60-480: Summer Nights may refer to: Les nuits d'été ("Summer Nights"), a song cycle by Hector Berlioz Summernights , a 1977 album by Silver Convention Summer Nights (Joe Pass album) , 1989 Summer Nights (Twice EP) , 2018 "Summer Nights" ( Grease song) , from the 1971 stage musical and 1978 film Grease "Summer Nights" (Rascal Flatts song) , 2009 "Summer Nights" (Tiësto song) , 2016 Summer Nights ,
120-404: A 1969 study, "Their common theme is nominally love unrequited or lost, symbolizing, arguably, an ache for vanished or unattainable beauty. But their musical order is apparently fortuitous, and forms an acceptable, rather than a compulsive, association." Berlioz's innovative creation of an orchestral song cycle had few successors until Mahler took the genre up in the late 19th century. As far as
180-498: A 1989 study of Berlioz, D. Kern Holoman suggests that the title is an allusion to Shakespeare , whose works Berlioz loved. The cycle was complete in its original version for voice ( mezzo-soprano or tenor ) and piano by 1841. Berlioz later made arrangements for baritone , contralto , or soprano , and piano. The piano version is not as often performed in concert or on record as the orchestrated score, which Berlioz arranged between 1843 and 1856. David Cairns wrote in 1988 that
240-427: A 1998 album by Stevie B , or the title song "Summer Nights", a song by Cassie Steele from Destructo Doll "Summer Nights", a song by Lauv from All 4 Nothing "Summer Nights", a song by Lil Rob from Twelve Eighteen (Pt. I) "Summer Nights", a song by Marianne Faithfull "Summer Nights", a song by Survivor from Premonition "Summer Nights", a song by Van Halen from 5150 "Summer Nights",
300-1253: A ball the previous day. Although the rose has died, it has ascended to paradise; to have died on the girl's breast was a fate that kings might envy. The setting is through-composed . Holoman describes the song as "among the most perfect expressions of French Romanticism". Ma belle amie est morte : Je pleurerai toujours Sous la tombe elle emporte Mon âme et mes amours. Dans le ciel, sans m'attendre, Elle s'en retourna ; L'ange qui l'emmena Ne voulut pas me prendre. Que mon sort est amer ! Ah ! sans amour s'en aller sur la mer ! La blanche créature Est couchée au cercueil. Comme dans la nature Tout me paraît en deuil ! La colombe oubliée Pleure et songe à l'absent ; Mon âme pleure et sent Qu'elle est dépareillée ! Que mon sort est amer ! Ah ! sans amour s'en aller sur la mer ! Sur moi la nuit immense S'étend comme un linceul ; Je chante ma romance Que le ciel entend seul. Ah ! comme elle était belle Et comme je l'aimais ! Je n'aimerai jamais Une femme autant qu'elle. Que mon sort est amer ! Ah ! sans amour s'en aller sur la mer ! My beautiful friend
360-493: A flower far from the sun, The flower of my life is closed Far from your bright red smile! Between our hearts what a distance! So much of space between our kisses! O bitter fate! O harsh absence! O great desires unappeased! Come back, come back, my beautiful beloved! Like a flower far from the sun, The flower of my life is closed Far from your bright red smile! Between here and there what fields, What towns and hamlets, What valleys and mountains, To tire
420-423: A group of artists who met in the studio of Jehan Du Seigneur . The group was a more irresponsible version of Hugo's Cénacle . Among its members were the artists Gérard de Nerval , Alexandre Dumas, père , Petrus Borel , Alphonse Brot , and Philothée O’Neddy . Le Petit Cénacle soon gained a reputation for extravagance and eccentricity. Gautier began writing poetry as early as 1826, but the majority of his life
480-425: A prominent time in his life when the original romantics such as Hugo, François-René de Chateaubriand , Alphonse de Lamartine , Alfred de Vigny and Alfred de Musset were no longer actively participating in the literary world. His prestige was confirmed by his role as director of Revue de Paris from 1851 to 1856. During this time, Gautier left La Presse and became a journalist for Le Moniteur universel , finding
540-421: A son, Théophile Gautier, fils . From a subsequent relationship with the singer Ernesta Grisi (sister of the dancer Carlotta Grisi ), he had two daughters, Judith Gautier and Estelle Gautier. Despite his attraction to "mystery, legend, tradition, the picturesque and the imaginative," and the occasional "excursion into the realms of the beyond," Gautier did not practice any established religion. Gautier spent
