Category Archives: Fleurs du mal

forgive me, Baudelaire!

My new set of songs, Correspondences, Songs on Baudelaire will be performed by tenor Brad Bradshaw with pianist Tom Bartsch at the Rough Cuts series on January 18th and 19th. The first evening’s location will not be the Nautilus’s studio as usual, but Zeitgeist’s Studio Z, a block away (275 East 4th Street). That building is locked up tight as a drum evenings, so it’d be a good idea to arrive on time. Tuesday’s performance will be in the Foss Center at Augsburg College. 7:30 both nights.  Brad will be performing the songs in recital in February, and I hope to get them performed a couple other places as well this winter and spring.

When I started this project I had a general feeling about Baudelaire, and I liked the poetry.  Having read a lot more of him, thought about it hard and struggled to get it into song I have some more definite ideas. Today, with the project finished, I am pleased to have found an essay by Kenneth Rexroth that echoes my thoughts and gives me more to think about. It’s short, but packed full. I encourage you to read it.

The first thing I discovered was how utterly unsatisfying almost all the English translations were. I like what James Wright did with “The Voyage” and Roy Campbell hit the mark from time to time–neither Wright nor Campbell sounds like Baudelaire, but they produce vigorous and exciting poems. Most of the others leave too much to be desired. I agree with Rexroth: the poems are best in French.

In any case, after digging into a few, I realized that not only could no accurate translation be made but even if there were one, it’d make a lousy lyric. This is the case for most poetry: it’s too dense–too many words–and its logic defies musical setting. A poem carries its own music, and real music would get in the way.

So…forgive me Mr. Baudelaire. I pruned mercilessly. I abandoned your forms. I made whatever kind of lyric I thought would carry some of your meaning, and I made music to carry some more of it, and I made my own meaning out of your poems. I did what we do when we read them; I interpreted.

I feel an obligation to be faithful to something about the poems, to their ideas and images, and to Baudelaire’s mind. Baudelaire’s experiences, philosophies and attitudes were important to my understanding of the poems. I wanted to make the songs a journey with him through time; his day, his city.

Seven songs are not enough to give a listener all of Baudelaire. I picked poems about things I thought most important, and ones I thought would make good songs. If I add more later, I would like to set some poems to his mistresses, more Parisian poems, and maybe tackle the Litanies of Satan. Although Diamanda Galas kinda has lock on that one.

2009


New Year’s Day—
everything is in blossom!
I feel about average.

–Issa, translated by Robert Haas

almond blossoms, taken by Michael Favor, from wikicommons

photo of almond blossoms taken by Michael Favor, from wikicommons

The musical year here:

Twenty Days to Find a Wife enjoyed a successful run at History Theatre, and was named one of the top five dramas of 2009 by the Minneapolis Star Tribune.

Fidgety Fairy Tales had productions throughout Minnesota and in Guam, and we took the cast to Washington D.C. to perform for the conference of the National Association of Families for Children’s Mental Health.

Beaverdance had a very good run at Bedlam Theatre over the holiday season. The cast was amazingly fearless and funny, and I now know I can write a musical in three weeks.

We revived and expanded In Dreams Begin Responsibilities for a showing at Nautilus Music Theater. It is now a piano trio piece with challenging choreography and we are talking about revisiting it in 2010.

I worked with a number of wonderful collaborators: Laurie Flanigan, Matt Jenson, Corrie Zoll, Dan Pinkerton and Nancy Nair; and many fabulous singers, actors, directors and dancers.

Today, the last day of the year, I finished writing the last song for a cycle on the poems of Charles Baudelaire which will be performed in January and February by tenor Brad Bradshaw.

I got my daughter off to college and she is happy there. I’ve been playing piano in churches and dance studios and parties and concerts.  Tonight it’s cold outside and it is warm in the house and there are candles burning. Happy New Year!

she opens soon!

It hit me today that I hadn’t really um described Beaverdance. Briefly, it’s a Marxist analysis of the fur trade in Central Minnesota featuring disco dancing beavers, a love story that almost ends tragically featuring a rapacious capitalist named Mr. Blaine and a city boy named Loring Park, a manly voyageur named Jacques Brainerd and his beautiful Ojibway love interest, Bemidji. That’s all clear, right? It opens tomorrow. The cast is looking and sounding great.

Got a little writeup in the Onion AV Club this week, in TC Daily Planet, and in  Minnesota Monthly, and MPR will air a drivetime spot Tuesday. For some reason in all these writeups you have to scroll to the bottom to find my show. I wonder why that is…

I’ll be in DC on BD’s opening weekend, performing Fidgety Fairy Tales with a group of six young actors and Matt for a national convention.

One Baudelaire song written, and two more in the works. I actually made myself cry improvising some ideas for one on piano. Now we shall see how it turns out. What I have discovered about setting Baudelaire is that I have to cut, cut, cut. The language is too thick in all the translations I have. Too many adjectives.  The song cycle will be performed in February and I hope to have all the writing done by the end of December. The first song I wrote I junked. The second I’m not so sure about but I sent it off anyway.

Charles Baudelaire, 1885, photo by Felix Nadar

In any case, it is very promising, and I will have more to say about this project in the coming month. For now, I will only say that Baudelaire is much deeper and cooler than the popular ideas about him.