimenting with tenor techniques from this wonderful pedagogic website, in particular what he called the 'wail' and the 'cry', and to my amazement I managed to stay on F# and Gs forever! There was no muscle tension, my neck didn't look like I was choking myself, and my tongue stayed clear out of the emission (a real big problem for me, as I flip higher than F I tend to roll my tongue backward and produce this crazy muffled mezzo-sopranoish timbre, which on the plus side can go up to F#5 but probably sounded like a duck's squawk in a hall - you should hear me sing O don fatale sometimes, I camp it up better than La Bumbry - how can you not, when you have the chest of a baritone and the head voice of a contralto!). The notes higher up also sounded clearer, but I still like my D's and Eb's the best. Hence the dilemma: Am I a short tenor alla Domingo in disguise? (Gasp!)

... TO BE CONTINUED

Sunday, August 5, 2012

#71 "seroja": views, choices in performance practice and arrangement for wind orchestra

For the last week, I have been contemplating a very famous Malay song, "Seroja" as the theme for my next composition. As pure melodic material, "Seroja" is a strange subject. The title alludes to the flower lotus (teratai), which as you may realise is the symbol of purity for many Eastern cultures. In many images Indian goddesses sit on lotuses perched on top of 'sea of chaos', for example. The allusion to purity perhaps come from the fact that lotuses grow best in swampy areas, so their surroundings may be downright filthy, but their fulsome flowers remain clean and beautiful, in dissonance with its milieu.

The song interests me for many reasons. The song was composed by Hussein Bawafie sometime in the 60's. It has a beautiful coloratura line, it is a test of legato and phrasing, of the management of one's instruments in all its ranges, of creativity and personality in decorating the line. The lyric is pedagogic: the singer is berating a younger sibling for cherishing beauty over substance (rupa yang elok jangan dimanja), for wasting time over love, for not trying to gain wisdom from life experience (memetik bunga) - at least that is how I see it. It is a powerful song, a beautiful song. One may comment that for a song with a stern voice it sure has a lot of coloratura, but I see it as a means of softening the blow, the satin glove of the iron fist, a way to kiss the booboo, if you will.

The original version was sung by S. Effendy. Even in its original version the song was composed with a chorus in mind. The echo effect of the verse is very powerful, reminiscent of religious chants. Mr. Effendy has a beautiful baritone sound, however the extreme of his range (F#, to be exact), is precarious. He handles the transition beautifully though, with a glorious double effect decrescendo-portamento.


Another famous version was sung by Sharifah Aini. She has an easier facility of the coloratura line, and her husky lower reaches contrasted nicely with the power and beauty commanded by her upper reaches (reaching a full-throated F5). You can hear why Miss Sharifah was prized as the most important female Malay singer for at least twenty-five years - the liquid honey one associates with her high-middle voice - the one which granted her the ultimate vocal throne from Saloma - is in strong evidence here.


The most famous version is perhaps Jamal Abdillah's. The verse is throaty in his voice, more to the character of his timbre rather than a choice. He manages the coloratura of the first verse by hollowing his voice, and it is both harrowing and fascinating to listen to. He also made some confusing phrasing choices. No matter, he is a tenor, and he showed his mettle in the third verse, where he opens up a silvery thrusting instrument gloriously to A4 - even the coloratura is better at this range. The wear and tear in his voice show, but it is still a very powerful instrument nonetheless.


I have listened to Mawi's version. It is a strong voice, but at that moment in his career incapable of much delicacy. I do not mean he cannot sing the line, but it is very much the sonic equivalent of bull in a china shop. Contrast for example with Jamal Abdillah (easiest as they are the same voice type) who is still capable of executing the line while maintaining the thrust in his upper voice. Even Mr. Effendy was capable of some vocal effects, but in this department Miss Sharifah wins, hands down.