600-480: A song by Vanessa Amorosi from Hazardous Summer Nights (concert residency) , by Olivia Newton-John (2014–2015) Summer Nights (1944 film) , a German comedy film Summer Nights (2014 film) , a French drama film See also [ edit ] "Summer Knights", a song by Joey Badass from 1999 Summer Knights , a 2013 album by Joey Badass Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with
660-428: A virginal dream! I am the ghost of a rose That you wore yesterday at the ball. You took me, still pearly With silver tears, from the watering can, And in the starlit party, You carried me all evening. O you who caused my death Without being able to chase it away Every night my rose-coloured spectre Will dance by your bedside. But fear not, I claim neither Mass nor De profundis . This light scent
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#1732780910602720-757: Is strophic , with the form A–B–A–C–A ′ –D–A″. The growing popularity of the work was reflected in the number of complete recordings issued in the LP era. Among those are versions sung by Suzanne Danco , Eleanor Steber and Victoria de los Ángeles in mono recordings and Régine Crespin , Leontyne Price , Janet Baker and Frederica von Stade in stereo. More recent recordings have featured Véronique Gens , Anne Sofie von Otter , Bernarda Fink and Lorraine Hunt Lieberson . Recordings by male singers include those by Nicolai Gedda , Ian Bostridge , Stéphane Degout and José van Dam . The piano version has been recorded from time to time, and there have been three studio recordings of
780-1170: Is strophic ; Berlioz maintains the villanelle rhythm of the original poem, while varying the orchestral accompaniment with string counterpoints , and, at the end of each verse, a bassoon solo, pitched higher at each iteration. Rushton comments that these variations "add to the sense of the natural variety and freshness of spring". Soulève ta paupière close Qu'effleure un songe virginal ; Je suis le spectre d'une rose Que tu portais hier au bal. Tu me pris, encore emperlée Des pleurs d'argent, de l'arrosoir, Et parmi la fête étoilée Tu me promenas tout le soir. Ô toi qui de ma mort fus cause, Sans que tu puisses le chasser, Toutes les nuits mon spectre rose À ton chevet viendra danser. Mais ne crains rien, je ne réclame Ni messe ni De profundis : Ce léger parfum est mon âme, Et j'arrive du paradis. Mon destin fut digne d'envie: Et pour avoir un sort si beau, Plus d'un aurait donné sa vie, Car sur ton sein j'ai mon tombeau, Et sur l'albâtre où je repose Un poète avec un baiser Écrivit : Ci-gît une rose, Que tous les rois vont jalouser. Open your closed eyelids Touched by
840-507: Is a song cycle by the French composer Hector Berlioz . It is a setting of six poems by Théophile Gautier . The cycle, completed in 1841, was originally for soloist and piano accompaniment. Berlioz orchestrated one of the songs in 1843, and did the same for the other five in 1856. The cycle was neglected for many years, but during the 20th century it became, and has remained, one of the composer's most popular works. The full orchestral version
900-481: Is considered by many as being some of the best from the nineteenth century; often written in a personal style, it provides a window into Gautier's own tastes in art and culture. Gautier was a celebrated abandonné (one who yields or abandons himself to something) of the Romantic Ballet, writing several scenarios, the most famous of which is Giselle , whose first interpreter, the ballerina Carlotta Grisi ,
960-450: Is dead, I shall weep always; Under the tomb she has taken My soul and my love. To Heaven, without waiting for me, She has returned; The angel who took her Did not want to take me. How bitter is my fate! Ah! Without love to sail on the sea! The white creature Lies in a coffin; How in nature Everything seems to me in mourning! The forgotten dove Weeps and dreams of the absent one. My soul weeps and feels That it
1020-499: Is deserted! How bitter is my fate! Ah! Without love to sail on the sea! Over me the vast night Spreads like a shroud. I sing my song That only Heaven hears: Ah! How beautiful she was And how I loved her! I shall never love A woman as much as her... How bitter is my fate! Ah! Without love to sail on the sea! "Sur les lagunes: Lamento" (On the Lagoons: Lament), with its sombre harmonies and orchestration
