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Léo Ferré: Modernism, Postmodernism and the Avant-Garde in Popular Chanson

Identifieur interne : 002176 ( Istex/Corpus ); précédent : 002175; suivant : 002177

Léo Ferré: Modernism, Postmodernism and the Avant-Garde in Popular Chanson

Auteurs : Peter Hawkins

Source :

French cultural studies (Chalfont St. Giles) [ 0957-1558 ] ; 2005-06.

RBID : ISTEX:F3B7F84C4589413E21613012564B4CA4B9E9D58B

English descriptors

Teeft :
- Album amour anarchie, Album ferr, Barclay, Ferr, French poetry, Hawkins, Hawkins hawkins, Mauvaise graine, Modernism, Modernist, Modernist heritage, Musical styles, Postmodernism, Regular verse, Rien, Same time, Testament phonographe, Twentieth century.

Abstract

This article discusses the relationship of the prolific French singersongwriter, poet and composer Léo Ferré with the broader movements of culture in France in the latter half of the twentieth century. The paradox of his ambition to be taken seriously as a writer and musician, seen against his considerable success as a popular singer, centres on his relationship with the Surrealist movement and the performed text ‘Préface’, from his album Il n’y a plus rien of 1973. The implications of his use of a wide range of musical styles are suggested, concluding that his musical and textual production bridges the concepts of modernism, postmodernism and the avant-garde. Quotations from Ferré’s songs are reproduced by kind permission of La mémoire et la mer.

Url:

https://api.istex.fr/document/F3B7F84C4589413E21613012564B4CA4B9E9D58B/fulltext/pdf