This duet version sounds wrong on two counts. I have maintained for a long time that while Siti Nurhaliza manages some glorious feats with her voice, her timbre remains anomalous for Malay literature. Hers is a soubrette voice, a girl's voice, a virginal voice. Contrast this for example with Sharifah Aini, who is capable of knowing coquetry and saturnine sobriety - with the same timbre. The second is the fact that she meanders all over her range in her decorations. She knows her strongest suit is her highest range (as has been shown beautifully in the first verse), and she insists on plumbing for depths that are simply not there. Mawi still sounds like a bull in a china shop, and is already showing strain in his upper register.

With these performance practices in mind, I set to composing the Harmoniepartitur. I have already pictured the song as a Bellini cantilena, so I set out to arrange it in that style. The introduction came easy to me:


An oboe solo was planned to evoke the reed instruments of the nobat. The main thematic material was given to clarinets. In later metamorphoses it was transferred to other instruments: trumpets, trombones, euphoniums; but the thematic re-capitulation was always given to the clarinets. I think the mellow refulgence of a well-played clarinet best represent the Malay ideal of the lenggok or the gemalai, the graceful turns and twirls one can see in Malay dances and silat


The second section is a waltz. I wanted the material to go to surprising places, and a transplanted waltz sounded ideal. There was a recapitulation, then progression into Allegro, in which the material travelled via Db major to many places, before re-settling in F minor. There are several tags, or 'codettes' as I call them, comprising of two-measures equivalent of  I-VImaj7. The music closes with another oboe solo before a final codette.


The instrumentation is very basic: flutes (with piccolo), clarinets, the saxophone quartet, French horns, trumpets, the lower brasses and percussion, with glockenspiel and tubular bells in the coda. The tubular bells were in fact inspired by Kitaro's land theme from Heaven and Earth

I loved the experience. However the arrangement process itself was quite harrowing. I have left the medium for three years, and it took me a few days to get my sea legs again. But it is quite finished as of today, and I hope for the best for this material, which is near and dear to me.

Seroja (wind orchestra) - © fUGA arts limited 2012

Friday, July 6, 2012

#70 inspired by, the golden girls!

This is a little ditty I wrote up after too much coffee one night.