1080-1066: Is imbued with melancholy; the undulating accompaniment suggests the movement of the waves. The poem is the lament of a Venetian boatman at the loss of his beloved, and the pain of sailing out to sea unloved. This is the second of the two through-composed songs in the cycle. Reviens, reviens, ma bien-aimée ! Comme une fleur loin du soleil, La fleur de ma vie est fermée Loin de ton sourire vermeil. Entre nos cœurs quelle distance ! Tant d'espace entre nos baisers ! Ô sort amer ! ô dure absence ! Ô grands désirs inapaisés ! Reviens, reviens, ma belle aimée ! Comme une fleur loin du soleil, La fleur de ma vie est fermée Loin de ton sourire vermeil ! D'ici là-bas que de campagnes, Que de villes et de hameaux, Que de vallons et de montagnes, À lasser le pied des chevaux! Reviens, reviens, ma belle aimée ! Comme une fleur loin du soleil, La fleur de ma vie est fermée Loin de ton sourire vermeil ! Come back, come back, my beloved! Like
1140-1365: Is known, the orchestral cycle was not performed in its entirety during the composer's lifetime. The work was neglected for many years, but during the twentieth century it was rediscovered and has become one of Berlioz's best-loved works. By Berlioz's standards the orchestration is on a modest scale. There is no percussion, and the forces stipulated are the normal string section of violins, violas, cellos and double-basses; woodwind: two flutes , two clarinets , two bassoons , one oboe ; brass: three horns ; harp . Quand viendra la saison nouvelle, Quand auront disparu les froids, Tous les deux nous irons, ma belle, Pour cueillir le muguet aux bois ; Sous nos pieds égrenant les perles Que l'on voit au matin trembler, Nous irons écouter les merles Siffler. Le printemps est venu, ma belle, C'est le mois des amants béni, Et l'oiseau, satinant son aile, Dit des vers au rebord du nid. Oh ! viens donc, sur ce banc de mousse Pour parler de nos beaux amours, Et dis-moi de ta voix si douce : Toujours ! Loin, bien loin, égarant nos courses, Faisons fuir le lapin caché, Et le daim au miroir des sources Admirant son grand bois penché ; Puis chez nous, tout heureux, tout aisés, En paniers enlaçant nos doigts, Revenons, rapportant des fraises Des bois. When
1200-712: Is more frequently performed in concert and on record than the piano original. The theme of the work is the progress of love, from youthful innocence to loss and finally renewal. Berlioz and the poet Théophile Gautier were neighbours and friends. Gautier wrote, "Berlioz represents the romantic musical idea ... unexpected effects in sound, tumultuous and Shakespearean depth of passion." It is possible that Berlioz read Gautier's collection La comédie de la mort (The Comedy of Death) before its publication in 1838. Gautier had no objection to his friend's setting six poems from that volume, and Berlioz began in March 1840. The title Nuits d'été
1260-473: Is my soul And I come from Paradise My destiny is enviable And to have a fate so beautiful More than one would have given his life; For on your breast I have my tomb, And on the alabaster on which I repose A poet with a kiss Wrote, "Here lies a rose Of which all kings will be jealous." "Le spectre de la rose" (The Ghost of the Rose) tells of a girl's dreams of the ghost of the rose she had worn to
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#17327809106021320-457: Is nevertheless usually sung by a single soloist, most often a soprano or mezzo-soprano. When the cycle is sung by sopranos the second and third songs are usually transposed back to their original pitches; when lower voices sing the cycle some other songs are often transposed downwards; in the view of the Berlioz scholar Julian Rushton this has a particularly deleterious effect in the first song,
1380-615: Is of ivory, The flag is of moire, The rudder of fine gold; I have for ballast an orange, For sail an angel's wing For cabin boy a seraph Tell me, young beauty, Where do you want to go? The sail swells its wing, The breeze begins to blow. Is it to the Baltic? To the Pacific Ocean? The isle of Java? Or perhaps to Norway, To pick the snow-flower Or the flower of Angsoka ? Tell me, tell me, young beauty, tell me, where do you want to go? "Take me," says
1440-484: Is remembered for wearing his anachronistic red doublet . In the aftermath of the 1830 Revolution , Gautier's family experienced hardship and was forced to move to the outskirts of Paris. Deciding to experiment with his own independence and freedom, Gautier chose to stay with friends in the Doyenné district of Paris. Towards the end of 1830, Gautier began to frequent meetings of Le Petit Cénacle (The Little Upper Room),
