D’un matin de printemps

In its original version for violin, cello, and piano, this piece is the second of a diptych, following D’un soir triste. Completed in 1918 by Lili Boulanger with a premonition of her imminent death, this trio movement is remarkable for its freshness and vitality, as if the composer were trying to ward off fate. The opening theme of D’un matin de printemps takes up the notes of the main motif of the preceding movement and transforms them into joy and carefree lightness. Gaiety and grace define it: it is carried by an ostinato of light eighth notes, propelled by a dotted rhythm reminiscent of the saltarello, and by ascending scales full of momentum. This is colorful music that sets the diaphanous coolness of the Phrygian mode against the sunlit brightness of the Lydian, in a constantly renewed play of contrasting colors.

Unease makes its appearance, with paler hues and a held-back tempo. This break introduces a broad lyrical phrase, marked “ardente et heureuse” (ardent and happy). The scherzando spirit returns, only to be interrupted almost at once by a dreamy, mysterious episode. The recapitulation, which departs from the traditional model, opens with a new section in which the theme is stated in long note values over a floating accompaniment of ambiguous harmonies. The initial vitality reappears, this time leading us to a climax and then a headlong close, not without a sense of anguish despite its brilliance, the final chord, dry and cutting, abruptly shattering this sudden euphoria.

© Durand 2007

The current edition of the trio version departs in places from the original manuscript. A revised edition is in preparation. There is also a reduction for two pianos by Jean Françaix (Schirmer, 1981).

© Anthony Girard