yumi
Jedi
«
quote from "LE CULTE_R.Will" T2, 1929, p.500
"I/ the ethereal fluid"
...
"the musician who has lent an ear to the harmonies of the unknowable, is pushed by the Spirit to make them heard. Music, the oldest of the arts, is religious in essence. The echo of these "cosmic movements by which the immense existence is intimate and interior to us" was discerned."
«
"agile pelvis"...
"Prononc.: [pεlvis]. Étymol. et Hist. 1666 anat. (Compte rendu du Journal des savants, 23 mai ds Fr. mod. t.23, p.224). Mot lat. signifiant «bassin (de métal), chaudron»." translated... basin (metal), cauldron
«
Musique...
A. - Harmonious or expressive combination of sounds.
1. MYTH, ANTIQ. GR. The Muse (and so I call art as a whole, all that is of the realm of imagination, much as the ancients called Music the whole education) (Vigny,Vérité l'art,1829, p. xi).
♦ Music of the spheres. Musical scale formed by the notes generated, according to Pythagoras, by the various planets turning around the sun (Mus. 1976). Never listen to the music of the spheres, Never stop your eyes on these burning messengers (Noailles,Forces étern.,1920, p.217).
2. The art of expressing oneself through sounds according to rules that vary according to time and civilization.
Prononc. and Orth.: [myzik]. Attn. in Ac. dep. 1694. Étymol. and Hist. 1: Ca 1150 "art de combiner les sons musicaux" (Thebes, ed. G. Raynaud de Lage, 4995: par la gamme chante)
According to Greek authors, Orpheus tamed ferocious animals to the sounds of his Lyra (Grillet,Ancêtres violon, t. 1, 1901, p. xi)
These particles would constantly perform movements of all kinds, sometimes vibratory, sometimes translational; and the physical phenomena, the chemical actions, the qualities of matter that our senses perceive, heat, sound, electricity, even perhaps attraction, would be objectively reduced to these elementary movements.
Bergson, 1889.
Considered as a man, a Newton, a Cuvier, a Heyne, makes a less beautiful sound than an ancient sage, a Solon or a Pythagoras for example (Renan,Avenir sc., 1890, p. 12).
"""
Solon, (born c. 630 BCE—died c. 560 BCE), Athenian statesman, known as one of the Seven Wise Men of Greece (the others were Chilon of Sparta, Thales of Miletus, Bias of Priene, Cleobulus of Lindos, Pittacus of Mytilene, and Periander of Corinth). Solon ended exclusive aristocratic control of the government, substituted a system of control by the wealthy, and introduced a new and more humane law code. He was also a noted poet.
Draco, also spelled Dracon, (flourished 7th century BC), Athenian lawgiver whose harsh legal code punished both trivial and serious crimes in Athens with death—hence the continued use of the word draconian to describe repressive legal measures. The six junior archons (thesmotetai), or magistrates, are said by Aristotle to have been instituted in Athens after 683 BC to record the laws. If this is correct, Draco’s code, which is generally dated to 621, was not the first reduction of Athenian law to writing, but it may have been the first comprehensive code or a revision prompted by some particular crisis. Draco’s …(100 of 184 words)
"""
- Why does Loti always sound the same? (...) - His lyre has only one rope, Bouvard concluded (Proust,Plais. et jours, 1896, p. 100).
♦ ANTIQ. MYTH. Daughter of Ares and Aphrodite. It was there that the young Harmony was raised, which Jupiter intended for her as his wife (Dupuis, Orig. cultes,1796, p. 167).PHILOS. Harmony of the spheres. Harmonious sounds that, according to the Pythagoreans, celestial bodies emitted by moving according to harmonic numbers.
«
Index Gammes
otherwise, from a fifth interval, we can deduce all the harmonics; the question would be to know if we can put the tempered system (and its teaching?) « in the trash »…(?)
« « « traduct from:
http://theses.univ-lyon2.fr/documents/getpart.php?id=lyon2.2000.roblin_c&part=31069
b - The scordatura in the Fifth Suite in C by J.S. BACH
Obviously, the main reason for using a scordatura for this Fifth Suite in C m. is a technical reason, related to the key of C m., for which the frequency of the Lab poses a fingering problem. The lowering of the upper G string thus facilitates the execution of this note in "half position", i.e. without having to move the hand as is the case for a Lab played on the D string, thereby also allowing certain chords which are rendered impossible on a normally tuned cello, as well as an easier realization of the double strings. 469 One of the important consequences of this use of the scordatura is the general colour conferred by this lowering of the tone of the chanterelle, which thus becomes much less brilliant and sonorous, which tends to veil the whole sound 470 and still contributes to the dramatic character already contained in the key. On the other hand, the phenomenon of sympathetic string vibration and the use of partial harmonic resonance sounds are favoured over the tonic and dominant of the main tone.