1500-551: The Revolution of 1848 , many theatres were closed down and therefore plays were scarce. Most of the plays that dominated the mid-century were written by playwrights who insisted on conformity and conventional formulas and catered to cautious middle-class audiences. As a result, most of Gautier's plays were never published or reluctantly accepted. Between the years 1839 and 1850, Gautier wrote all or part of nine different plays: Two poems from "Émaux et camées"—"Sur les lagunes" and
1560-409: The beautiful one, "To the faithful shore Where one loves for ever!" That shore, my dear, Is almost unknown In the land of love. Where do you want to go? The breeze begins to blow. "L'île inconnue" (The Unknown Island) hints at the unattainable – a place where love can be eternal. Rushton describes the song as "cheerfully ironic", set by Berlioz "with a Venetian swing". This closing song
1620-563: The burden of regular journalism quite unbearable and "humiliating". Nevertheless, Gautier acquired the editorship of the influential review L’Artiste in 1856. It is in this review that Gautier publicized Art for art's sake doctrines through many editorials. The 1860s were years of assured literary fame for Gautier. Although he was rejected by the French Academy three times (1867, 1868, 1869), Charles-Augustin Sainte-Beuve ,
1680-630: The court of Napoleon III. Elected in 1862 as chairman of the Société Nationale des Beaux-Arts , he was surrounded by a committee of important painters: Eugène Delacroix , Pierre Puvis de Chavannes , Édouard Manet , Albert-Ernest Carrier-Belleuse and Gustave Doré . During the Franco-Prussian War , Gautier made his way back to Paris upon hearing of the Prussian advance on the capital. He remained with his family throughout
1740-476: The critic should have the ability to describe the art such that the reader might "see" the art through his description. In 1862 he was elected chairman of the Société Nationale des Beaux-Arts (National Society of Fine Arts) with a board which included Eugène Delacroix , Édouard Manet , Gustave Doré and Pierre Puvis de Chavannes . In Gautier's literary criticism , he made a clear distinction between prose and poetry, stating that prose should never be considered
1800-415: The equal of poetry. The bulk of Gautier's criticism, however, was journalistic. The majority of Gautier's career was spent writing a weekly column of theatrical criticism. He suggested that the normal five acts of a play could be reduced to three: an exposition , a complication , and a dénouement . Having abandoned the idea that tragedy is the superior genre, Gautier was later willing to accept comedy as
1860-462: The equal of tragedy. Taking it a step further, he suggested that the nature of the theatrical effect should be in favour of creating fantasy rather than portraying reality because realistic theatre was undesirable. The American writer Edwin Denby , considered by some to be the most significant writer about dance in the 20th century, claimed Gautier to be a great dance writer. Through his authorship of
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1920-1117: The form A–B–A. Connaissez-vous la blanche tombe Où flotte avec un son plaintif L'ombre d'un if ? Sur l'if une pâle colombe Triste et seule au soleil couchant, Chante son chant ; Un air maladivement tendre, À la fois charmant et fatal, Qui vous fait mal, Et qu'on voudrait toujours entendre ; Un air comme en soupire aux cieux L'ange amoureux. On dirait que l'âme éveillée Pleure sous terre à l'unisson De la chanson, Et du malheur d'être oubliée Se plaint dans un roucoulement Bien doucement. Sur les ailes de la musique On sent lentement revenir Un souvenir ; Une ombre une forme angélique Passe dans un rayon tremblant, En voile blanc. Les belles de nuit, demi-closes, Jettent leur parfum faible et doux Autour de vous, Et le fantôme aux molles poses Murmure en vous tendant les bras : Tu reviendras ? Oh ! jamais plus, près de la tombe Je n'irai, quand descend le soir Au manteau noir, Écouter la pâle colombe Chanter sur la pointe de l'if Son chant plaintif ! Do you know