69 WALKER STREET, MIAMI

69 Walker Street was quite a famous address, if you know the right people to ask. You see, there’s a lot riding out on these home numbers, and boy did they had a fight in the 60’s over who’s taking the number 69 plate. But Louise Armstrong won out, not in the least because she’s a relative of the astronaut; they didn’t call lifting your skirt on your non-arthritic side while hailing a cab the Armstrong manoeuvre for nothing.
On the other hand despite having a solid reputation as er, happy times girl, Louise had had a very happy marriage with her husband Mr. DeLyle. Nobody knew his birth name, and he adopted his wife’s more famous surname. Oh what a looker Mr. DeLyle was, six foot four of tanned goodness and a head of hair that could be seen from Mars! Louise and DeLyle were the toast of town for many years. But sadly strong handsome Mr. DeLyle succumbed to an unfortunate accident; Louise would sigh, tear up a bit and dab a dainty kerchief on the silver bowl containing his ashes whenever she tell the story: “I mean, who’d have thought turkey bones could be so sturdy!”
Over the years two lady friends of Louise, both widows like her, came and stayed with her at 69 Walker Street. There were concerns, of course – the ladies were no spring chicken, and Walker Street wasn’t exactly the hub of civilisation and gentility. However, when a robber was seen scrambling out of the house with several large gashes on his left cheek that suspiciously look like Louise’ extremely manicured nails, the neighbours’ worry was laid to rest. Of course, another concern was Louise extremely extremely extremely myriad gentleman callers. But it was her business, and if she paid her taxes on time pourquoi pas?
I suppose I should describe Louise and her room-mates. Louise herself, mmm years young, a perpetual ice-blond, claimed herself the inspiration of Mr. Hitchcock’s preference to casting blondes in his films when they met at a party as a child: “He never got over me, the silly pervert.” After Mr. DeLyle unfortunate accident she had a reputation for having a reputation, you get the idea. Most of the detectives at the Miami-Dade PD would’ve lay down their lives gladly to be her dates, for example.
Then there were her best friends, Renata Bianchi and Mary Stewart. Renata came from New York, a second generation Italian immigrant, a high priestess of snark, with a glorious hair of red, which changed colour according to her hot flushes status. Mary, dear sweet unfashionable Mary, came from backwater Kentucky; she couldn’t make out azure from turquoise if it was threatening to pull off her wig – on second thought she might. Despite being a ditzy ball she had a passion for astronomy, and just recently bought a telescope over air-mail.
Now the problem that rainy June 1991 was Renata’s cousin, Gabriela ‘Gladiatoress’ Bianchi, was coming in from New York. They hated each other, but Gabriela was bringing the will from Renata’s favourite Uncle Gino, who, may his blessed soul rest in peace, hit his head after drinking a mug too many of the product of his own shop, Gino’s Happy Spirits. Renata spent the day before Gabriela’s arrival spiffing up the place, driving everyone’s nerves crazy, and nearly made Mary cry when she screamed her wig would’ve made a better centrepiece than the one she’d spent two days making. Louise put her foot down when Renata tried to repaint the living room green: “Have you seen a blonde against a green backdrop? Princess Di? What’s your point?”
Renata finally sat down on the couch. “Oh girls, I’ve been so stressed. I just want everything to look the best for when Gabriela’s here!”
“Why? You hated her,” Mary sniffed.
“Exactly. She’d be even more depressed after she’s seen what a beautiful house I, er, we got.”
Louise proposed, “Well, we could take her out to dinner somewhere nice. After all she’s only staying for one day. I could pull some strings with the Valley Sheraton, the head chef owed me a favour after er, a trick with butter failed.”
Mary blinked. “What trick?”
“On how to increase your postmenopausal cholesterol, Mary. And if that doesn’t work you could use peanut butter and cream. Though it’d be harder to clean your thighs after.” Renata turned to Louise. “Valley Sheraton, allora? That might just impress the old bat.”
***
Now Gabriela, like everyone from Uncle Gino’s side of the family, had the bad fortune of having a distinctively loud, raucous voice seemed to project from her adenoids rather than her mouth. Of course that branch of the family also produced more dramatic sopranos per capita than the entire state of New York. Gabriela missed out because she fancied herself the next Emily Dickinson, but after ten years of working in newspapers she ended up writing vampire novels for hormone-riddled adolescents and lonely housewives. Oh wait a minute.
Gabriela turned up on an ominously dark Tuesday, and her awesome height almost made Mary fall backwards when she greeted her at the door. She had the Bianchi red hair, but on her it looked vermillion rather than scarlet like Renata’s because as Renata puts it, “She’s on those fancy hormone therapies. She always thinks she’s better than the rest of the family.” Mary thought she was especially nice because she complimented her centrepiece, which she said looked exactly how she described a vampiric mass centrepiece look like in one of her books.