DOI: 10.1177/0957155805053705

Links to Exploration step

ISTEX:F3B7F84C4589413E21613012564B4CA4B9E9D58B

Le document en format XML

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            <p>This article discusses the relationship of the prolific French singersongwriter, poet                 and composer Léo Ferré with the broader movements of culture                 in France in the latter half of the twentieth century. The paradox of his ambition                 to be taken seriously as a writer and musician, seen against his considerable                 success as a popular singer, centres on his relationship with the Surrealist                 movement and the performed text ‘Préface’, from his                 album <italic>Il n’y a plus rien</italic>
 of 1973. The implications of his use of                 a wide range of musical styles are suggested, concluding that his musical and                 textual production bridges the concepts of modernism, postmodernism and the                 avant-garde. Quotations from Ferré’s songs are reproduced by                 kind permission of La mémoire et la mer.</p>         
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<meta-value> This article discusses the relationship of the prolific French singer-             songwriter, poet and composer Léo Ferré with the broader movements of culture in France             in the latter half of the twentieth century. The paradox of his ambition to be taken             seriously as a writer and musician, seen against his considerable success as a popular             singer, centres on his relationship with the Surrealist movement and the performed text             'Préface', from his album Il n'y a plus rien of 1973. The implications of his use of a             wide range of musical styles are suggested, concluding that his musical and textual             production bridges the concepts of modernism, postmodernism and the avant-garde.             Quotations from Ferré's songs are reproduced by kind permission of La mémoire et la mer.             Keywords: avant-garde, chanson, Léo Ferré, modernism, popular music, postmodernism             LéoFerré's career as a popular singer-songwriter stretched unbroken from his Latin             Quarter début in 1947 right up to his death in 1993, encompassing many changes in style             and form along the way. It was thus contemporaneous with the many ideological             convulsions of French intellectual life in the tumultuous post-war years, and reflected             the shifts and paradoxes of this period, albeit from Ferré's own idiosyncratic             perspective. Ferré's early ambition was to achieve recognition as a poet and composer in             the post-war avant-garde; but he is today most often remembered as an extremely             successful recording artist, singer and performer of his own popular songs. His output             reflects the tensions that arose from this paradox, and it makes his work an interesting             embodiment of the problems posed by the notions of Léo Ferré: Modernism, Postmodernism             and the Avant-Garde in Popular Chanson PETER HAWKINS University of BristolFrench             Cultural Studies French Cultural Studies, 16(2): 169178 Copyright © SAGE Publications             (London, Thousand Oaks, CA and New Delhi) www.sagepublications.com [200506]             10.1177/0957155805053705 FCS 16(2) Peter Hawkins4/2/0510:15 AMPage 1 170FRENCH CULTURAL             STUDIES 16(2) modernism, postmodernism and the avant-garde in French literary and             artistic culture in the latter half of the twentieth century. These notions in their             turn are useful as a means of situating Ferré's work in relation to the mainstream of             French culture during the post-war years, and this will be the main purpose of the             present article. A good starting point for a discussion of the complex interweaving of             these ideas in Ferré's output is the track 'Préface'1 (Ferré, 1980: 678); it was             released in 1973 as the opening number on Ferré's album Il n'y a plus rien (Ferré,             1973). The text of this 'classical rap', aggressively declaimed against a symphonic             orchestration, is in fact a digest of the preface Ferré himself wrote for his collection             of poems Poète ... vos papiers! in 1956. A preface initially promised by André Breton             had subsequently been refused, and the refusal was accompanied by an injunction from the             pope of Surrealism not to publish the collection, on pain of death.2 Ferré then drafted             his own preface, which reflects the strong influence of Surrealism on its author, while             at the same time going beyond that movement in certain crucial respects. Musically the             1973 recording of the piece marks the return of Ferré to classical composition, after a             period of flirtation between 1968 and 1972 with a jazz-tinged rock music in             collaboration with the group Zoo, on such well-known and best-selling tracks as 'Le             Chien' (Ferré, 1970) and 'La Solitude' (Ferré, 1972). Il n'y a plus rien was the first             of his popular albums to be entirely scored by him for a symphony orchestra and             conducted by himself, a practice he continued until his death in 1993. It is thus a             landmark in Ferré's career and a useful basis for a discussion of Ferré's latter- day             modernism, both textual and musical, in which I shall attempt to identify its sources,             its strengths and limitations, and the ways in which his work goes beyond the notion of             modernism to embrace aspects of both the avant-garde and postmodernism. Needless to say,             I shall not be able to do justice here to the ongoing debate about the definition of             what constitutes modernism, especially in relation to postmodernism and notions of the             avant-garde. It will be necessary, however, to outline briefly the significance of these             concepts in the French context, which is different in many ways from that of comparable             movements in the Anglo-American world, and in the broader European context. Modernism in             the French literary context usually refers to the late nineteenth-century poets who             began the current of experimental poetic writing: Baudelaire, Rimbaud and Mallarmé, and             to a lesser extent Verlaine, all of whom had a marked influence on Ferré. They led             directly to the creation of the avant- garde in the early years of the century, centring             in literary terms upon the figure of Apollinaire, also a direct and perennial influence             on Ferré's own creativity. The Surrealists, acknowledging their debt to Apollinaire,             were the formative influence on Louis Aragon during his avant-garde years, and he