Poetry and music: Reynaldo Hahn's Le Rossignol éperdu
Kim, Minji
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https://hdl.handle.net/2142/96162
Description
Title
Poetry and music: Reynaldo Hahn's Le Rossignol éperdu
Author(s)
Kim, Minji
Issue Date
2017-04-04
Director of Research (if dissertation) or Advisor (if thesis)
Tharp, Reynold
Doctoral Committee Chair(s)
Tharp, Reynold
Committee Member(s)
Ehlen, Timothy
Kinderman, Willliam
Heiles, William
Department of Study
School of Music
Discipline
Music
Degree Granting Institution
University of Illinois at Urbana-Champaign
Degree Name
A.Mus.D. (doctoral)
Keyword(s)
music
poetry
reynaldo
hahn
rossignol
eperdu
Language
en
Abstract
This study focuses on Reynaldo Hahn’s solo piano work,
Le Rossignol éperdu
(“The
Bewildered Nightingale”)
(1902-1910), the largest instrumental work by the composer.
Le
Rossignol éperdu
is a collection of fifty-three character pieces, each one with a title and
sometimes a reference to
a
poem, novel, or play that inspired the composition. The themes of the
literary quotations cover a wide range including love, nature, the pastoral, and nostalgia. This
project focuses on the theme of love and studies how Hahn describes the very popular, yet
personal, theme of human nature in his piano music. The main focus is to analyze the following
pieces: No. 3, “Douloureuse Rêverie dans un bois de sapins”;
No. 6, “Gretchen”; No. 7, “Les
Deux Écharpes”; No. 8, “Liebe! Liebe!”; No. 13,
“Nevermore”; No. 14, “Portrait”; No. 17,
“Ivresse”; No. 18, “L’Arome
suprême”; No. 27, “La Danse de l’Amour et du Danger”; No. 29,
“Chérubin tragique.”
My analysis examines the composer’s musical language and characteristics
and connects these to the background contexts and interpretations of the texts associated with the
pieces to investigate how Hahn
expresses
poetic ideas in an instrumental work. Despite its
remarkable size and the beauty of the music, little has been written about
Le Rossignol éperdu.
This study will help introduce this new piano repertoire to pianists looking for hidden gems that
are unknown, but interesting. Since this collection is
noteworthy for its integration of poetry and
music, hopefully this study will also be useful not only for performers but also for readers.
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