“Now to this will business. Uncle Gino,” everyone muttered may he rest in peace, “left his shop to Benny, his car to Cousin Giulietta, the Brooklyn apartment, that’s to be sold and the proceedings be donated to... Impertinent Furs against PETA.”
“Uncle Gino always likes to make a statement,” Renata commented. “Carry on, Gabby.”
“Yes. Aunt Adina’s paintings to be given to Cousin Donna, with strict instructions on keeping them in the family, et cetera et cetera. Um, he left his books and Italian translation of Kama Sutra to me, and to you he left... er, Aunt Adina’s ‘mink coat and Playgirl subscription’.”
Louise was the first to talk. “How... fancy. I’ve always liked Playgirl for the, er, feature articles,” Louise said, sipping daintily on her tea.
“Did you bring the mink coat here?” asked Renata.
“As a matter of fact I did.” Gabriela brought out an extremely beautiful sable mink coat out of her luggage. “I’m sorry I didn’t have a hanger but I thought what’s the use anyway?”
“I could’ve used it to set up an abortion clinic,” Renata retorted, while admiring how the mink looked on her tall figure. “Aunt Adina always had a good eye.”
“She did,” agreed Gabriela while downing her glass of bubbly. “Well, if I’m going to sleep here you should buy me dinner first.”
Mary blushed. “Well, we had reservations at the Valley Sheraton,” Renata said. “You can freshen up at the john down the hall.” Gabriela sat up. “And Gabby honey, try not to overdo on the shaving cream.”
***
Renata was sitting out alone on the porch, her new mink coat on her lap. She was looking up at the night sky. Dinner was wonderful, the kitchen kept sending out hors d’oeuvres, so insults were kept at a minimum. Gabriela seemed to like Mary a lot, even when Mary accidentally knocked her shrimp off onto a passing garçon’s crotch. Louise was quick to quip, “How quaint,” leaving the poor boy blushing and blustering his way from their table.
Mary came out of the house with a telescope. “Oh Renata, I didn’t see you there.”
“Mary, what the hell are you carrying?”
“Opera glasses. It really makes the details on Virgo’s garter belt much clearer.” Mary seldom got her own back against Renata, but she had her moments. She sat down beside her friend. “Say Renata, you didn’t look like yourself at dinner tonight.”
“I was using Clairol Nice and Easy no. 108. I’ll change back to my original mix after Gabby’s gone.”
“I didn’t mean that and you know it.”
“Oh I know Mary. I’ve been depressed after since I heard Uncle Gino’s passing. We were so close when I was young. He and Aunt Adina were my godparents you know, and after ma and pa’s dead they were the ones who gave me away on my wedding day.”
Mary sighed. “I know what you mean. I miss my parents too, but there came a time when I realised that I need to move on.”
“I know. But it’s like everything is fading away: my husband, my family, my vitality—”
“Your hair colour. The real one.”
“Shut up.” Renata drew a deep breath and stroked the mink. “Aunt Adina used to parade around the block with this coat you know. She said it made her feel like she’s back in Naples, hobnobbing with the rich and the famous at the opera. She was quite a looker you know, from the richest Neapolitan aristocratic family. Then she fell in love with Uncle G, her paisan she called him, and never looked back even after her family threw her out and they had to move to America.”
“That’s a sweet story.”
“Yes it was. Yes it was.” Renata sighed. “You know Mary, a lot of the greatest love stories are the unknown ones.”
“I agree.” Mary stood up and set up her telescope. “Well, I don’t know what’d make you feel alright, but I always feel better after sneaking a peek at the Richardsons’ bedroom.”
“That’s intrusion of privacy, Mary.”
“Not at all. The other night they were watching Jason and the Argonauts. And last night they had the complete I Love Lucy marathon. You could see Lucille Ball’s nose hair on their large screen!”
“I’d feel better if you just stick to constellations’ underwears.”
***
“All right, I think that’s all.” Gabriela stood awkwardly at the door. “See you around, kiddo.”
“Gabriela. I’m three ye... weeks older than you. Knock it off.” Renata hugged her. “Say, do come to Miami in the winters. I imagine it’s still as cold as Dickens up there in January. You’ll always have a place to stay.”
Gabriela stared at Renata like she was wearing Madonna’s cone bras with matching shoulder pads. “I’d... I’d like that, Renata.” She kissed Renata’s cheek, a true kiss, not like a Hollywood fancy schmancy air blow. “Look, I smeared my lipstick on your cheek!” She dabbed the stain away. “I’ll send your regards to the family back home.”
“Goodbye, Gabriela.”
“Goodbye, Renata.”
Louise was crying. “Oh, I always love good endings. I’m so happy you and Gabby made peace.”
“Well, she’s family. And I’d think Uncle Gino and Aunt Adina would’ve loved that we’re being nice to each other. Yes, I think they’d loved that very much.”
Mary and Louise smiled. Mary perked up, “Now, who’s in the mood for cheesecake?”
“I’d like that. Meanwhile we can update the details on that Playgirl subscription.”