too             exerted a major influence on Ferré's work.3 The term modernism in French music is             usually attributed to the experimentalism of Debussy, continued by his FCS 16(2) Peter             Hawkins4/2/0510:15 AMPage 2 HAWKINS: LÉO FERRÉ171 disciple Ravel; both exerted a strong             musical influence on the young Ferré. The inauguration of the musical avant-garde in             France is probably best identified with the creation of Stravinsky's ballet Le Sacre du             printemps, again a touchstone among Ferré's own musical references.4 Postmodernism is             less easy to situate in the French context, being easy to confuse with             post-structuralism; but it is usually associated with the work of Jean-François Lyotard             and his essay La Condition postmoderne (Lyotard, 1979). Jean Baudrillard's influence has             probably been more strongly registered in the American context, as has that of Jacques             Derrida. It is less easy to identify any direct influence of these figures on Ferré, but             many of the characteristics usually associated with postmodernism can be found in his             work, such as the ironic return to traditional forms, the rejection of certain received             'grand narratives', the blurring of the distinction between high and low culture, the             significance of media representations, and so on. To illustrate the difficulty of             situating Ferré's work in relation to these broad movements, it is interesting to refer             to the schematic checklist first drafted by Hassan (1985: 11932) and reproduced in             David Harvey's influential book The Condition of Postmodernity (1989: 43). This consists             of some 32 binary oppositions composed of contrasting characteristics of modernism and             postmodernism: purpose/play; design/chance; hierarchy/ anarchy, and so on. If one             intuitively attempts to match the characteristics of Ferré's artistic production against             this series of oppositions, the result is singularly mixed, although showing a marked             weighting of 23 matches to 12 in favour of postmodernism. The necessary corollary of             this division is that Ferré figures on both sides of the table in some categories: both             'form (conjunctive, closed)' and 'anti-form (disjunctive, open)'; both 'metaphysics' and             'irony', for instance. However reductive such a checklist might be, it does suggest that             Ferré is provocatively placed astride the two categories, and this merits further             investigation. To return to 'Préface', in the light of these notions the implications of             the text are already highly significant: Ferré shows a clear debt to the iconoclastic             theories of Surrealism, but at the same time a desire to go beyond them, resulting in an             arbitrary and acrimonious break with the Surrealist group which had been the lot of many             poets of previous generations, amongst others Jacques Prévert, Raymond Queneau and             Aragon, to name but those most relevant to Ferré's own poetic project. In this respect             he situates himself clearly in the post-Surrealist mainstream of French poetry in the             mid-twentieth century, when the original 'Préface' was first published. From Surrealism,             he perpetuates the stance of total revolt against bourgeois conventions, the utopian and             revolutionary aspiration towards a liberated society and an apparent rejection of the             formal constraints of written poetry. Like Prévert and Queneau, he goes beyond this to             embrace popular diction and slang and to emphasise the importance of orality in poetry,             but going further than these immediate predecessors so as to make this an over-riding             FCS 16(2) Peter Hawkins4/2/0510:15 AMPage 3 172FRENCH CULTURAL STUDIES 16(2) principle             illustrated by his own practice: 'Toute poésie destinée à n'être que lue reste enfermée             dans sa typographie et n'est pas finie. Elle ne prend son sexe qu'avec la corde vocale             tout comme le violon prend le sien avec l'archet qui le touche.' If 'Le vers doit faire             l'amour dans la tête des populations', it is through listening to poetry, not reading             it. This latter principle is exemplified in Ferré's own albums of popular-musical             settings of Baudelaire, Rimbaud, Verlaine, Apollinaire and Aragon (Ferré, 2001), and             sung versions of their poems were always included in his concert performances. The             choice of these poets also illustrates perfectly the way Ferré would like to appropriate             their work so as to be considered as the perpetuator of the modernist heritage of French             poetry. The list is also interesting in respect of whom it leaves out: Mallarmé, Valéry,             Saint-John Perse and Claudel, for instance, are conspicuously absent, the latter two             summarily dismissed in various other polemical lyrics: 'Le Chien' and 'Poètes, vos             papiers!' respectively (Ferré, 1980: 36, 63).5 But in what way does Ferré go beyond this             modernist heritage as he has defined it? We have already suggested how Ferré's rejection             of purely written poetry goes further than the textual ironies of Prévert and Queneau,             whose poems merely allude to and reproduce spoken French. The sarcasm about the social             status of poetry implicit in the title Poète ... vos papiers!, both the collection of             poems and the album track, is comparable to contemporary declarations such as 'La poésie             est inadmissible; d'ailleurs, elle n'existe pas' by the 'Telqueliste' Denis Roche (1972:             59), and some aspects of 'La Solitude' (Ferré, 1980: 934; 1993a: 2978) sound like a             kind of post-structuralist manifesto: 'Il est de toute première instance que nous             façonnions nos idées comme s'il s'agissait d'objets manufacturés', which echoes in some             ways the ideas behind some of Pierre Bourdieu's social analyses: ideas too are             commodities subject to the law of the market-place, as Ferré confirms in his             autobiographical text 'Et basta' (in Ferré, 1993a: 396): 'Moi j'envoie mes idées dans la             rue et je fais de l'argent avec elles.' I shall come back to some of these points, but             first let us look at the musical implications of the recorded version of 'Préface' in             the light of Ferré's modernism. The 1973 recording of 'Préface' is as much about Ferré's             conception of music as it is about poetry. Along with allusions to 'poètes maudits' such             as Rutebeuf and Villon, the text cites four of Ferré's musical heroes, Mozart,             Beethoven, Bartok and Ravel, as examples of tormented artists. One could add to this             personal pantheon appreciative references from other textual sources to Bach (Ferré,             1980: 226), Berlioz, Tchaikovsky (Ferré, 1993a: 504),6 Saint-Saens,7 Debussy (Ferré,             1980: 359), Stravinsky (Ferré, 1980: 90)8 and Manuel de Falla (Ferré, 1980: 277). What             is striking about this is that modernism is much less in evidence here, and this             certainly corresponds to Ferré's musical practice. The orchestration of 'Préface' is             syncopated, rhythmic and somewhat discordant in the manner of Stravinsky's Le Sacre du             printemps, mentioned in the song 'Ma Vie est un FCS 16(2) Peter Hawkins4/2/0510:15             AMPage 4 HAWKINS: LÉO FERRÉ173 slalom'9 as a favourite, inspirational piece; but this is             probably as far as Ferré's musical modernism is prepared to go. He is elsewhere very             sarcastic about the formal experiments of the musical avant-garde, such as the twelve-             tone scale, which he calls 'la musique dodéCACophonique' (Ferré, 1980: 401),10 and             dismissive of the formal experimentalism of Pierre Boulez, whom he clearly regards as a             self-serving opportunist: 'Boulez dans sa boutique, un ministre à la boutonnière'             (Ferré, 1980: 256; 1993a: 448),11 referring presumably to the IRCAM musical laboratory             at the Centre Pompidou, generously maintained by the French state. Ferré's own             orchestrations are only rarely modernist in texture: one senses the influence of Bartok,             Ravel and de Falla in the occasional strident discord, but most of the time his style is             more reminiscent of nineteenth- century romanticism than modernism: echoes of Beethoven,             Tchaikovsky and Brahms are very common, particularly in the extensive use of lush,             soaring string sections and lyrical violin solos. What is very striking, however, in             contrast to this relative musical conservatism, is his populist adoption of fashionable             dance-music styles, particularly in his early songs: titles such as 'Java partout' and             'Le Temps du tango'12 betray a nostalgia for the dance-hall rhythms of the 1930s and the             sound of the accordion. Many of his 1950s recordings feature the accordionist Jean             Cardon, in a style very evocative of the popular French 'musette' style of the middle of             the twentieth century. This preference can sometimes be quite radical and iconoclastic:             he was even prepared to put an accordion backing to his 1957 version of Baudelaire's             'Harmonie du soir'.13 There is an element of musical irony in this, which prefigures             some of Serge Gainsbourg's later appropriations of popular styles, putting the pastiche             musical accompaniment in quotation marks, as it were, as a comment on the lyric it             accompanies.14 In the early 1960s he shows a recurrent preference for the popular Latin             American dance rhythms of the time, such as the rumba, the habanera and the cha-cha-cha.             These are often used for unlikely lyrics, such as his settings of Rutebeuf's 'Grieche             d'hiver' as 'Pauvre Rutebeuf'15 with a habanera rhythm, or the celebrated Aragon lyric             'Est-ce ainsi que les hommes vivent',16 which is given a cha- cha-cha beat. Then there             is the period of collaboration with the jazz-rock group Zoo from 1968 to 1972, as             mentioned earlier, and the adoption of contemporary styles such as the slow rock 'C'est             extra',17 in which the lyric is itself a comment on the musical genre of the song. Does             all this constitute modernism? Modernity, perhaps  a desire to appropriate the             fashionable musical styles of the moment  but what is interesting is his use of them as             a vehicle for poetry. The intention is clearly populist, a desire to make poetic texts,             his own and those of others, accessible to a mass audience, to reintegrate them as a             popular form of orality by using the musical styles of the day and subverting them to             his own ends. At the same time he appears to get considerable pleasure from these             musical styles in their own right, and he was certainly in his early years an extremely             successful FCS 16(2) Peter Hawkins4/2/0510:15 AMPage 5 174FRENCH CULTURAL STUDIES 16(2)             popular melodist, even if the accompaniments were most often the work of his arranger             and musical director Jean-Michel Defaye. It is difficult to estimate what the             contribution of Ferré to these backings might have been: most likely a negotiated             agreement about the style and instrumentation to be adopted, leaving the detail of the             arrangement to his musical director. In this respect it is also interesting to compare             these orchestral arrangements with the piano accompaniments of the blind pianist Paul             Castanier, Ferré's regular accompanist for live performances from 1957 to 1973, who can             be heard in the live albums of this period.18 These reveal Castanier's flair for             improvisation, and they raise the question of the influence of jazz on Ferré's musical             output during this period. Occasionally Ferré adopts the style of a New Orleans blues,             to illustrate the proposition that 'Dieu est nègre';19 or a jolly Stéphane             Grappelli-style violin to accompany Verlaine's 'Chanson d'automne',20 as an ironic             counterpart to the 'sanglots longs des violons' of Verlaine. But in general Ferré is             content to allude to the style and shows little interest in jazz as a musical form in             its own right. A possible exception to this general rule might be the improvised             jazz-rock of the group Zoo, who can be heard on the original recording of 'Le Chien'21             complementing Ferré's apparently automatically composed text with what seem to be             spontaneous free-form riffs on the electric guitar and saxophone. What general             observations can we draw from this wide range of musical styles? Ferré's own symphonic             arrangements embody a rather conservative kind of musical modernism. He refuses to             follow the avant-garde to the wilder shores of musical experimentation, but most of his             own orches- trations show the influence of the early modernism of Debussy and Ravel in             their harmonic and instrumental textures. This is hardly surprising, since the formative             influence on his musical vocation, on his own account, was the childhood experience of             seeing Ravel conduct a symphony orchestra at the Casino of Monte Carlo where his father             worked (Belleret, 1996: 6970). The texture of his poetic writing is similarly