In the 16th (and part of the
17th) century Marot was one of the most popular lyricists when music is
concerned. In the 18th century I can't think of any composer
bothering to turn to Marot for lyrics, and in the 19th there is only one:
Napoléon-Henri Reber (1807-1880), an exceptional composer in more than one
way. Chronologically Maurice Ravel's compositions on two epigrams of Marot
also belong to the 19th century but his music to the next. Below a list
of the compositions I was able to trace, in alphabetical order. The sources
consulted are: Graham Johnson, Richard Stokes, A French Song Companion
(OUP) and Grove's Dictionary of Music. [and 21st century...] On
the internet I found an uptempo recitation of the "petite épitre au Roy",
put to music...very nice: just
follow this link
(opens new window).
1938: Trois épigrammes (one of C. Marot, A une Demoiselle
malade), the others by C. d’Orléans, J. du Bellay), 4vv, str qnt,
(the French Song Companion gives as date 1961, typo?). A Special
page on this website is devoted to this poem: Ma Mignonne
1941: Adolescence Clémentine (5 poems), vv, pf, 1941
1. De Jehan Jehan (see on this website:
epigrams)
2. Mon coeur est tout endormy
3. D’une vieille dame fort pâle et d’un vieil gentilhomme
4. Complainte (= Adieu,
ce bel oeil & Plaisir
n'ay plus)
5. Avantnaissance (see on this website:
Avant-naissance)
1947: Chanson (Marguerite d'Alençon et de soi-même
?), 1v, pf/gui, 1947 [to celebrate the 60th birthday of Nadia Boulanger]
[the odd one out:] Arthur Honegger: Trois psaumes (Pss
xxxiv, cxl, cxxxviii), 1940–41. The last one is a text - biblical
paraphrase of Psalm 138 - by Clément Marot.
Both songs were dedicated to
Madame Hardy-Thé, who gave their first performance at the Salle Érard in
Paris in January 1900, with Ravel accompanying her on the piano. They were
orchestrated by Maurice Delage.
18..? : a number of chansons by Marot (among which l'Ermite
- I presume: Chanson XXXIV)
Reber (known from his Traité d'harmonie (1862)) was described by his
friend Saint-Saens as a kind of musical anachronism, bewilderd by the
way music and art was treated and developed in his own times. According
to Johnson & Stokes, his music "is worthy of reassessment. A group of
his songs, simple, yet lacking sentimentality and pathos (the besetting
sin of his period), would make an unusual and appropriate beginning
to a melodie recital." (French Song Companion, p. 429)
1944: Trois poèmes de Ronsard et un de Clément Marot (I. Bel Aubépin
- II. Rossignol, mon mignon - III. Le Tombeau de Ronsard - IV.
Dedans Paris, ville jolie
(Clément Marot)), 1v (high), pf. A nice interpretation by Christopher
Goldsack with Clare Toomer at the piano:
devoted to this poem: