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: