Phidylé (1882)

One of the sources of inspiration behind Chanson perpétuelle - not its mood but its form - might well have been Duparc’s Phidylé, which was dedicated to Chausson on its publication in 1894. Although Duparc first approached Leconte de Lisle’s poem in 1872, the present version dates from the height of his powers in 1882 and is a remarkably free and apparently spontaneous reaction to the fondly amorous text. Beginning with a comparatively expressionless introduction, it ranges emotionally through a variety of keys at a rising tempo until it alights on the tonic again on the second entry of “Repose, ô Phidylé.” The structure is held together partly by the vocal phrase that goes with that refrain but more by the lyrical piano melody that immediately follows its first appearance. The passionate last few lines, agitated by tremolandos in the accompaniment, are based almost exclusively on the piano refrain.