that of a             certain modernist mainstream, embracing much of the arbitrary imagery, the             psychoanalytic themes and the iconoclastic values of Surrealism, but going beyond them             in certain crucial respects: the choice of a popular register of language, the emphasis             on oral delivery, on performance. For all the cultivation of apparent spontaneity of             composition, many of his most visionary lyrics, such as 'La Mémoire et la mer' (Ferré,             1980: 1512)22 are actually written in regular verse: does this suggest a formal             conservatism? Or a postmodern reworking of traditional verse forms? His popular musical             compositions, on the other hand, show an ironic eclecticism which is more typical of a             postmodern sensibility, with their playful deployment of musical pastiche, often used to             question the poetic texts for which they provide a frame. Is it appropriate to regard             Ferré as a postmodern figure? Certainly the utopian disenchantment of the title track             'Il n'y a plus rien' in 1973 has a postmodern ring to it, and some aspects of his FCS             16(2) Peter Hawkins4/2/0510:15 AMPage 6 HAWKINS: LÉO FERRÉ175 appropriation of the             modern audiovisual media (recording, radio, TV, video) would tend to confirm this. In             the end it is probably not as a latter-day modernist visionary that he will be valued              as a suffering artist, as a 'poète maudit', as a misunderstood composer, as he would no             doubt have liked. His major contribution may well be seen as something more modest, and             more in tune with contemporary sensibilities: as a major and very memorable singer-             songwriter. His songs have the capacity to move their audience long after their             performer has passed away, as he prophetically mentioned in 'Préface': 'Avec nos             magnétophones qui se souviennent des voix qui se sont tues ...' We have not only a             remarkable body of recorded work which is still available and widely appreciated in             France, if not in the Anglo-American world, but also some memorable live performances             preserved on record and on video. Another of these precious documents has recently been             released by Ferré's son through his publishing house La mémoire et la mer, called,             appropriately enough) Sur la scène... after a song on the Amour Anarchie album, and             featuring recordings of his live concerts in Francophone Switzerland in 19723 (Ferré,             2002). There is a curious paradox in this evolution, however, which is that Ferré seems             on the face of it to have reverted from an early postmodernism to a latter-day             modernism, in relation to the poetic and the musical form of his work. But such an             analysis depends on the two notoriously elusive concepts and the equally problematic             notion of a 'progression' from one to the other.23 It would be possible, for instance,             to see Ferré's appropriation of earlier classical styles of music as an ironic one,             based on a certain double-take: there is certainly plenty of evidence for this, not             least his declaiming of his own text 'Ludwig'24 against the accompaniment of Beethoven's             'Egmont' overture. In a similar way, the long poetic diatribes of his later output,             although they appear superficially as Surrealist-style automatic writing and seem to be             inspired by the notion of the avant-garde, are in fact often written in regular verse             with complex rhyming schemes and stanza patterns.25 Is a similar ironic effect intended?             It would seem not, as Ferré claims in his 1973 autobiographical text 'Et basta' 'Je suis             dicté' (in Ferré, 1993a: 402), even if he dismisses Surrealist automatism as a kind of             preciosity: 'le five o'clock de l'abstraction collective' (Ferré, 1993a: 44). In the             full, original version of 'Préface', he champions the use of regular verse; not of             course the mechanical counting of syllables of the 'dactylographes' dismissed in             'Préface' (Ferré, 1980: 67) but as a spontaneous generation of verbal musicality: 'Le             vers est musique; le vers sans musique est littérature' (Ferré, 1993a: 43). This does             seem to place him beyond a certain kind of modernist experimentation, reverting to             older, more traditional forms but subverting them to his own aesthetic purposes. Is that             a form of postmodernism? It would seem so, although a very individual and personal one.             Does it constitute an example of the avant-garde? In a way, although attached to a             decidedly problematic notion of progress. FCS 16(2) Peter Hawkins4/2/0510:15 AMPage 7             176FRENCH CULTURAL STUDIES 16(2) Given the paradoxes inherent in the two categories of             modernism and postmodernism, as well as in the relation between them and the notion of             the avant-garde, it seems difficult to draw any clear conclusions from their application             to Léo Ferré's output. What is obvious is Ferré's debt to what is generally regarded as             the modernist heritage in French poetry; and to a certain initial modernism in French             music. What is less easy to pin down is the significance of the way Ferré goes beyond             this heritage. In his appropriation of the mass media, in his use of popular forms and             styles, in his recycling of traditional forms and in his blurring of the boundaries             between high and low culture, he is certainly typical of what is widely held to be             postmodern; but his postmodernism is so bound up with the utopian vision of his             anarchism, with his passionate belief in the redemptive power of art, with his contempt             for the base materialism of bourgeois culture  all typically modernist aspects of an             earlier fin de siècle  that it is difficult to disentangle the two aspects. I would             argue that it is precisely this paradoxical quality that makes him such a central and             representative figure of French culture at the end of the twentieth century. He actually             embodies in his work many of the contradictions that theorists have identified in the             relations between modernism and postmodernism, and the way the notion of the avant-garde             is uneasily implicated in both movements. This makes him a kind of touchstone for the             preoccupations of the period in which he worked, and although his versions of anarchism             and utopianism are very particular to him, they illuminate in an interesting way the             other varieties of political commitment of the times. When he declares, at the end of             'Il n'y a plus rien', 'Nous aurons tout . . . dans dix mille ans' he is both             re-affirming his belief in the role of the avant-garde, and yet despairing of ever             achieving any kind of human progress. This effectively situates him right on the cusp of             the three notions of modernism, postmodernism and the avant-garde. Notes 1. For reasons             of space and copyright, it is not possible to reproduce here the complete text of             'Préface'. The full original text can be found in Poète ... vos papiers! (Ferré, 1956);             it is also available in La Mauvaise Graine (Ferré, 1993a: 436). The shorter performed             version can be heard in the original recording Il n'y a plus rien (Ferré, 1973). The             performed text is in Testament phonographe (Ferré, 1980: 678). 