In honour of The Golden Girls (1985 – 1992)

Sunday, July 1, 2012

#69 some translation works / borrowed poetry

Tomorrow I start my final posting before my fourth year exam. And in Tuesday I had a major test in ObGyn, a favourite subject - but anything can happen. "Chaotic" does not even begin to describe what I'm feeling.

On the other hand I have translated some of the texts from my lieder cycle (you can see the video, among other things, here) into Italian, specifically lieder #1, #4, #5 and #6. Enjoy:

I
Quanto vento! mormorante
come un bel fior, che chiama
una tempesta.


Vedi con me! la luna,
ondulante, sorridente,
coi stelli innumerevole
in notte brillante.


IV
Ascolta il grido e il furor! La Santissima Stella
coi mille diamante sull'ali rosse ascende il firmamento!
e nata del sue piume: una bellissima,
beata vergine, ben-adorata della Terra!


Beata bellissima della vecchia razza divina.
Quella sembianza! una faccia senza minaccia,
lucente e rilucente! è lucente sempre,
gran'luce infinita!


Ma deh, ahimè! beata bellissima piange della sua peccata
in vedente il taglio della vita.
Ma vedi ancora, la pallida faccia:
la luna, bianchissima, sola sulla seta nera.


V
Ah! vieni a me, infelice cor,
bel giovanotto e bella signorina
chi è perduto, abbandonato,
chi è deserto da tutto, anche del sol.


Tu che di gel sei cinta,
vestiti in buio l'oscurità
coi la luna e un bianca stella
e sette cente strege dannata!


Ascolta di me! il giorno finirà
dopo la millesima ora.
Ascolta ben! tu sai nulla
che tua vita dissiperà.


Vieni a me, infelice cor!
t'affretta allor, in pronto.
Vieni in nudità di peccato tuo e di passato.
Siedi qui con me allora, per l'eternità.


VI
Era già finita la notte ventosa:
arriverà certamente all'alba,
la fiammiera stella:
Vedi in ciel, allora!
gl'occhi del giorno, il re solar!


I have also translated Pablo Neruda's sonnet XCI Amor mío, si muero y tú no mueres into Malay. I guess I was pretty inspired by Lorraine Hunt Lieberson's singing of the Neruda Songs. I had the recordings since two years ago, and though it was rarely played in my iPod rotation every time I heard the final song I always teared up. The translation pretty much corresponds to the melody of the song, which you could hear here (please note the performer is NOT Miss Hunt).

Amor mío, si muero y tú no mueres,
no demos al dolor más territorio:
amor mío, si mueres y no muero,
no hay extensión como la que vivimos.
Polvo en el trigo, area en las arenas
el tiempo, el agua errante, el viento vago
nos llevó como grano navegante.
Pudimos no encontrarnos en el tiempo.
Esta pradera en que nos encontramos,
oh pequeño infinito! devolvemos.
Pero este amor, amor, no ha terminado,
y así como no tuvo nacimiento
no tiene muerte, es como un largo río,
sólo cambia de tierras y de labios.
[Credits to Pablo NERUDA]

Oh sayangku, jika ku pergi dulu,
jangan kau tangiskan ketiadaanku:
kasih, jika kau tiada buatku,
hidup tanpamu tiada kan bermakna.
Debuan hama, pasir bertaburan,
tiap saat, titisan embun, hembusan bayu,
dan kita, bagai debunga berterbangan.
Tiada lagi masa kan kita berjumpa.
Di taman tempat pertemuan kita,
oh pulangkanlah! detik-detik kehilangan.
Dan cinta ini, sayang, takkan kesudahan,
tiada hujung ataupun permulaan
kan berkekalan, bagaikan air menderu,
cuma bertukar negeri dan nama.

I guess it is not a literal translation but rather a transliteration, but the gist and the intention of the text are very much replicated, I think. I detest translation works which are devoid of the personalities of the translators themselves - but that's just me.