All language subtitles for Todas las mananas del mundo(1991)_track6_eng

Let out the sound,
as from an open mouth...

Your fingers are like sticks!

I cannot follow you,
you do not listen.

You're rushing!

Resume, marking the first beats.

Resume from the beginning.

Stop! The master made a sign.

The master wishes to speak.

Speak, master...

All notes must finish...

...like dying.

ALL THE MORNINGS OF THE WORLD

You heard him. Let die.

"To die"... Your bowing is too strong.

Remember that each stroke of the bow

is like people infinitely loved

who are fading away
into the shadows.

Suddenly, unexplicably,
we lose sight of them

and so our eyes are filled with tears.

You're playing in a very singsong way!

Music is like a hunt.

One must accelerate suddenly,

appearing before the stag
he intends to kill...

...And articulate firmly
when he devours it.

One ought to retain the moment
before the pleasure.

The purpose of music
is to transport the soul.

To make you lose senses!

Emotion!

The aim is sweetness.

No!

No!

The shadows...

Bring me...

Bring me...

In the shadows...

What is it you wish, Master?

A viol! Bring me a viol!

- The master is going to play!
- A viol for Monsieur Marais!

Give him yours. Move aside!

- Leave, all of you!
- Leave.

Leave!

No, Brunet. Let them stay!

I ask for all of you to stay.

Marin Marais is going to give his lecture.

Sit down!

Close the shutters!

Austerity!

He was only austerity and wrath.

He was as mute as a fish.

I am an impostor...

No, master!

...and I am worthless.

No...

I ambitioned nothingness...

...I reaped nothingness...

...sugar...

...gold...

...and shame.

Him, he was music...

He observed the whole world
with the bright flame of the torch

that we light for the dying.

I have not fulfilled his desire...

I had a master...

...and the shadows have taken him.

His name was
Monsieur de Sainte Colombe.

In the spring of 1660,

an afternoon,

he went to the bedside of a friend,
the dying Mr. Vauquelin

who had expressed his desire to die

with a little Puisey wine
and some music.

That same spring afternoon

Madame de Sainte Colombe died.

Monsieur...

It's Madame...

He was inconsolable
because of his wife's death.

He loved her.

It is in that occasion that he composed
"The Tomb of Sorrows".

My master was a viol teacher.
An instrument which, at that time,

woke up great enthusiasm
in London and Paris.

He was a reputed teacher.

He was a Jansenist.

He had two daughters.

Toinette! Madeleine!

Monsieur de Bures is waiting for you!

Mr. de Bures was a member of
the Port-Royal society, in Paris.

He taught them reading, arithmetic,

the Bible, the rudiments of Latin.

Mr. de Sainte Colombe himself
had educated his daughters

in the notes and the keys.

♪ There was once a young girl, ♪

♪ Noble of heart, ♪

♪ Charming and pretty, ♪

♪ And of great worth. ♪

♪ Against her will ♪

♪ she was made a nun. ♪

♪ This doesn't please her at all, ♪

♪ So she lives in great pain. ♪

♪ Against her will ♪

♪ she was made a nun. ♪

♪ This doesn't please her at all, ♪

♪ So she lives in great pain... ♪

The memory of his wife was not fading.

Her image was constantly before him.

Her voice was still whispering in his ears.

Little by little,
he battened down his door.

He sold his horse...

and withdrew into music.

Toinette, come back!

Cloistered in his cabin,
he'd practice up to fifteen hours a day.

He devised a new way

to hold the viol between the knees.

He also added a seventh string
to the instrument,

in order to give it a deeper dimension

and a more melancholic tone.

He perfected the technique of the bow,

by lightening the weight of the hand

and pressing only on the horsehair

with the index and the middle finger.

Which he did with an amazing virtuosity.

Côme Le Blanc said of him
that he could imitate

all the modulations of the human voice...

From a young woman's sigh...

to an old man's sob.

From Henry of Navarre's war cry...

to the soft breath of a sleeping child.

Mr. de Sainte Colombe
feared that his daughters

wouldn't be properly educated

by a man who was single.

He was stern,
but could not harm them.

He'd lock them up in the cellar,
where he'd forget them.

Each rage of her father
would leave Madeleine

like a capsized ship
which would sink unexpectedly.

His joys were somewhat mysterious.

He was full of confusion.

Where's mummy?

You must be good, hardworking.

I miss your mother.
She was a piece of joy!

I'm no talker.

Your mother could talk...

and laugh.

I take no pleasure in language

nor in the company of people or books.

But I love you both,

and that's enough.

Their father saw less and less of them.

He remained in his cabin,
sitting on his stool.

Sometimes airs and laments
would arise under his fingers.

When his mind was obsessed by them,
he opened his red music book

and jotted them down
to be rid of them.

When Madeleine was big enough
to learn the viol,

he taught her the positions,
the chords, the arpeggios, the ornaments.

Me too.

No, please...

Neither the food deprivations
nor the cellar confinements

could overcome Toinette's frustration

of being too small to play the viol.

No, I don't want...

One morning, before dawn rose,
Mr. de Sainte Colombe got up.

He followed the Bièvre valley
to the river Seine,

then went on to the Dauphine bridge.

He and Monsieur Pardoux discussed all day.

For Easter, in the garden,

Toinette discovered a strange bell

wrapped like a ghost.

For years they lived peacefully for music.

Then the time came
when, once a month,

Madeleine put a cloth between her legs.

Toinette outgrew her small viol.

The Sainte Colombes' three-viol
concerts were famous.

Regulars at the musical meetings,

Mr. Caignet and Mr. Chambonnières

praised them vigourously.

They were a fad with the nobility.

What a remarkable musician!

He plays better than I do.

Yes... He does.

He plays better
than the king's own violist.

Monsieur,
you live in poverty and silence.

People envy your wildness.

They envy the green woods above you.

Monsieur...

As you are a master
in the art of the viol,

I have been ordered to invite you
to play at the court.

His Majesty has indicated
the desire to hear you.

If he is pleased,

he will appoint you as chamber musician.

If so, I'll have the honour
of playing at your side.

Monsieur...

I have trusted my life
to a few grey wood boards

lost in an orchard.

To...

To the sound
of the seven strings of a viol,

to my two daughters.

My memories are my friends.

My court is made of willows, running streams,
whitebait and elderflowers.

Tell His Majesty his court
does not need a wild man.

Monsieur,
you do not understand my request.

I belong to the King's Chamber.

His Majesty's wish...

is an order!

I am so wild, Monsieur,
that I think I belong only to myself.

Tell his Majesty he was too generous
when he glanced at me.

I'll be back!

His Majesty,

his court, his musicians...
We will come back.

Service of the King!

Service of the King!

The frustration of not being obeyed
increased the impatience of the king

to hear the musician playing before him.

Thus he sent Mr Caignet
and Father Mathieu

hoping that my master
would change his mind.

You hide your name among turkeys,
hens and small fish!

You bury in dust and proud misery

a talent God bestowed on you.

Your reputation is known
by his Majesty and the court.

It is time to burn your coarse clothes

and accept his kind deeds.

To purchase a periwig.

Your ruff has gone out of fashion!

It is I who has gone out of fashion!

You'll thank His Majesty.

To the gold he offers me,

I prefer the light of sunset on my hands.

I'd rather wear these coarse clothes
than your curly wigs!

I prefer my hens to the royal violins,

and my pigs to yourselves!

Monsieur!

Leave me!

Leave me!

And speak no more of it!

You're mad!

You will rot in your mud,

rot in the horror of the suburbs,

rotten like a plum in your orchard.

Your palace is smaller than a cabin

and your audience is less than a person.

As it happened,
the King liked such an answer.

He said the musician to be left alone

but ordered the courtiers

not to attend to these music meetings

because my master
was a sort of recalcitrant

and had consorted with
the Port-Royal's Jansenists

before the king dispersed them.

The years went by.

The Sainte Colombe gave only
one concert every season.

He jotted down less and less new airs

in his red book.

He didn't want them printed

nor brought before public judgment.

He said these were improvisations
written in the spur of the moment

and to which that moment
served them as an excuse.

He often thought of his wife,

of her liveliness in all things,

of her shrewd advice,

of her hips,

of her belly that gave him two girls

who were now women.

One day he dreamt that he entered
and sojourned in dark water.

He had renounced everything
he loved on earth.

When he awoke,

he recalled his "Tomb of Sorrows"

composed when, one night,
his wife left him

to embrace death.

He also felt very thirsty.

So he played "The Tomb of Sorrows".

He did not need to consult his book.

His fingers placed themselves
on the instrument.

This visitation was not the only one.

My master, after fearing he was going mad,

considered that if this was madness,
it made him happy.

If this was truth, it was a miracle.

His wife's love surpassed his,

for it reached him from so far,

and yest he was unable to return it.