2. An account of the             quarrel between Ferré and André Breton can be found in Belleret (1996: 24453). 3. Ferré             was one of the first (along with Georges Brassens) to set Aragon's poems to popular             musical styles (Ferré, 1961). 4. Le Sacre du printemps is mentioned in 'Ma Vie est un             slalom' on the album Il est six heures ici et midi à New York (Ferré, 1979); text in             Testament phonographe (Ferré, 1980: 8990). 5. 'Le Chien' and 'Poètes, vos papiers!'             from the album Amour Anarchie (Ferré, 1970). 'Poètes, vos papiers' is a re-worked and             performed version of the first two poems in the eponymous collection of poems (Ferré,             1956). FCS 16(2) Peter Hawkins4/2/0510:15 AMPage 8 HAWKINS: LÉO FERRÉ177 6. Berlioz and             Tchaikovsky are also among 'Les Musiciens', in the album Il est six heures ici et midi à             New York (Ferré, 1979). For a detailed account of Ferré's musical tastes, see Belleret             (1996: 5939). 7. In 'Ne chantez pas la mort' (text by Jean-Roger Caussimon), on the             album Il n'y a plus rien (Ferré, 1973). 8. See note 4. 9. See note 4. 10. In 'Porno             song', in the album Il est six heures ici et midi à New York (Ferré, 1979). 11. In 'Muss             es sein? Es muss sein!' from the album Je te donne (Ferré, 1976). 12. Both included in             the boxed set of CDs Les Années Odéon (Ferré, 1993b). 13. 'Harmonie du soir', from the             1957 album Léo Ferré chante Les Fleurs du mal, included in the boxed set of CDs Les             Années Odéon (Ferré, 1993b). 14. The most famous example is of course Gainsbourg's             reggae version of the 'Marseillaise', called 'Aux armes etcetera', in the compilation CD             Gainsbourg forever (Gainsbourg, 2001). 15. 'Pauvre Rutebeuf', in the boxed set of CDs             Les Années Odéon (Ferré, 1993b). 16. 'Est-ce ainsi que les hommes vivent', on the album             Léo Ferré chante Aragon (Ferré, 1961). 17. 'C'est extra', on the album La Nuit (Ferré,             1969a). 18. Castanier features extensively in the album Ferré 69  Récital public à             Bobino (Ferré, 1969b) and in Sur la scène (Ferré, 2002). 19. 'Dieu est nègre', in the             boxed set of CDs Les Années Odéon (Ferré, 1993b). 20. 'Chanson d'automne' from the CD             Léo Ferré chante Verlaine et Rimbaud, included in the reissue of Les Poètes (Ferré,             1966; 2001). 21. 'Le Chien', on the album Amour Anarchie (Ferré, 1970). 22. 'La Mémoire             et la mer', on the album Amour Anarchie (Ferré, 1970). 23. For a discussion of the idea             of 'progression' from modernism to postmodernism, see for instance Murphy (1999:             28899). 24. 'Ludwig', on the eponymous album (Ferré, 1983). 25. See, for instance,             'Métamec' from the eponymous posthumous album (Ferré, 2000); text in La Mauvaise Graine             (Ferré, 1993a: 57185). References: texts Belleret, R. (1996) Léo Ferré: une vie             d'artiste. Arles: Actes Sud; Montreal: Leméac. Ferré, L. (1956) Poète ... vos papiers!             Paris: La Table ronde; re-issued 1977, Paris: Folio. Ferré, L. (1980) Testament             phonographe. Paris: Plasma; re-issued 1998, Monaco: La mémoire et la mer. Ferré, L.             (1993a) La Mauvaise Graine. Paris: Éditions No. 1. Harvey, D. (1989) The Condition of             Postmodernity. Oxford: Blackwell. Hassan, I. (1985) 'The Culture of Postmodernism',             Theory, Culture and Society 2 (3): 11932. Lyotard, J.-F. (1979) La Condition             postmoderne. Paris: Éditions de Minuit. Murphy, R. (1999) Theorizing the Avant-Garde.             Cambridge: Cambridge University Press. Roche, D. (1972) 'La Poésie est inadmissible', in             Le Mécrit, pp. 5971. Paris: Seuil. References: recordings Ferré, L. (1961) Léo Ferré             chante Aragon. Paris: Barclay; re-issued 2001. Ferré, L. (1966) Léo Ferré chante             Verlaine et Rimbaud. Paris: Barclay; re-issued 2001. Ferré, L. (1969a) La Nuit. Paris:             Barclay. FCS 16(2) Peter Hawkins4/2/0510:15 AMPage 9 178FRENCH CULTURAL STUDIES 16(2)             Ferré, L. (1969b) Ferré 69  Récital public à Bobino. Paris: Barclay. Ferré, L. (1970)             Amour Anarchie. Paris: Barclay. Ferré, L. (1972) La Solitude. Paris: Barclay. Ferré, L.             (1973) Il n'y a plus rien. Paris: Barclay. Ferré, L. (1976) Je te donne. Paris: CBS;             reissued 2000, Monaco: La mémoire et la mer. Ferré, L. (1979) Il est six heures ici et             midi à New York. Paris: Barclay; reissued 2000, Monaco: La mémoire et la mer. Ferré, L.             (1983) Ludwig. Paris: RCA; reissued 2000, Monaco: La mémoire et la mer. Ferré, L.             (1993b) Les Années Odéon. Paris: Sony, boxed set of re-issued CDs. Ferré, L. (2000)             Métamec. Monaco: La mémoire et la mer. Ferré, L. (2001) Les Poètes. Paris:             Barclay/Universal, set of re-issued CDs. Ferré, L. (2002) Sur la scène. Monaco: La             mémoire et la mer. Gainsbourg, S. (2001) Gainsbourg forever. Paris: Universal. Peter             Hawkins is Senior Lecturer in French at the University of Bristol. Address for             correspondence: Department of French, University of Bristol, 19 Woodland Road, Bristol,             BS8 1TE, UK [email: p.g.hawkins@bristol.ac.uk] FCS 16(2) Peter Hawkins4/2/0510:15 AMPage 10</meta-value>
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<back><notes>         
         <p>1. For reasons of space and copyright, it is not possible to reproduce here the complete             text of ‘Préface’. The full original text can be found in                 <italic>Poète … vos papiers!</italic>
 (Ferré, 1956); it is             also available in <italic>La Mauvaise Graine</italic>
 (Ferré, 1993a: 43–6).             The shorter performed version can be heard in the original recording <italic>Il                 n’y a plus rien</italic>
 (Ferré, 1973). The performed text is in                 <italic>Testament phonographe</italic>
 (Ferré, 1980: 67–8).</p>         
