Six songs composed in 1920 by the thirteen year old Constantin Regamey (1907-1982) after his dramatic journey from Kiev to Warsaw astonish us by their variety and maturity. The manuscripts of these early works are at present preserved in the composer's archive (Fonds Constantin Regamey) in the Bibliotheque Cantonale et Universitaire de Lausanne. With one exception (a song set to an anonymous text in Polish), they are set to texts by Russian neo-symbolist poets, which were written and published around 1910. This paper discusses some characteristic features of Regamey's settings: different harmonic and ostinato devices in the piano part, a frequently employed declamatory style in the vocal line, and traces of impressionistic influences as well as the context of poems chosen by the young composer. Textual and musical analysis allows us to presume that the various narrators of these songs is the alter ego of the composer himself - a youth, whose internal universe embraces a slightly ironic vision of the transforming power of the poetic imagination (Nikolai Ghumilov's 'Mechti'), the decadent and naive eroticism (Igor Severyanin's 'Malenkaya eleghiya'), the sense of exile due to an historical catastrophe or the image of metaphysical pessimism (Marina Tsvetayeva's 'Ni zdes', ni tam'), and the secret Rosicrucian path towards enlightenment (Vyacheslav Ivanov's 'Molchanye', Taina pevtsa').
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