We also know that, like many of the composer's other collections, the Six Suites for solo cello also constitutes, in the mind of its author, a "sum" of the possibilities of the solo instrument and the technical difficulties that the instrumentalist must be able to overcome. The scordatura, which is taking place for the fifth Suite of this collection, appears here as a further step in this progression. Indeed, for the cellist already conditioned to the configuration by fifths which was beginning to impose itself at the time of the composition of these works (c. 1720), the agreement required here is certainly confusing, even if the notation of the "transposing" type, which can be seen on the manuscript of Anna-Magdalena BACH 471, aims to facilitate its execution. On this manuscript, Suite n°5 is designated by the indication Suitte discordable, and clearly shows, before the beginning of the Prelude, the instrument's tuning: C, G, D, G.
Example n°132 : J.S. BACH, Suite V, First page of Anna-Magdalena BACH's manuscript. This manuscript is kept at the Staatsbibliothek Preussischer Kulturbesitz in Berlin, under the symbol Mus. ms. Bach P 269. It is also reproduced in facsimile by Bärenreiter, under the designation "source A", dated around 1730, and is followed by three other manuscript sources: the "source B" is attributed to Johann Peter KELLNER around 1726, the sources C and D are unknown and later (second half of the 18th century).
The score is then noted, for everything played on the upper string, a tone above the real note, so that the instrumentalist maintains the hand position and fingerings to which he is accustomed. However, it is disturbing to note that, of the three other manuscript sources from the 18th century,473 the one attributed to a pupil of Bach, Johann Peter KELLNER, the closest chronologically apparently to the composition of the work, since located around 1726, does not take into account the scordatura and restores the whole work in a notation in real sounds. This may raise some questions about BACH's intentions and practices at the time regarding this Suite.
The same problem arises again when one examines the successive editions since the publication of the work in 1825, and more precisely those published in the 20th century. There are then three cases:
1. - the score reproduces the transposing notation of Anna-Magdalena Bach's copy (cf. Diran ALEXANIAN, who also gives in the Preface of the work the facsimile of A.M. BACH's manuscript)
2. - the score makes no allusion to the original scordatura and notes the whole work in real sounds, in accordance with J.P. KELLNER's manuscript (cf. Paul TORTELIER), which makes the performance of this work particularly difficult and requires certain adjustments with regard to the chords in the original manuscript.
3. - the score gives the two superimposed versions: one with the transposing writing for the scordatura on the one hand, and the other with the notation in real sounds for a normally tuned cello (cf. Fernand POLLAIN), which has the merit of allowing an easier execution for the fingerings with the scordatura, while always clearly bearing in mind the way this should sound.
The various problems raised by this scordatura will nowadays make two opposing points of view confront each other on the level of interpretation of this Suite for cello alone: the defenders of a certain "authenticity", who aim to make the instrument sound as close as possible to what BACH seemed to seek by practicing scordatura, and the supporters of making the instrument sound as well as possible in its modern form, who reject the scordatura considered as a real obstacle. 474 One can measure through everything that has just been said how a transformation of this type, which may appear minor to some, is in reality fraught with consequences. It is probably what made us forget this practice for nearly two centuries, but the important opening that this process constitutes will appear clearly in the eyes of the composers of our century and support its re-use in the compositions for cello alone of the XXth century.
Notes
469.
It should be noted that for similar reasons of fingering difficulties in relation to the key of Eb M. of the Fourth Suite, the Queen FLACHOT cellist uses a scordatura of the two upper strings each raised by a semitone (Bb, Eb). Quoted by Jacques WIEDERKER, Le violoncelle contemporain, op. cit., p.56]
470.
Jacques WIEDERKER also rightly notes that "the lower tension of the chanterelle brings a greater equality of sonority in the chords and the string changes (bariolages on two strings dear to this author)". See WIEDERKER, Jacques, Le violoncelle contemporain, op. cit. p.52.
471.
It should be recalled here that there is no autograph manuscript of these Six Suites for solo cello by BACH.
472.
This manuscript is kept at the Staatsbibliothek Preussischer Kulturbesitz in Berlin, under the symbol Mus. ms. Bach P 269. It is also reproduced in facsimile by Bärenreiter, under the designation "source A", dated around 1730, and is followed by three other manuscript sources: the "source B" is attributed to Johann Peter KELLNER around 1726, the sources C and D are unknown and later (second half of the 18th century).
473.
See Annex 5.
474.
In addition to the reading and making problems mentioned above, there is indeed a physical problem of instability of the instrument which is usually subjected to a different balance of the tension of the four strings, and which, when the upper string (or any other string for that matter) is relaxed, does not properly maintain this new chord. Some cellists (J.G. KINNEY, Arto NORAS...) recommend for this reason to use a different instrument to play this Fifth Suite, instrument previously stabilized in this scordatura.
« « «
extract/traduct from
La scordatura, accord ou désaccord ? Histoire et pratique actuelle
Scordatura was not theorized in the treatises on instrumental technique until quite late. If we counted scores in the seventeenth century, the notion did not appear in the treaties until the eighteenth. Apparently very convinced by the beneficial effects of this practice, Michel Corrette (1707-1795) devoted several exercises to the practice of scordaturad in his method L'École d'Orphée17 written in 1738.
«
The scordatura technique has undergone a rather particular evolution with a first phase of intense discovery and practice, a second period in which it is absent from most sources and finally a revival with the aesthetic research of the twentieth and twenty-first centuries. Used implicitly before, it is now becoming synonymous with complexity, because of discouraging reading with completely changed instrumental cues and an ear less used to tolerating transposition. Special therefore, the scordatura is nevertheless convincing for all types of effects it allows both on the technique of the instrument itself and on the resonance, harmonics, timbre. It therefore deserves to be tamed by composers and performers. Although Theodore Russell argues that no other chord can compete with the possibilities offered by the fair fifth chord,27 the abandonment of key with its structure based on this interval opens up a new horizon for scordatura. Performers should not only use it for contemporary pieces where it is required, they may also consider it for works from other periods. From now on, the work for us string players will be to transmit it, to practice it and to convince composers to use it... and to use it.
« « «
from
Scordatura : définition de Scordatura et synonymes de Scordatura (français)
The scordatura designates a way of tuning string instruments (violin, cello, viola, lute, guitar, viola d'amore, etc.) that deviates from the usual chord. This technique is used in the Renaissance on plucked stringed instruments (lute, guiterne) and the pieces containing this artifice are preceded by the expressions with swallowed or swallowed strings. One of the first composers[1] to publish a piece for violin in scordatura is Biagio Marini, in his opus 8[2], in 1629. This use allows the use of unusual chords and changes the string tension, which also produces new sound effects.
The technique is also used in traditional Scottish and Norwegian music ("Hardingfele"). The fiddlers used three different chords (mi4-la3-re3-la2, do#4-la3-mi3-la2 and mi4-la3-mi3-la2 now called the Cape Breton tuning) to get a drone similar to the bagpipe. This technique was also used by jazz and rock guitarists - Frank Zappa in particular was used to it.
Another example of use, the low notes of some harpsichords were diatonic - G - A - B - then chromatic - C - C - D, etc. A B-flat scordatura would add a bass to a B-flat chord. In some archaic instruments, the leftmost (longest) string was even intended to be tuned ad libitum.
« « «
from
Centre National de Ressources Textuelles et Lexicales
ORPHÉE
Literature.
P. allus. in Orpheus, legendary poet and musician of Greek antiquity] Poet musician of great talent. Well, what are you looking forward to, harmonious Orpheus? If on the tomb of the Persians Jadis Pindare, Aeschylus, erected trophies (Chénier,Ïambes, 1794, p.260).
REM.
Orphéen, -enne, adj. Poétique, which recalls the poetry of Orphée. Orphéennes expressions drawn as with a golden plectrum (Sainte-Beuve,Portr. contemp., t.2, 1834, p.40).
Happy if he does not make some pompous and Orphéenne presentation (Valéry,Corresp.[with Gide], 1891, p.122).
Pronunciation.: [ɔ ʀfe]. Etymol. and Hist. 1611 fig.
"Poet or illustrious musician" (Malherbe, Poésies ds OEuvres compl., ed. L. Lalanne, t.1, p.187, 123). From Orpheus (lat. Orpheus, gr. Ο ρ ε φ ε ε υ ́ ς), character of the myth. gr., famous as musician and to the origin of mystical sects.
« « «
quote from "LE CULTE_R.Will" T2, 1929, p.500
"I/ the ethereal fluid"
...
"the musician who has lent an ear to the harmonies of the unknowable, is pushed by the Spirit to make them heard. Music, the oldest of the arts, is religious in essence. The echo of these "cosmic movements by which the immense existence is intimate and interior to us" was discerned."
«
"agile pelvis"...
"Prononc.: [pεlvis]. Étymol. et Hist. 1666 anat. (Compte rendu du Journal des savants, 23 mai ds Fr. mod. t.23, p.224). Mot lat. signifiant «bassin (de métal), chaudron»." translated... basin (metal), cauldron
«
Musique...
A. - Harmonious or expressive combination of sounds.
1. MYTH, ANTIQ. GR. The Muse (and so I call art as a whole, all that is of the realm of imagination, much as the ancients called Music the whole education) (Vigny,Vérité l'art,1829, p. xi).
♦ Music of the spheres. Musical scale formed by the notes generated, according to Pythagoras, by the various planets turning around the sun (Mus. 1976). Never listen to the music of the spheres, Never stop your eyes on these burning messengers (Noailles,Forces étern.,1920, p.217).
2. The art of expressing oneself through sounds according to rules that vary according to time and civilization.
Prononc. and Orth.: [myzik]. Attn. in Ac. dep. 1694. Étymol. and Hist. 1: Ca 1150 "art de combiner les sons musicaux" (Thebes, ed. G. Raynaud de Lage, 4995: par la gamme chante)
According to Greek authors, Orpheus tamed ferocious animals to the sounds of his Lyra (Grillet,Ancêtres violon, t. 1, 1901, p. xi)
These particles would constantly perform movements of all kinds, sometimes vibratory, sometimes translational; and the physical phenomena, the chemical actions, the qualities of matter that our senses perceive, heat, sound, electricity, even perhaps attraction, would be objectively reduced to these elementary movements.
Bergson, 1889.
Considered as a man, a Newton, a Cuvier, a Heyne, makes a less beautiful sound than an ancient sage, a Solon or a Pythagoras for example (Renan,Avenir sc., 1890, p. 12).
"""
Solon, (born c. 630 BCE—died c. 560 BCE), Athenian statesman, known as one of the Seven Wise Men of Greece (the others were Chilon of Sparta, Thales of Miletus, Bias of Priene, Cleobulus of Lindos, Pittacus of Mytilene, and Periander of Corinth). Solon ended exclusive aristocratic control of the government, substituted a system of control by the wealthy, and introduced a new and more humane law code. He was also a noted poet.
Draco, also spelled Dracon, (flourished 7th century BC), Athenian lawgiver whose harsh legal code punished both trivial and serious crimes in Athens with death—hence the continued use of the word draconian to describe repressive legal measures. The six junior archons (thesmotetai), or magistrates, are said by Aristotle to have been instituted in Athens after 683 BC to record the laws. If this is correct, Draco’s code, which is generally dated to 621, was not the first reduction of Athenian law to writing, but it may have been the first comprehensive code or a revision prompted by some particular crisis. Draco’s …(100 of 184 words)
"""
- Why does Loti always sound the same? (...) - His lyre has only one rope, Bouvard concluded (Proust,Plais. et jours, 1896, p. 100).
♦ ANTIQ. MYTH. Daughter of Ares and Aphrodite. It was there that the young Harmony was raised, which Jupiter intended for her as his wife (Dupuis, Orig. cultes,1796, p. 167).PHILOS. Harmony of the spheres. Harmonious sounds that, according to the Pythagoreans, celestial bodies emitted by moving according to harmonic numbers.
«
Index Gammes
otherwise, from a fifth interval, we can deduce all the harmonics; the question would be to know if we can put the tempered system (and its teaching?) « in the trash »…(?)
« « « traduct from:
http://theses.univ-lyon2.fr/documents/getpart.php?id=lyon2.2000.roblin_c&part=31069
b - The scordatura in the Fifth Suite in C by J.S. BACH
Obviously, the main reason for using a scordatura for this Fifth Suite in C m. is a technical reason, related to the key of C m., for which the frequency of the Lab poses a fingering problem. The lowering of the upper G string thus facilitates the execution of this note in "half position", i.e. without having to move the hand as is the case for a Lab played on the D string, thereby also allowing certain chords which are rendered impossible on a normally tuned cello, as well as an easier realization of the double strings. 469 One of the important consequences of this use of the scordatura is the general colour conferred by this lowering of the tone of the chanterelle, which thus becomes much less brilliant and sonorous, which tends to veil the whole sound 470 and still contributes to the dramatic character already contained in the key. On the other hand, the phenomenon of sympathetic string vibration and the use of partial harmonic resonance sounds are favoured over the tonic and dominant of the main tone.
We also know that, like many of the composer's other collections, the Six Suites for solo cello also constitutes, in the mind of its author, a "sum" of the possibilities of the solo instrument and the technical difficulties that the instrumentalist must be able to overcome. The scordatura, which is taking place for the fifth Suite of this collection, appears here as a further step in this progression. Indeed, for the cellist already conditioned to the configuration by fifths which was beginning to impose itself at the time of the composition of these works (c. 1720), the agreement required here is certainly confusing, even if the notation of the "transposing" type, which can be seen on the manuscript of Anna-Magdalena BACH 471, aims to facilitate its execution. On this manuscript, Suite n°5 is designated by the indication Suitte discordable, and clearly shows, before the beginning of the Prelude, the instrument's tuning: C, G, D, G.
Example n°132 : J.S. BACH, Suite V, First page of Anna-Magdalena BACH's manuscript. This manuscript is kept at the Staatsbibliothek Preussischer Kulturbesitz in Berlin, under the symbol Mus. ms. Bach P 269. It is also reproduced in facsimile by Bärenreiter, under the designation "source A", dated around 1730, and is followed by three other manuscript sources: the "source B" is attributed to Johann Peter KELLNER around 1726, the sources C and D are unknown and later (second half of the 18th century).
The score is then noted, for everything played on the upper string, a tone above the real note, so that the instrumentalist maintains the hand position and fingerings to which he is accustomed. However, it is disturbing to note that, of the three other manuscript sources from the 18th century,473 the one attributed to a pupil of Bach, Johann Peter KELLNER, the closest chronologically apparently to the composition of the work, since located around 1726, does not take into account the scordatura and restores the whole work in a notation in real sounds. This may raise some questions about BACH's intentions and practices at the time regarding this Suite.
The same problem arises again when one examines the successive editions since the publication of the work in 1825, and more precisely those published in the 20th century. There are then three cases:
1. - the score reproduces the transposing notation of Anna-Magdalena Bach's copy (cf. Diran ALEXANIAN, who also gives in the Preface of the work the facsimile of A.M. BACH's manuscript)
2. - the score makes no allusion to the original scordatura and notes the whole work in real sounds, in accordance with J.P. KELLNER's manuscript (cf. Paul TORTELIER), which makes the performance of this work particularly difficult and requires certain adjustments with regard to the chords in the original manuscript.
3. - the score gives the two superimposed versions: one with the transposing writing for the scordatura on the one hand, and the other with the notation in real sounds for a normally tuned cello (cf. Fernand POLLAIN), which has the merit of allowing an easier execution for the fingerings with the scordatura, while always clearly bearing in mind the way this should sound.
The various problems raised by this scordatura will nowadays make two opposing points of view confront each other on the level of interpretation of this Suite for cello alone: the defenders of a certain "authenticity", who aim to make the instrument sound as close as possible to what BACH seemed to seek by practicing scordatura, and the supporters of making the instrument sound as well as possible in its modern form, who reject the scordatura considered as a real obstacle. 474 One can measure through everything that has just been said how a transformation of this type, which may appear minor to some, is in reality fraught with consequences. It is probably what made us forget this practice for nearly two centuries, but the important opening that this process constitutes will appear clearly in the eyes of the composers of our century and support its re-use in the compositions for cello alone of the XXth century.
Notes
469.
It should be noted that for similar reasons of fingering difficulties in relation to the key of Eb M. of the Fourth Suite, the Queen FLACHOT cellist uses a scordatura of the two upper strings each raised by a semitone (Bb, Eb). Quoted by Jacques WIEDERKER, Le violoncelle contemporain, op. cit., p.56]
470.
Jacques WIEDERKER also rightly notes that "the lower tension of the chanterelle brings a greater equality of sonority in the chords and the string changes (bariolages on two strings dear to this author)". See WIEDERKER, Jacques, Le violoncelle contemporain, op. cit. p.52.
471.
It should be recalled here that there is no autograph manuscript of these Six Suites for solo cello by BACH.
472.
