Gabriel Faurés "Les berceaux," Op. 23/1 (1879), a setting of a poem by Sully-Prudhomme, uses a flowing melodic line in the vocal part and a characteristic accompaniment in the piano to evoke the movement of both ships and of cradles (berceaux), linking the two together in motion and emotion. The poem describes large ships rocked by the water and cradles rocked by women: "But the day of farewells will come, because women must weep, and curious men must dare the lure of the horizon." But though ships carry men away from their cradles, the ships sense, and are momentarily held back by, the soul of the cradles. The song opens with the lulling motion of arpeggios in the piano bass line, underpinning a soothing, quietly sung vocal line. At the line "But the day of farewells will come, " a crescendo slowly builds to a forte climax on "dare the lure of the horizon." The piano leads the way back to the more flowing sprit of the opening, ending the song in the tone in which it began. ~ All Music Guide Gabriel Fauré (1845-1924) Les berceaux Le long du Quai, les grands vaisseaux, Que la houle incline en silence, Ne prennent pas garde aux berceaux, Que la main des femmes balance. Mais viendra le jour des adieux, Car il faut que les femmes pleurent, Et que les hommes curieux Tentent les horizons qui leurrent! Et ce jour-là les grands vaisseaux, Fuyant le port qui diminue, Sentent leur masse retenue Par l'âme des lointains berceaux. René-François Sully-Prudhomme (1839-1907) Cradles Along the quay the great ships, Bending silently with the surge, Take no thought of the cradles, Rocked by the hands of the women. But the day of parting will come, For it is ordained that women shall weep, And that inquisitive men Shall try the shining horizons. And on that day the great ships, Leaving the receding harbor, Feel their hulks restrained By the soul of the distant cradles. Translation by Philip L. Miller from The Ring of Words Gerard Souzay (baritone) Dalton Baldwin (piano) Recorded 1960
