Musical Paths of Charles Perrault's Characters (To the 325th Anniversary of the Collection “My Mother Goose’s Fairy Tales” First Publication)
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Abstract
The fairy tales of Charles Perrault, published in the 1690s, became one of the iconic objects of European culture of the New Age, turning into a powerful means of reception in all forms of art, especially in music. The aim of the study was to review musical compositions created on the basis of the plots of not one, but several or all fairy tales from the Perrault’s collection. The following tasks were solved: 1) shortly to review the history of appearing the collection “My Mother Goose’s Fairy Tales”; 2) to determine when composers began using these tales as a source for the plot or inspiration; 3) to identify musical works based on not one, but several fairy tales; 4) to characterize musical works based on all or at least on a few fairy tales from the collection “My Mother Goose’s Fairy Tales”.
During the study it is discovered that: 1) eleven plots separately served as the basis for different genres works, primarily in musical theater, since the beginning of the 18th century; 2) examples of involving characters and plots of several fairy tales in one composition have been found since the second half of the 19th century; 3) in the second half of the 19th century, the first musical cycles appeared: collection of the concert piano pieces by B.L.P. Godard “Perrault’s Fairy Tales” and “Perrault’s Fairy Tales in Songs” by P. Lacome on the poetry by E. Andre; 4) among the works which unites fairy tales characters is the third act of the ballet by P.I. Tchaikovsky “Sleeping Beauty”; 5) the theme continued its developing in the 20th century, when the largest works on the plots of the entire Perrault’s collection or several fairy-tales were created, first of all, the famous piano cycle by M. Ravel “My Mother Goose”, later orchestrated by the composer (suite “My Mother Goose”) and transformed into the ballet “Florinaʼs Dream”. At the same time with the works by M. Ravel, in 1913, probably the largest opus based on Perraultʼs tales was created – the opera-feérie by F. Furdren, that managed to combine all the fairy-tale characters and plots in one colorful narrative.
For the first time the article gives: 1) description of the opera-feérie “Perrault’s Tales” by F. Furdren; 2) analysis of the piano cycle “Perrault’s Tales” by B.L.P. Godard; 3) a brief characterization of the vocal cycle “Perrault’s Tales” by P. Lacome on the poetry by E. Andre. By considering the piano cycle “My Mother Goose,” were revealed the meanings of these works, that were not noted by previous researchers.
Keywords: fairy tale in music, piano cycle, song, opera, ballet, reception, Ch. Perrault,
B.L.P. Godard, P. Lacom, M. Ravel, F. Furdren.
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