1980-1394: The grave Will I go, when evening falls In a black cloak, To hear the pale dove Singing at the top of the yew Its plaintive song. "Au cimetière: Clair de lune" (At the Cemetery: Moonlight), is a further lament, with the bereaved lover now more distant from the memory of his beloved, and perturbed by a ghostly vision of her. Dites, la jeune belle, Où voulez-vous aller ? La voile enfle son aile, La brise va souffler. L'aviron est d'ivoire, Le pavillon de moire, Le gouvernail d'or fin ; J'ai pour lest une orange, Pour voile une aile d'ange, Pour mousse un séraphin. Dites, la jeune belle, Où voulez-vous aller ? La voile enfle son aile, La brise va souffler. Est-ce dans la Baltique ? Dans la mer Pacifique ? Dans l'île de Java ? Ou bien est-ce en Norvège, Cueillir la fleur de neige, Ou la fleur d'Angsoka ? Dites, dites, la jeune belle, dites, où voulez-vous aller ? Menez-moi, dit la belle, À la rive fidèle Où l'on aime toujours ! Cette rive, ma chère, On ne la connaît guère Au pays des amours. Où voulez-vous aller ? La brise va souffler. Tell me, young beauty, Where do you want to go? The sail swells its wing, The breeze begins to blow. The oar
2040-454: The hidden rabbit to flee And the deer, in the mirror of the spring Bending to admire his great antlers, Then home, completely happy and at ease, Our hands entwined round the basket, Returning carrying strawberries From the wood. The first of the set, "Villanelle", is a celebration of spring and love. It tells of the pleasures of wandering together in the woods to gather wild strawberries, returning home with hands entwined. The setting
2100-539: The hoofs of the horses. Come back, come back, my beautiful beloved! Like a flower far from the sun, The flower of my life is closed Far from your bright red smile! The rhetorical "Absence" pleads for the return of the beloved. Rushton suggests that unlike the other five songs, this one may make use of existing music, written for an abandoned cantata , Erigone , and this possibly explains why in this song alone Berlioz cut and rearranged Gautier's verses. This song, and "Au cimetière", which follows, are strophic, with
2160-584: The invasion and the aftermath of the Commune , eventually dying at the age of 61 on 23 October 1872 due to a long-standing cardiac disease. He is interred at the Cimetière de Montmartre in Paris. In 1873, A. Lemerre published a collection of memorial poems, Le Tombeau de Théophile Gautier , with homages by Anatole France , Victor Hugo , Algernon Swinburne , and many others. The young Gautier's appearance
2220-542: The lighthearted "Villanelle". [The poems] form a narrative which leads from a spring-born joie de vivre ("Villanelle") and a loss of innocence ("Le spectre de la rose"), to the death of a beloved ("Sur les lagunes"), a dirge ("Absence"), the obliteration of her memory ("Au cimetière"), and the beginning of a new future ("L'île inconnue"). Annagret Fauser Although Berlioz wrote more than fifty songs, twenty of them with orchestral accompaniment, those in Les nuits d'été are
2280-636: The majority of his career as a journalist at La Presse and later at Le Moniteur universel . He saw journalistic criticism as a means to a middle-class standard of living. The income was adequate and he had ample opportunities to travel. Gautier began contributing art criticism to obscure journals as early as 1831. It was not until 1836 that he experienced a jump in his career when he was hired by Émile de Girardin as an art and theatre columnist for La Presse . During his time at La Presse , however, Gautier also contributed nearly 70 articles to Le Figaro . After leaving La Presse to work for Le Moniteur universel ,
2340-419: The mezzo-soprano Anna Bockholtz-Falconi . The publisher Jakob Rieter-Biedermann [ de ] was in the audience for the premiere, and, much impressed, prevailed on Berlioz to orchestrate the rest of the cycle. The orchestration left the existing melodic and harmonic writing generally unchanged, but for "Le spectre de la rose" the composer added an introduction for muted solo cello, flute and clarinet;
2400-421: The most influential critic of the day, set the seal of approval on the poet by devoting no less than three major articles in 1863 to reviews of Gautier's entire published works. In 1865, Gautier was admitted into the prestigious salon of Princess Mathilde Bonaparte , cousin of Napoleon III and niece to Bonaparte . The Princess offered Gautier a sinecure as her librarian in 1868, a position that gave him access to
2460-546: The new season comes, When the cold has vanished, We will both go, my lovely, To gather lily of the valley. Gathering the pearls underfoot, That one sees shimmering in the morning, We will hear the blackbirds Whistle. Spring has come, my lovely, It is the month blessed by lovers; And the bird, preening his wing, Speaks verse from the edge of his nest. Oh! come now to this mossy bank To talk of our beautiful love, And say to me in your sweet voice: "Always!" Far, far away, straying from our path, Causing
