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‘Les sanglots longs The poem is in fact <\/span>During the 1970s, <\/span>During the 1960s After relocating to What had began as The Long Sobs When live theatre returns <\/p>\n <\/span>https:\/\/www.vox.com\/2014\/6\/6\/5785954\/how-paul-verlaine-helped-the-allies-pull-off-d-day Les sanglots longs<\/p>\n Des violons<\/p>\n De l’automne<\/span><\/span><\/div>\n Then, on June 5, to signal that sabotage efforts should begin, the next three lines were sent:<\/p>\n Blessent mon coeur<\/p>\n D’une langueur<\/p>\n Monotone<\/span><\/div>\n Paul Verlaine. His poem <\/span>Chanson d\u2019Automne<\/em> (1866)<\/span><\/div>\n Translation<\/i> Joe O’Donnell \u2013 The Long Sobs by Pete Clemons ‘Les sanglots longs \/ des violons \/ de l’automne’ (‘Long sobs of autumn violins’) is a poem by French poet, Paul Verlaine (1844\u20131896), and was first published during 1866. During … Continue reading
\n\/ des violons \/ de l’automne’ (‘Long
\nsobs<\/span><\/em> of autumn
\nviolins’<\/span><\/em>) is a poem by French poet, Paul Verlaine (1844\u20131896), and
\nwas first published during 1866. During World War 2 lines from the poem were
\nused to send messages from the Special Operations Executive to the French
\nResistance about the timing of the forthcoming invasion of Normandy, otherwise
\nknown as the D. Day landings. They were used as a code if you like.<\/span><\/span><\/p>\n
\nreferred to during the 1962 epic war movie ‘The Longest Day’. And local
\nresident and violinist, Joe O’ O’Donnell, has long been intrigued by this poem.
\nSo much so that it is featured in Joe’s latest musical project. More than that,
\nJoe has made the whole project relevant to the City of Coventry.<\/span><\/p>\n
\nwhen Joe was a member of folk rock band East of Eden. One tour saw East of Eden
\nsupporting the Climax Blues Band. East of Eden were instructed to plug
\nthemselves into the Climax Blues Band’s back line equipment. And Joe found
\nhimself plugged into sax player, Colin Cooper’s, Leslie Cabinets. This was not
\nwhat he was used to and for Joe it was a revelation. From behind him and
\nthrough the monitors the sound was astonishing. It felt as though he was inside
\nlarge rotating cabinets.<\/span><\/p>\n
\nand 70s Leslie Cabinets were incredibly popular and very difficult to acquire.
\nTogether with the Hammond Organ they were the perfect fit. And these
\ninstruments featured on many great albums from that period. But it wasn’t until
\nJoe moved to Guernsey during the 1980s that the opportunity arose for him to
\nbuy these prized cabinets. Joe noticed an advert for a Leslie. But when he
\narrived to buy it, the seller offered him a second. They were in almost mint
\ncondition and hardly played. Joe adapted them for violin and, in Joe’s words,
\n‘there is not a sound like it’.<\/span><\/p>\n
\nCoventry during the 1990s Joe was quickly get to know fellow musicians around
\nthe city. After filling in on a gig Joe ended up at, of all places, Foleshill
\nRoad Fire Station. He had been invited to play his violin there. But what
\nstruck Joe was this incredible feeling of ambiance from the building. That then
\nled him, sometime later, to record the sound of his violin through those Leslie
\nCabinets at 3 locations around the city. The Guildhall, the Roman Fort at
\nBaginton and the New Cathedral. He fed in on the natural acoustics and ambience
\nof those settings and drew that into the Leslie cabinets and back out again.
\nWhile at the Cathedral the Long Sobs poem came back to Joe. It just seemed to
\nfit in with feel of it all. And the Long Sobs became central to the entire
\nproject.<\/span><\/p>\n
\nan avant garde project has, over time, evolved into a suite of music. The
\noriginal recordings have now been overdubbed with authentic war time sounds
\nwhich would have been heard during the Coventry blitz. These include aircraft
\nengines, ambulance bells, Ack Ack guns, air raid warnings. Joe even discovered
\nrecording’s of the original bells from the old Cathedral Tower. And these would
\nhave been heard prior to the cathedrals destruction. And all of these sounds have
\nbeen mixed into the recording process.<\/span><\/p>\n
\nproject has been, and still is, a work in progress for a number of years.
\nRecently, however, it has began to gain traction. The arts council have shown
\nan interest. And have been most helpful by accepting a bid for a development
\ngrant. This broad based suite of music runs in at around an hour and a quarter.
\nIt is similar in feel to an orchestral piece in that it is built up of several
\nmovements. It takes you on an emotional journey.<\/span><\/p>\n
\nthere are plans for an ambitious interactive concert. The hope is that Joe’s
\nband, Shkayla, are accompanied by an on screen orchestra and choir. Adding to
\nthe overall audience experience their would also be narration and sound
\neffects. And <\/span>penciled<\/span> in as the setting for this spectacle is the Albany
\nTheatre in Earlsdon. Watch this space.<\/span><\/p>\n<\/p>\n<\/a><\/div>\n
<\/a>
On June 1, to tell the resistance to stand by for further alerts, the BBC transmitted the first three lines:<\/p>\n
<\/span><\/div>\n
<\/span><\/div>\n<\/a><\/div>\n
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Des violons
De l\u2019automne
Blessent mon c\u0153ur
D\u2019une langueur
Monotone.
Tout suffocant
Et bl\u00eame, quand
Sonne l\u2019heure,
Je me souviens
Des jours anciens
Et je pleure;
Et je m\u2019en vais
Au vent mauvais
Qui m\u2019emporte
De\u00e7\u00e0, del\u00e0,
Pareil \u00e0 la
Feuille morte.<\/p>\n
The prolonged sobs of the violins
of autumn
wound my heart with their
monotonous languor.
All breathless and pale,
when the hour sounds,
I remember former days
and I cry;
I am carried on an ill wind
which tosses me
here, there,
like a dead leaf.<\/span><\/div>\n
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