         <p>2. An account of the quarrel between Ferré and André Breton can be             found in Belleret (1996: 244–53).</p>         
         <p>3. Ferré was one of the first (along with Georges Brassens) to set             Aragon’s poems to popular musical styles (Ferré, 1961).</p>         
         <p>4. <italic>Le Sacre du printemps</italic>
 is mentioned in ‘Ma Vie est un             slalom’ on the album <italic>Il est six heures ici et midi à New             York</italic>
 (Ferré, 1979); text in <italic>Testament phonographe</italic>
             (Ferré, 1980: 89–90).</p>         
         <p>5. ‘Le Chien’ and ‘Poètes, vos             papiers!’ from the album <italic>Amour Anarchie</italic>
 (Ferré, 1970).             ‘Poètes, vos papiers’ is a re-worked and performed             version of the first two poems in the eponymous collection of poems (Ferré, 1956).</p>         
         <p>6. Berlioz and Tchaikovsky are also among ‘Les Musiciens’, in the             album <italic>Il est six heures ici et midi à New York</italic>
 (Ferré,             1979). For a detailed account of Ferré’s musical tastes, see             Belleret (1996: 593–9).</p>         
         <p>7. In ‘Ne chantez pas la mort’ (text by Jean-Roger Caussimon), on the             album <italic>Il n’y a plus rien</italic>
 (Ferré, 1973).</p>         
         <p>8. See note 4.</p>         
         <p>9. See note 4.</p>         
         <p>10. In ‘Porno song’, in the album <italic>Il est six heures ici et midi                 à New York</italic>
 (Ferré, 1979).</p>         
         <p>11. In ‘Muss es sein? Es muss sein!’ from the album <italic>Je te             donne</italic>
 (Ferré, 1976).</p>         
         <p>12. Both included in the boxed set of CDs <italic>Les Années Odéon</italic>
             (Ferré, 1993b).</p>         
         <p>13. ‘Harmonie du soir’, from the 1957 album <italic>Léo                 Ferré chante Les Fleurs du mal</italic>
, included in the boxed set of CDs                 <italic>Les Années Odéon</italic>
 (Ferré, 1993b).</p>         
         <p>14. The most famous example is of course Gainsbourg’s reggae version of the             ‘Marseillaise’, called ‘Aux armes etcetera’, in             the compilation CD <italic>Gainsbourg forever</italic>
 (Gainsbourg, 2001).</p>         
         <p>15. ‘Pauvre Rutebeuf’, in the boxed set of CDs <italic>Les                 Années Odéon</italic>
 (Ferré, 1993b).</p>         
         <p>16. ‘Est-ce ainsi que les hommes vivent’, on the album                 <italic>Léo Ferré chante Aragon</italic>
 (Ferré, 1961).</p>         
         <p>17. ‘C’est extra’, on the album <italic>La Nuit</italic>
             (Ferré, 1969a).</p>         
         <p>18. Castanier features extensively in the album <italic>Ferré 69 –                 Récital public à Bobino</italic>
 (Ferré, 1969b) and in                 <italic>Sur la scène</italic>
 (Ferré, 2002).</p>         
         <p>19. ‘Dieu est nègre’, in the boxed set of CDs <italic>Les                 Années Odéon</italic>
 (Ferré, 1993b).</p>         
         <p>20. ‘Chanson d’automne’ from the CD <italic>Léo                 Ferré chante Verlaine et Rimbaud</italic>
, included in the reissue of <italic>Les             Poètes</italic>
 (Ferré, 1966; 2001).</p>         
         <p>21. ‘Le Chien’, on the album <italic>Amour Anarchie</italic>
             (Ferré, 1970).</p>         
         <p>22. ‘La Mémoire et la mer’, on the album <italic>Amour             Anarchie</italic>
 (Ferré, 1970).</p>         
         <p>23. For a discussion of the idea of ‘progression’ from modernism to             postmodernism, see for instance Murphy (1999: 288–99).</p>         
         <p>24. ‘Ludwig’, on the eponymous album (Ferré, 1983).</p>         
         <p>25. See, for instance, ‘Métamec’ from the eponymous             posthumous album (Ferré, 2000); text in <italic>La Mauvaise Graine</italic>
             (Ferré, 1993a: 571–85).</p>     
      </notes>
<ref-list>         
         <ref>             
            <citation citation-type="other" xlink:type="simple">Belleret, R. (1996) <italic>Léo Ferré: une vie                 d’artiste</italic>
. Arles: Actes Sud; Montreal: Leméac.</citation>         
         </ref>         
         <ref>             
            <citation citation-type="other" xlink:type="simple">Ferré, L. (1956) <italic>Poète … vos                 papiers!</italic>
 Paris: La Table ronde; re-issued 1977, Paris: Folio.</citation>         
         </ref>         
         <ref>             
            <citation citation-type="other" xlink:type="simple">Ferré, L. (1980) <italic>Testament phonographe</italic>
. Paris: Plasma;                 re-issued 1998, Monaco: La mémoire et la mer.</citation>         
         </ref>         
         <ref>             
            <citation citation-type="other" xlink:type="simple">Ferré, L. (1993a) <italic>La Mauvaise Graine</italic>
. Paris:                 Éditions No. 1.</citation>         
         </ref>         
         <ref>             
            <citation citation-type="book" xlink:type="simple">                                      
               <name name-style="western"><surname>Harvey, D.</surname>
</name>
                  (<year>1989</year>
) <source>The Condition of Postmodernity</source>
.                      <publisher-loc>Oxford</publisher-loc>
: <publisher-name>Blackwell</publisher-name>
                 .</citation>         
         </ref>         
         <ref>             
            <citation citation-type="journal" xlink:type="simple">                                      
               <name name-style="western"><surname>Hassan, I.</surname>
</name>
                  (<year>1985</year>
)                      <article-title>‘The Culture of Postmodernism’</article-title>
                 , <source>Theory, Culture and Society</source>                 
               <volume>2</volume>
 (<issue>3</issue>
):                      <fpage>119</fpage>
–<lpage>132</lpage>
                 .</citation>         
         </ref>         
         <ref>             
            <citation citation-type="other" xlink:type="simple">Lyotard, J.-F. (1979) <italic>La Condition postmoderne</italic>
. Paris:                 Éditions de Minuit.</citation>         
         </ref>         
         <ref>             
            <citation citation-type="book" xlink:type="simple">                                      
               <name name-style="western"><surname>Murphy, R.</surname>
</name>
                  (<year>1999</year>
) <source>Theorizing the Avant-Garde</source>
.                      <publisher-loc>Cambridge</publisher-loc>
: <publisher-name>Cambridge University Press</publisher-name>
                 .</citation>         
         </ref>         
         <ref>             
            <citation citation-type="other" xlink:type="simple">Roche, D. (1972) ‘La Poésie est inadmissible’,                 in <italic>Le Mécrit</italic>
, pp. 59–71. Paris: Seuil.</citation>         