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2520-644: The official newspaper of the Second Empire , Gautier wrote both to inform the public and to influence its choices. His role at the newspaper was equivalent to the modern book or theatre reviewer. He also reviewed music, without technical terminology but with intelligence and insight, for instance into the work of his friend Berlioz, who set six of his poems (c. 1840) as Les Nuits d'été . Later in life, he wrote extensive monographs on Gérard de Nerval , Balzac and Baudelaire , some of whom were also his friends. His essay on 15th-century French poet François Villon
2580-518: The only ones published as a set. They are not a cycle on the German model of Schubert 's Winterreise or Schumann 's Dichterliebe , with narrative and thematic continuity, but form a unified whole by virtue of the single authorship of the words and the composer's use throughout of delicate, atmospheric musical shading. The structure of the cycle has four sombre songs framed by exuberant opening and closing ones. The critic A. E. F. Dickinson wrote in
2640-609: The orchestral version with multiple singers, as stipulated in the orchestral score; these were conducted by Sir Colin Davis , Sir John Eliot Gardiner and Pierre Boulez . Conductors of other versions have included Ernest Ansermet , Sir John Barbirolli , James Levine , Dimitri Mitropoulos , Charles Munch , Fritz Reiner and Seiji Ozawa . Th%C3%A9ophile Gautier Pierre Jules Théophile Gautier ( US : / ɡ oʊ ˈ t j eɪ / goh- TYAY , French: [pjɛʁ ʒyl teɔfil ɡotje] ; 30 August 1811 – 23 October 1872)
2700-434: The orchestral version, Berlioz transposed the second and third songs to lower keys. When this version was published, Berlioz specified different voices for the various songs: mezzo-soprano or tenor for "Villanelle", contralto for "Le spectre de la rose", baritone (or optionally contralto or mezzo) for "Sur les lagunes", mezzo or tenor for "Absence", tenor for "Au cimetière", and mezzo or tenor for "L'île inconnue". The cycle
2760-782: The orchestration of this song, unlike the other five, includes a harp. The original piano version had a single dedicatee – Louise Bertin , whose father, Louis-François Bertin , was editor of the Journal des débats , for which Berlioz wrote musical criticism and other articles. Each of the six songs of the orchestral cycle was dedicated individually, to singers well known in Germany, some of whom had performed Berlioz's music there: Louise Wolf ("Villanelle"), Anna Bockholtz-Falconi ("Le spectre de la rose"), Hans von Milde ("Sur les lagunes"), Madeleine Nottès ("Absence"), Friedrich Caspari ("Au cimetière") and Rosa von Milde ("L'île inconnue"). For
2820-499: The remainder of his education at Collège Charlemagne , Gautier's most significant instruction, including in Latin , came from his father. While at school, Gautier befriended Gérard de Nerval and the two became lifelong friends. It is through Nerval that Gautier was introduced to Victor Hugo , by then already a leading dramatist. Hugo became a major influence on Gautier. It was at the legendary premiere of Hugo's Hernani that Gautier
2880-450: The scenario of the ballet Giselle , one of the foundation works of the dance repertoire, his influence remains as great among choreographers and dancers as among critics and devotees of ballet. In 2011, Pacific Northwest Ballet presented a reconstruction of the work as close to its narrative and choreographic sources as possible, based on archival materials dating back to 1842, the year after its premiere. In many of Gautier's works,
2940-436: The song, And for the misfortune of being forgotten Complains, cooing Very softly. On the wings of the music One feels slowly returning A memory. A shadow, an angelic form Passes in a shimmering ray In a white veil. The belles-de-nuit , half closed, Cast their weak and sweet scent Around you, And the ghost in a gentle pose Murmurs, stretching its arms to you: Will you return? Oh! Never again by
3000-428: The subject is less important than the pleasure of telling the story. He favoured a provocative yet refined style. This list links each year of publication with its corresponding "[year] in poetry" article, for poetry, or "[year] in literature" article for other works): Gautier did not consider himself to be a dramatist but more of a poet and storyteller. His plays were limited because of the time in which he lived; during