This manuscript is kept at the Staatsbibliothek Preussischer Kulturbesitz in Berlin, under the symbol Mus. ms. Bach P 269. It is also reproduced in facsimile by Bärenreiter, under the designation "source A", dated around 1730, and is followed by three other manuscript sources: the "source B" is attributed to Johann Peter KELLNER around 1726, the sources C and D are unknown and later (second half of the 18th century).
473.
See Annex 5.
474.
In addition to the reading and making problems mentioned above, there is indeed a physical problem of instability of the instrument which is usually subjected to a different balance of the tension of the four strings, and which, when the upper string (or any other string for that matter) is relaxed, does not properly maintain this new chord. Some cellists (J.G. KINNEY, Arto NORAS...) recommend for this reason to use a different instrument to play this Fifth Suite, instrument previously stabilized in this scordatura.
« « «
extract/traduct from
La scordatura, accord ou désaccord ? Histoire et pratique actuelle
Scordatura was not theorized in the treatises on instrumental technique until quite late. If we counted scores in the seventeenth century, the notion did not appear in the treaties until the eighteenth. Apparently very convinced by the beneficial effects of this practice, Michel Corrette (1707-1795) devoted several exercises to the practice of scordaturad in his method L'École d'Orphée17 written in 1738.
«
The scordatura technique has undergone a rather particular evolution with a first phase of intense discovery and practice, a second period in which it is absent from most sources and finally a revival with the aesthetic research of the twentieth and twenty-first centuries. Used implicitly before, it is now becoming synonymous with complexity, because of discouraging reading with completely changed instrumental cues and an ear less used to tolerating transposition. Special therefore, the scordatura is nevertheless convincing for all types of effects it allows both on the technique of the instrument itself and on the resonance, harmonics, timbre. It therefore deserves to be tamed by composers and performers. Although Theodore Russell argues that no other chord can compete with the possibilities offered by the fair fifth chord,27 the abandonment of key with its structure based on this interval opens up a new horizon for scordatura. Performers should not only use it for contemporary pieces where it is required, they may also consider it for works from other periods. From now on, the work for us string players will be to transmit it, to practice it and to convince composers to use it... and to use it.
« « «
from
Scordatura : définition de Scordatura et synonymes de Scordatura (français)
The scordatura designates a way of tuning string instruments (violin, cello, viola, lute, guitar, viola d'amore, etc.) that deviates from the usual chord. This technique is used in the Renaissance on plucked stringed instruments (lute, guiterne) and the pieces containing this artifice are preceded by the expressions with swallowed or swallowed strings. One of the first composers[1] to publish a piece for violin in scordatura is Biagio Marini, in his opus 8[2], in 1629. This use allows the use of unusual chords and changes the string tension, which also produces new sound effects.
The technique is also used in traditional Scottish and Norwegian music ("Hardingfele"). The fiddlers used three different chords (mi4-la3-re3-la2, do#4-la3-mi3-la2 and mi4-la3-mi3-la2 now called the Cape Breton tuning) to get a drone similar to the bagpipe. This technique was also used by jazz and rock guitarists - Frank Zappa in particular was used to it.
Another example of use, the low notes of some harpsichords were diatonic - G - A - B - then chromatic - C - C - D, etc. A B-flat scordatura would add a bass to a B-flat chord. In some archaic instruments, the leftmost (longest) string was even intended to be tuned ad libitum.
« « «
from
Centre National de Ressources Textuelles et Lexicales
ORPHÉE
Literature.
P. allus. in Orpheus, legendary poet and musician of Greek antiquity] Poet musician of great talent. Well, what are you looking forward to, harmonious Orpheus? If on the tomb of the Persians Jadis Pindare, Aeschylus, erected trophies (Chénier,Ïambes, 1794, p.260).
REM.
Orphéen, -enne, adj. Poétique, which recalls the poetry of Orphée. Orphéennes expressions drawn as with a golden plectrum (Sainte-Beuve,Portr. contemp., t.2, 1834, p.40).
Happy if he does not make some pompous and Orphéenne presentation (Valéry,Corresp.[with Gide], 1891, p.122).
Pronunciation.: [ɔ ʀfe]. Etymol. and Hist. 1611 fig.
"Poet or illustrious musician" (Malherbe, Poésies ds OEuvres compl., ed. L. Lalanne, t.1, p.187, 123). From Orpheus (lat. Orpheus, gr. Ο ρ ε φ ε ε υ ́ ς), character of the myth. gr., famous as musician and to the origin of mystical sects.
« « «