He asked Mr Baugin,

a friend who belonged
to the painters' guild,

to paint the writing table

where his wife had appeared.

He hid the painting
and put it in his room.

He told no one of the visions.

It seemed to him that
his anger was fading.

Deep inside,

he felt that something
had come to an end.

And then a gawky
seventeen year old boy,

as red as a cock's old comb,

came knocking on the door.

It was me.

Monsieur...

My name is Marin Marais.

My father is a shoemaker.

Due to my voice,
I was recruited at the age of six,

by the choir of the church
at the gate of the Louvre palace.

For nine years I wore the surplice
and the red robe

and I sang.

For nine years I sang
in the king's choir

at the matins offices,
at the services,

high masses and vespers.

But then, hair grew
on my legs and cheeks,

and my voice broke.

I was thrown out,
as my contract stipulates.

For the last time,
I pushed the great gilded door.

I ran down the steep street

down to the river bank

and I wept.

The Seine was shining with sunlight.

Delalande, my dormitory mate,
still had his voice,

and so he stayed.

I felt abandoned,

my thick penis dangling between my thighs.

Following the river bank,
I went home to my father's.

There, I locked myself into a room

above the cobbler's workshop.

As usual,

my father was endlessly
hammering and scraping.

The hammer blows made my heart jump

and filled me with disgust.

I hated the smell of urine
in which the skins were cured.

The squeaking leather stool.

My father's shouts...

Everything to me became unbearable.

I said to myself:
I want to leave my family.

I'll get even for my lost voice.

I want to become a renowned violist.

I went to Monsieur Caignet,
who kept me nearly a year.

Then he sent me to Monsieur Maugars

who asked me if I'd heard
of your seventh string,

...of your reputation.

Monsieur Maugars trained me
for six months

and judged me so good a violist...

...that he sent me here,

and to give you this letter.

Let him play! That's all!

Let him improvise on the "Folies"

Monsieur, could you improvise
on "The Folies of Spain" ?

Yes.

I don't think I'll take you on
as a student.

Can you tell me why?

You make music, Monsieur,

but you're not a musician.

Wait, father! Wait!

Maybe Mr Marais has in mind
an air of his own.

Yes.

That was good, father.

Very good.

What do you say?

Come back in a month.

Then I'll tell you if you're worthy
of being among my students.

When I arrived for my first lesson,

it was Madeleine
who opened the door to me.

Her collar was unlaced.

I'm putting my hair up
because I'm going for a swim,

This is the cabin
where my father plays.

Monsieur, you didn't play badly.

Your posture is good.
You play with feeling.

You bow is deft.
Your left hand jumps like a squirrel

and slides on the strings like an eel.

Your ornaments are clever...

...often charming, but...

I heard no music.

You will help the dancers,

or play for singers on stage...

What you'll write will please,

and will never offend anyone.

You will earn a living.

You will live surrounded by music

but you won't be a musician.

Can your heart feel?

Do you have any idea
what sounds are meant for

when it is no longer about dancing
or pleasing the king's ears?

Yet, your broken voice
is what moved me.

I'll take you on for your grief...

not for your skills.

Months went by.

One very cold day,

we could not work much
in the cabin.

Our fingers were numb.

We took refuge in the kitchen.

This wine warms my chest and belly.

Listen, Monsieur.

Do you know Baugin, the painter?

No, I don't.
Nor any other painter.

He once did a painting for me.

Do you see?

It's the corner of my writing desk

in my music room. Do you see?

I do.

Let's pay a visit to Mr Baugin.

Do you hear, Monsieur?

How the aria stands out over the bass.

All that Death would steal
remains in its night.

It is all the worldly pleasures
bidding us farewell as they leave.

Listen to the sound of Mr Baugin's brush.

You have learned the technique of the bow.

What are you mumbling about?

I was comparing my viol's bow
to your brush.

These are just words.

I like gold.

Dead things pay well.

Monsieur, the secret of our art
is surprise.

Monsieur, seriously,
do you think that gold stinks?

Monsieur, you have learned
how to emphasize the ornaments.

But it was also a chromatic descent!

No.

Maybe true music is linked to silence?

No.

It's late. My feet are cold.

I bid you good night.

Go on!

Go on!

Go on!

Go on, monsieur!

Now let us hear some emotion.

He's furious for yesterday at the chapel,
I played before the king.

- Go on.
- Go on, Marin.

Look, one of the guards noticed
that my viol was burning.

He signaled it to me with his pike.

- Play!
- Play!

Look.

No!

Monsieur, you could at least give
a reason for what you have done.