3060-521: The success of the piano version was impeded by the inferior quality of the piano part in the published score: it is not Berlioz's own, and Cairns described it as "a clumsy, inauthentic piece of work". In 1843 Berlioz orchestrated the fourth song, "Absence" for his lover, Marie Recio , who premiered it in Leipzig on 23 February 1843; it was not until 1856, that he returned to Les nuits d'été , making an orchestral arrangement of "Le spectre de la rose" for
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#17327809106023120-520: The title Summer Nights . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Summer_Nights&oldid=1167481133 " Category : Disambiguation pages Hidden categories: Short description is different from Wikidata All article disambiguation pages All disambiguation pages Les nuits d%27%C3%A9t%C3%A9 Les nuits d'été ( Summer Nights ), Op. 7,
3180-477: The white tomb, Where there floats with a plaintive sound The shadow of a yew tree? On the yew a pale dove Sitting sad and alone at sunset, Sings its song: An air morbidly tender At once charming and deadly, That hurts you And that one would like to hear for ever; An air like the sigh in Heaven Of a loving angel. One might say that an awakened soul Weeps under the ground in unison With
3240-571: Was "flamboyant…defying conventionality by his flowing hair and far-famed scarlet waistcoat." In his youth, according to Edgar Saltus , Gautier was dashing, athletic, amorous, and mercurial: He was tall and robust; his hair was a wayward flood; his eyes were blue and victorious. He was the image of Young France. His strength was proverbial; he outdid Dante; he swam from Marseilles to the Chateau d’If, and then swam back. [...] women fell in love with him at once. From an affair with Eugénie Fort, he had
3300-417: Was Berlioz's invention, and it is not clear why he chose it: the first song is specifically set in spring rather than summer. The writer Annagret Fauser suggests that Berlioz may have been influenced by the preface to a collection of short stories by his friend Joseph Méry , Les nuits de Londres , in which the author writes of summer nights in which he and his friends sat outside until dawn telling stories. In
3360-534: Was a French poet , dramatist, novelist, journalist, and art and literary critic . While an ardent defender of Romanticism , Gautier's work is difficult to classify and remains a point of reference for many subsequent literary traditions such as Parnassianism , Symbolism , Decadence and Modernism . He was widely esteemed by writers as disparate as Balzac , Baudelaire , the Goncourt brothers , Flaubert , Pound , Eliot , James , Proust and Wilde . Gautier
3420-559: Was born on 30 August 1811 in Tarbes , capital of Hautes-Pyrénées département (southwestern France). His father was Jean-Pierre Gautier, a fairly cultured minor government official, and his mother was Antoinette-Adelaïde Cocard. The family moved to Paris in 1814, taking up residence in the ancient Marais district. Gautier's education commenced at the prestigious Collège Louis-le-Grand in Paris, which he attended for three months before being brought home due to illness. Although he completed
3480-400: Was key to the revival of attention to his work. Gautier was the first critic to recognize the work of Paul Verlaine , coining the term poète maudit (outcast poet) to characterize his outsider poetics. Baudelaire dedicated his collected poems, Les Fleurs du mal to him. Gautier started as a painter and later turned to art criticism. He was strongly committed to Denis Diderot 's idea that
3540-503: Was spent as a contributor to various journals, mainly La Presse , which also gave him the opportunity for foreign travel and for meeting many influential contacts in high society and the world of the arts. Throughout his life, Gautier was well-travelled, taking trips to Spain, Italy, Russia, Egypt and Algeria . Gautier's many travels inspired many of his writings including Voyage en Espagne (1843), Trésors d’Art de la Russie (1858), and Voyage en Russie (1867). Gautier's travel literature
3600-443: Was the great love of his life. When Carlotta rebuffed him, he began a long-term relationship and had two daughters with her sister Ernestina, a singer. Absorbed by the 1848 Revolution, Gautier wrote almost one hundred articles, equivalent to four large books, within nine months in 1848. In his essay La République de l'avenir , he celebrated the advent of the new republic and the onward march of individual liberty. Gautier experienced
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