         </ref>         
         <ref>             
            <citation citation-type="other" xlink:type="simple">Ferré, L. (1961) <italic>Léo Ferré chante                 Aragon</italic>
. Paris: Barclay; re-issued 2001.</citation>         
         </ref>         
         <ref>             
            <citation citation-type="other" xlink:type="simple">Ferré, L. (1966) <italic>Léo Ferré chante                     Verlaine et Rimbaud</italic>
. Paris: Barclay; re-issued 2001</citation>         
         </ref>         
         <ref>             
            <citation citation-type="other" xlink:type="simple">Ferré, L. (1969a) <italic>La Nuit</italic>
. Paris: Barclay</citation>         
         </ref>         
         <ref>             
            <citation citation-type="other" xlink:type="simple">Ferré, L. (1969b) <italic>Ferré 69 - Récital                     public à Bobino</italic>
. Paris: Barclay</citation>         
         </ref>         
         <ref>             
            <citation citation-type="other" xlink:type="simple">Ferré, L. (1970) <italic>Amour Anarchie</italic>
. Paris: Barclay</citation>         
         </ref>         
         <ref>             
            <citation citation-type="other" xlink:type="simple">Ferré, L. (1972) <italic>La Solitude</italic>
. Paris: Barclay</citation>         
         </ref>         
         <ref>             
            <citation citation-type="other" xlink:type="simple">Ferré, L. (1973) <italic>Il n’y a plus rien</italic>
. Paris: Barclay</citation>         
         </ref>         
         <ref>             
            <citation citation-type="other" xlink:type="simple">Ferré, L. (1976) <italic>Je te donne</italic>
. Paris: CBS; reissued 2000,                 Monaco: La mémoire et la mer</citation>         
         </ref>         
         <ref>             
            <citation citation-type="other" xlink:type="simple">Ferré, L. (1979) <italic>Il est six heures ici et midi à                     New York</italic>
. Paris: Barclay; reissued 2000, Monaco: La mémoire et                 la mer.</citation>         
         </ref>         
         <ref>             
            <citation citation-type="other" xlink:type="simple">Ferré, L (1983) <italic>Ludwig</italic>
. Paris: RCA; reissued 2000,                 Monaco: La mémoire et la mer</citation>         
         </ref>         
         <ref>             
            <citation citation-type="other" xlink:type="simple">Ferré, L. (1993b) <italic>Les Années Odéon</italic>
.                 Paris: Sony, boxed set of re-issued CDs.</citation>         
         </ref>         
         <ref>             
            <citation citation-type="other" xlink:type="simple">Ferré, L. (2000) <italic>Métamec</italic>
. Monaco: La                 mémoire et la mer</citation>         
         </ref>         
         <ref>             
            <citation citation-type="other" xlink:type="simple">Ferré, L. (2001) <italic>Les Poètes</italic>
. Paris:                 Barclay/Universal, set of re-issued CDs</citation>         
         </ref>         
         <ref>             
            <citation citation-type="other" xlink:type="simple">Ferré, L. (2002) <italic>Sur la scène</italic>
. Monaco: La                 mémoire et la mer</citation>         
         </ref>         
         <ref>             
            <citation citation-type="book" xlink:type="simple">                                      
               <name name-style="western"><surname>Gainsbourg, S.</surname>
</name>
                  (<year>2001</year>
) <source>Gainsbourg forever</source>
.                      <publisher-loc>Paris</publisher-loc>
: <publisher-name>Universal</publisher-name>                              
            </citation>         
         </ref>     
      </ref-list>
</back>
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<mods version="3.6"><titleInfo lang="en"><title>Léo Ferré: Modernism, Postmodernism and the Avant-Garde in Popular Chanson</title>
</titleInfo>
<titleInfo type="alternative" lang="en" contentType="CDATA"><title>Léo Ferré: Modernism, Postmodernism and the Avant-Garde in Popular Chanson</title>
</titleInfo>
<name type="personal"><namePart type="given">Peter</namePart>
<namePart type="family">Hawkins</namePart>
<affiliation>University of Bristol</affiliation>
</name>
<typeOfResource>text</typeOfResource>
<genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre>
<originInfo><publisher>SAGE Publications</publisher>
<place><placeTerm type="text">London, Thousand Oaks, CA and New Delhi</placeTerm>
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<dateIssued encoding="w3cdtf">2005-06</dateIssued>
<copyrightDate encoding="w3cdtf">2005</copyrightDate>
</originInfo>
<language><languageTerm type="code" authority="iso639-2b">eng</languageTerm>
<languageTerm type="code" authority="rfc3066">en</languageTerm>
</language>
<abstract lang="en">This article discusses the relationship of the prolific French singersongwriter, poet and composer Léo Ferré with the broader movements of culture in France in the latter half of the twentieth century. The paradox of his ambition to be taken seriously as a writer and musician, seen against his considerable success as a popular singer, centres on his relationship with the Surrealist movement and the performed text ‘Préface’, from his album Il n’y a plus rien of 1973. The implications of his use of a wide range of musical styles are suggested, concluding that his musical and textual production bridges the concepts of modernism, postmodernism and the avant-garde. Quotations from Ferré’s songs are reproduced by kind permission of La mémoire et la mer.</abstract>
<subject><genre>keywords</genre>
<topic>avant-garde</topic>
<topic>chanson</topic>
<topic>Léo Ferré</topic>
<topic>modernism</topic>
<topic>popular music</topic>
<topic>postmodernism</topic>
</subject>
<relatedItem type="host"><titleInfo><title>French cultural studies (Chalfont St. Giles)</title>
</titleInfo>
<genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre>
<identifier type="ISSN">0957-1558</identifier>
<identifier type="eISSN">1740-2352</identifier>
<identifier type="PublisherID">FRC</identifier>
<identifier type="PublisherID-hwp">spfrc</identifier>
<part><date>2005</date>
<detail type="volume"><caption>vol.</caption>
<number>16</number>
</detail>
<detail type="issue"><caption>no.</caption>
<number>2</number>
</detail>
<extent unit="pages"><start>169</start>
<end>178</end>
</extent>
</part>
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<identifier type="ark">ark:/67375/M70-4M7MMP83-H</identifier>
<identifier type="DOI">10.1177/0957155805053705</identifier>
<identifier type="ArticleID">10.1177_0957155805053705</identifier>
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Léo Ferré: Modernism, Postmodernism and the Avant-Garde in Popular Chanson

Léo Ferré: Modernism, Postmodernism and the Avant-Garde in Popular Chanson

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