JAVS Fall 2024

thoroughly capture and follow the verse structure of the poem, rather than prescribe to a traditional or standard form.

“Rêverie en sourdine” Just as with “Harmonie du Soir”, Loeffler’s second song, “Rêverie en sourdine,” uses the form of the music to

“Rêverie en sourdine”

“Muted Reverie”

Calmes dans le demi-jour Que les branches hautes font, Pénétrons bien notre amour De ce silence profond. Fondons nos âmes, nos cœurs Et nos sens extasiés, Parmi les vagues langueurs Des pins et des arbousiers. Ferme tes yeux à demi, Croise tes bras sur ton sein, Et de ton cœur endormi Chasse à jamais tout dessein. Laissons-nous persuader Au souffle berceur et doux soft, Qui vient, à tes pieds, rider Les ondes des gazons roux. Et quand, solennel, le soir Des chênes noirs tombera, Voix de notre désespoir, Le rossignol chantera.

Calm in the twilight Made by the high branches,

Let us imbue our love With the deep silence.

Let us dissolve our souls, our hearts, And our enraptured senses, Among the vague langours Of the pines and the arbutus. Half close your eyes, Cross your arms on your breast, And from your sleeping heart Drive away forever all design. Let us be persuaded Of the breath of wind, soothing and That comes to your feet to ruffle The waves of the russet grass. And when the evening, solemn, Falls from the black oaks, Voice of our despair, The nightingale will sing.10

Figure 10. Paul Verlaine, “Rêverie en sourdine.” This example makes use of the following edition: Charles Martin Loeffler: Selected Songs with Chamber Accompaniment, edited by Ellen Knight. Recent Researches in American Music, vol. 16. Madison, WI: A-R Editions, Inc., 1988. Used with permission. www.areditions.com.

Journal of the American Viola Society / Vol. 40, No. 2, Fall 2024

45