Marais - Alcione "Marche pour les Matelots et Matelotes"

Marin Marais - Alcione ,tragédie en musique, 1706. "Marche pour les Matelots et Matelotes"
Le Concert des Nations
Jordi Savall (Conductor)
PETIT CHŒUR
Régnez, Zéphirs, régnez sur la liquide plaine ;
Qu'en ses prisons Eole enchaîne Les terribles tyrans des airs !
UN MATELOT
Toi qui tiens dans tes mains le trident redoutable, Ne permets qu'au vent favorable
De troubler le repos des mers.
(On danse)
UNE MATELOTE
Amants malheureux,
Si mille écueils fâcheux troublent vos vœux,
Le désespoir est le plus dangereux.
Quelque vent qui gronde,
L'amour calme l'onde : Peut-on perdre l'espoir
Quand on connaît son pouvoir ?
DEUXIEME MATELOTE
Pourquoi craignons-nous
Que l'amour ne nous engage ?
Si c'est un orage le calme est moins doux.
Suivons nos désirs, après quelques soupirs
On arrive aux plaisirs, pourquoi perdre un jour ?
Mettons à la voile :
Nous avons pour étoile Le flambeau de l'amour.
(Les Matelots montent sur le Vaisseau)
SMALL CHORUS
Reign, Zephyrs, reign over the liquid plain;
And may Aeolus shackle in his prison
The terrible tyrants of the air!
A SAILOR
You who hold the dreaded trident in your grasp, Forbid all but a propitious wind
To ruffle the quiet seas.
(They dance)
A SAILORWOMAN
Unhappy lovers,
Of the countless pitfalls on your path, The most perilous is despair.
Love calms the waves despite the howling winds, And knowing its power, how can we lose faith?
SECOND SAILORWOMAN
Why do we hesitate To follow Love's command?
It is a tempest, but the calm is more troubling yet.
Let us follow our desires, for after a few sighs Will come the pleasures, why waste another day?
Let us hoist the sail,
With the torch of Love as our guiding star.
(The Sailors go aboard the vessel)
CORO
¡Reinad, Céfiros, reinad sobre la líquida planicie; que en sus prisiones Eolo encadene a los terribles tiranos de los aires!
UN MARINERO
Tú que en la mano sostienes el temible tridente, permite sólo al viento propicio turbar el reposo de los mares.
(Todos bailan)
UNA MARINERA
Amantes desgraciados,
si mil infaustos escollos perturban vuestros votos, la desesperación es la más peligrosa.
Retumbe el viento que sea, el amor calma las olas; ¿cabe perder la esperanza conociendo su poder?
SEGUNDA MARINERA
¿Por qué tememos que el amor nos exhorte?
Si es una tormenta, la calma es menos dulce.
Sigamos nuestros deseos, tras unos pocos suspiros llegamos a los placeres, ¿por qué perder un día?
Icemos ya la vela:
tenemos por estrella la antorcha del amor.
(Los Marineros suben a la Embarcación)
PICCOLO CORO
Regnate, zefiri, regnate sull'acquea pianura; che nelle sue prigioni Eolo incateni i terribili tiranni dell'aria!
UN MARINAIO
Tu che porti nelle mani il tridente temibile, permetti solo al vento favorevole di turbare il riposo dei mari.
(Danzano)
UNA MARINAIA
Amanti sfortunati,
se mille scogli traditori si frappongono ai vostri desideri, la disperazione ne è il più pericoloso.
Per quanto forte sia il vento che soffia, l'amore calma l'onda: si può perdere la speranza quando si conosce la sua forza?
SECONDA MARINAIA
Perché temiamo che l'amore ci trascini?
Se è una tempesta, la calma è meno dolce.
Seguiamo i nostri desideri: dopo qualche sospiro giungiamo al piacere. Perché perdere un sol giorno?
Spieghiamo le vele:
abbiamo per stella la fiaccola dell'amore.
(I marinai si imbarcano sulla nave)
Marín Marais (31 May 1656, Paris 15 August 1728, Paris) was a French composer and viol player. He studied composition with Jean-Baptiste Lully, often conducting his operas, and with master of the bass viol Monsieur de Sainte-Colombe for 6 months. He was hired as a musician in 1676 to the royal court of Versailles. He did quite well as court musician, and in 1679 was appointed "ordinaire de la chambre du roy pour la viole", a title he kept until 1725.
He was a master of the basse de viol, and the leading French composer of music for the instrument. He wrote five books of Pièces de viole (1686-1725) for the instrument, generally suites with basso continuo. These were quite popular in the court, and for these he was remembered in later years as he who "founded and firmly established the empire of the viol" (Hubert Le Blanc, 1740). His other works include a book of Pièces en trio (1692) and four operas (1693-1709), Alcyone (1706) being noted for its tempest scene.
As with Sainte-Colombe, little of Marin Marais' personal life is known after he reached adulthood. Marin Marais married a Parisian, Catherine d'Amicourt, on September 21, 1676. They had 19 children together.
Alcyone (French Opera) -
Alcyone is an opera by the French composer Marin Marais. It takes the form of a tragédie en musique in a prologue and five acts. The libretto, by Antoine Houdar de la Motte, is based on the Greek myth of Ceyx and Alcyone as recounted by Ovid in his Metamorphoses. The opera was first performed at the Académie royale de musique, Paris on 18 February 1706. The score is particularly famous for the storm scene (tempête) in Act Four.

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