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Le Testament de Villon
''Le Testament de Villon'' is an opera written by American poet Ezra Pound.
In 1919, when he was 34, Pound began charting his path as a novice composer, writing privately that he intended a revolt against the impressionistic music of Claude Debussy. An autodidact, Pound described his working method as "improving a system by refraining from obedience to all its present 'laws'."〔Cited in: Fisher, 19〕 With only a few formal lessons in music composition, Pound produced a small body of work, including a setting of Dante's sestina, "Al poco giorno", for violin. His most important output is the pair of operas: ''Le Testament de Villon'', a setting of François Villon's long poem of that name, which dates from 1461; and ''Cavalcanti'', a setting of 11 poems by Guido Cavalcanti (c. 1250–1300). Pound began composing the Villon with the help of Agnes Bedford, a London pianist and vocal coach. Though the work is notated in Bedford's hand, Pound scholar Robert Hughes has been able to determine that Pound was artistically responsible for the work's overall dramatic and acoustic design.
== Background ==
Pound's ''The Cantos'' contains music and bears a title that could be translated as ''The Songs''—although it never is. Pound was influenced early by the troubadour Marcabrun and the ''motz el sons'' of troubadour poetry, about which musicologist John Stevens wrote, "melody and poem existed in a state of the closest symbiosis, obeying the same laws and striving in their different media for the same sound-ideal – armonia."〔Stevens, 423〕 In his essays, Pound wrote of rhythm as "the hardest quality of a man's style to counterfeit". However Pound was tone deaf according to William Carlos Williams who wrote, "he knows nothing of music being tone-deaf. That's what makes him a musician".〔Carpenter, p. 912〕
During his years in Paris (1921–1924), Pound formed close friendships with the American pianist and composer George Antheil, and Antheil's touring partner, the American concert violinist Olga Rudge. Pound championed Antheil's music and asked his help in devising a system of micro-rhythms that would more accurately render the vitalistic speech rhythms of Villon's Old French for ''Le Testament''. The resulting collaboration of 1923 used irregular meters that were considerably more elaborate than Stravinsky's benchmarks of the period, ''Le Sacre du Printemps'' (1913) and ''L'Histoire du Soldat'' (1918). For example, "Heaulmiere", one of the opera's key arias, at a tempo of quarter note = M.M. 88, moves from 2/8 to 25/32 to 3/8 to 2/4 meter (bars 25–28), making it difficult for performers to hear the current bar of music and anticipate the upcoming bar. Rudge performed in the 1924 and 1926 Paris preview concerts of ''Le Testament'', but insisted to Pound that the meter was impractical.
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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