Monsieur, what is an instrument?

An instrument is not music.

This will buy you a circus horse
to entertain the king.

Listen to my daughter's woeful sobs.

They're closer to music
than your scales.

Be gone for good!

You are a great tumbler.

Plates fly over your head
and you never loose balance,

but you are a small time musician.

You should play in Versailles...
I mean, on the Pont-Neuf...

...for drinking money.

Marin!

Marin!

I'll teach you everything
my father taught me.

Your father is a wicked man.

No.

No.

I came back.

Secretly we would go to Madeleine's room.

Madeleine de Ste Colombe
taught me all her skills.

Above all, she showed me
how to slide under the cabin

so I could hear what ornaments and chords

the master now favoured.

When I turned 20,
in the summer of 1676...

I announced Mademoiselle de Ste Colombe

that I had been hired at the court
as "Royal Musician".

One day a storm broke
when we were hiding.

Stop, father!

Father, I love him!

The storm clouds dispersed
as quickly as they were violent.

Soon the long chairs
were back in the garden.

I never want to see you again, Monsieur.
This is the last time!

You won't.

Do you wish to marry my eldest?

It's too soon for me to give my word.

Toinette went to the music shop.

She is working with the young Pardoux
and will be back late.

I don't know if
I'll give you my daughter.

You've obviously found
a lucrative position.

You publish clever compositions...

embellished with ornaments
stolen from me.

No matter...

These are mere black or white notes
printed on paper.

There is something else...

Something worthier...

It is the passionate life
that I lead...

You live a passionate life?

Father, do you live a passionate life?

Monsieur, there's a question
I've wanted to ask you for a long time...

Why don't you publish your melodies?

I don't compose.
I've never written anything.

Every Easter,

the Port Royal gentlemen
sent my master a carriage

so he could play at the Ténèbres service

where tall candles
representing God's name

are blown out one by one.

Then Mr de Ste Colombe couldn't help
remembering his wife

and the sorrow at having been absent
when death took her.

Nothing could diminish
his love for her.

It seemed to him that
it was the same love.

Every night was the same night.

Every chill was the same chill.

Now we must go home.

I wish I could offer you
some crushed peaches.

I cannot.

I cannot.

I don't know how to say this, Madame...

Those past twelve years
have not cooled our bedsheets.

I came less often.

Madeleine trusted me with everything.

In strictest secrecy she confided
that her father had composed

the loveliest melodies
in the whole world.

He played them for no one.

There was "The Boat of Charon",
"The Tomb of Sorrows", "The Weeping"...

Manon! Manon!

- Yes?
- Madeleine,

our scales by thirds, our arpeggios.

Yes, father.

What about me ?
How do you like me?

Do you want some brew?

You've put too much mint.

The chapel was lovely...
this morning.

I got it!

I got it!

My body's wearied of you.
I'm leaving.

I'm leaving you because
I have seen other faces.

Life is as beautiful
as it is ferocious.

Stop talking and go away!

Madeleine grew so weak,
she took to bed.

I'd made her pregnant.

She was delivered of a stillborn boy.

Madame,
how can you appear here after death?

Where is your boat?
Where are my tears when I see you?

Aren't you just a dream?

Am I mad?

Don't worry, my love.

Our boat long ago sank
and rot in the pond.

The other world is as leaky as a boat.

It hurts me that I can't touch you.

There is nothing to touch but wind.

Do you believe there is no pain
being only wind?

Sometimes the wind
brings music to us.

And sometimes, the light brings you...
apparitions.

Madeleine fell seriously ill.

Toinette and I chose a meeting spot
where she would tell me about her sister.

He said his father made them
according to his instructions.

I stopped coming.

In time, I lost touch
with the Sainte Colombe.

Toinette married with the young Pardoux,

who is still my instruments maker

and gave him five children.

When Caignet died,

I was appointed
"Ordinary of the King's Chamber".

I married Catherine d'Amicourt.

The year that Mr de Lully asked me
to conduct his orchestras,

I used "The Dreaming Girl" theme

which I had composed for
Madeleine many years earlier.

Mr de Sainte Colombe came to her bedside.

He tried hard,
but found nothing to say to her.

Father...

Would you like to please me?

I would like you to play

"The Dreaming Girl"
which Marin wrote for me.

Yet, soon afterwards,

my master sent Toinette
to fetch me in Versailles.

He ordered me to come at once
to his dying daughter's bedside.

No.

My father won't appear.

You will hardly recognise Madeleine.

She can hardly walk.

My father spoonfeeds her.

I don't know why, but...

He insists that she eat crushed peaches.

You're marvelously beribboned,
Monsieur...

...and fat.

Thank you for coming from Versailles.

I would like you to play the melody
you once wrote for me..

...and which was published.

You mean "The Dreaming Girl"?

Yes.

You know why?

Yes.

Is the viol still...?

Yes, it is.

Your cheeks are hollow.
Your eyes, too.

Your hands are terribly thin.

This is a very delicate observation
coming from you.

Your voice is deeper than it once was.

Yours is higher.

Is it possible that
you don't feel any grief?

You've lost...

...so much weight.

I don't recall...

I don't recall any recent grief.

Are you mad at me?

Yes, Marin.

You still hate me for what I did?

Not just you, Monsieur.

I also resent myself...

For letting myself go dry,
first by my memory of you,

and then by sheer sadness.

I'm now but a bag of bones!

You were never fat.

When I wrapped my hands
around your thigh,

my fingers touched.

You're so witty!

To think that I wanted to be your wife!

Your love for me

was thinner than my gown's hem.

That's a lie!

Please play.

Play.

I'd rather you played.

Slowly...

Slower.

He didn't want to be a shoemaker...

He didn't want to be a shoemaker...

All the mornings of the world
do not return.

Not only didn't he speak for six months,

but my master never touched his viol.

It was the first time
he ever felt that disgust.

After hearing of Madeleine's death,

I would wake up anxious each night.

I recalled endlessly the titles that
she had secretly trusted me with:

"Hades", "The Boat of Charon",

"The Weeping", Tomb of Sorrows".

I was horrified that my master
wanted his works to die with him.

I couldn't stand living without
hearing it all... if only once.

I wanted those works.

In any weather, I'd leave Versailles.

At night I'd go to the Bièvre valley.

I followed the ancient trail
Madeleine had shown me long ago.

For three years, each time, I wondered:

"Will he play these melodies tonight?"

"Will this be the right night?"

He never did.

There were long silences during which
he was talking to himself.

I heard him dusting his viol
or the table.

Where is your boat?
Where are my tears?

At last, in the year 1689,
in the night of the 23rd day,

it was icy cold,
the ground was frozen.

The wind stung
my eyes and my ears.

Not a cloud in the sky.

I'll remember for as long as I live.

I said to myself:

it's a pure crisp night,

with a full moon
in the cold ageless sky.

I hear my horse galloping on the ground:

perhaps tonight is the night.

My rear was cold,
my penis shrivelled up and frozen.

Have some crushed peaches...

I speak only to aged shadows
who no longer visit...

If only there were someone alive
besides me who loved music!

We could talk...

...and then I could die.

Who is that sighing
in the dark silence?

A man fleeing palaces seeking music.

What do you seek in music, Monsieur?

I seek sorrows and tears...

Sit down.

Monsieur, may I ask you
for one last lesson?

Monsieur,

may I attempt a first lesson?

I wish to speak...

Music simply exists to say things
that words cannot say.

Which is why it is not entirely human.

So...

You've found out that music
is not for the king?

I've found out it's for God.

Well, you're wrong...

...for God speaks.

For the ear?

Things I can't speak of
are not for the ear.

For gold?

For glory?

For silence?

Silence is only the opposite of language.

For rival musicians?

No.

Love?

No.

The sorrows of love?

No.

Abandon?

No and no.

For a wafer given to the invisible?

Not that either.

What's a wafer?

You can see it, taste it, eat it.

It's nothing.

I give up, Monsieur.

I give up.

I think one must leave
a drink for the dead.

You're getting warmer...

A refreshment for those
who've run out of words...

...for the shadow of children...

...to muffle the hammering of shoemakers.

For the state in which we are
before we're born,

before we breathed...

...or saw light.

Monsieur...

...a moment ago you heard me sigh.

Soon I'll die and
my art will die with me.

I'll only be missed
by my hens and geese.

I'll trust you with a couple of arias
that can wake the dead.

Let's begin.

We'll need a drink.

We'll also need the viol
of my late daughter...

Madeleine.

I'll play "Tomb of Sorrows".

None of my students
had enough ear to hear it.

You'll accompany me.

Monsieur.

Monsieur.

Thus we played
from "The Tomb of Sorrows",

a piece called "the Weeping".

I'm proud to have been your teacher.

Would you mind playing for me

that air my daughter loved?

English by Fingersmaster
Correction by Bloomsbury, 2025