Charles Aznavour wrote and released "Hier encore" in 1964 with music composed by his French-Armenian collaborator (and eventual brother-in-law) Georges Garvarentz, with whom he wrote more than 100 songs over many years. In combination with "La bohème" the following year, Aznavour thereby nailed two prevalent perspectives on youthful days: nostalgia and regret. "La bohème" displayed nostalgia. "Hier encore" delivered regret. Identifying Aznavour’s distinctive role in stretching the emotional range of “chanson,” Jean Cocteau, who directed him in a 1960 film “Le testament d’Orphée,” commented: “Before Aznavour, despair was unpopular.” With "Hier encore," that changed.
“Hier Encore” is a lament for wasted youth. The simple, two-word title must have occasioned considerable thought in the choice and sequence of words. The literal translation is “Yesterday Again” but it is commonly translated as: “Just Yesterday,” “Only Yesterday,” or “Not So Long Ago.” The English language version covered by many artists, “Yesterday When I Was Young,” stretched the meaning even further but neatly sidesteps the ambiguity of the French title. None of these is completely satisfactory to express the “meaning” of the song. This may be appropriate since great poetry stimulates multiple interpretations.
The French word “encore” normally means “again,” “more” or “still.” In a theatrical context, audiences shout “encore” for “again” or “more.” Aznavour's song, however, is not asking for “more.” On the contrary, it laments the lingering and immutable quality of a past that is done but not finished since it comprises decisions that still haunt the present and will continue to do so into the future. The placement of the words in the title also affects their meaning. “Hier Encore” strongly implies “Yesterday Still” while “Encore Hier” would emphasize “Again/More Yesterday.” The title also carries a sardonic quality because the text makes clear that the speaker is of a “certain age” and his twenties were not “only” or “just” yesterday but quite some time ago and those years were wasted in youthful misadventures. There’s no going back, there’s little time left, and yesterday is done but its consequences and regrets linger. The translation "Only Yesterday" seems to capture all of these diverse but complementary sentiments.
“Hier Encore” is a lament for wasted youth. The simple, two-word title must have occasioned considerable thought in the choice and sequence of words. The literal translation is “Yesterday Again” but it is commonly translated as: “Just Yesterday,” “Only Yesterday,” or “Not So Long Ago.” The English language version covered by many artists, “Yesterday When I Was Young,” stretched the meaning even further but neatly sidesteps the ambiguity of the French title. None of these is completely satisfactory to express the “meaning” of the song. This may be appropriate since great poetry stimulates multiple interpretations.
The French word “encore” normally means “again,” “more” or “still.” In a theatrical context, audiences shout “encore” for “again” or “more.” Aznavour's song, however, is not asking for “more.” On the contrary, it laments the lingering and immutable quality of a past that is done but not finished since it comprises decisions that still haunt the present and will continue to do so into the future. The placement of the words in the title also affects their meaning. “Hier Encore” strongly implies “Yesterday Still” while “Encore Hier” would emphasize “Again/More Yesterday.” The title also carries a sardonic quality because the text makes clear that the speaker is of a “certain age” and his twenties were not “only” or “just” yesterday but quite some time ago and those years were wasted in youthful misadventures. There’s no going back, there’s little time left, and yesterday is done but its consequences and regrets linger. The translation "Only Yesterday" seems to capture all of these diverse but complementary sentiments.
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Hier encore J’avais vingt ans, Je caressais le temps Et jouais de la vie Comme on joue de l’amour, Et je vivais la nuit Sans compter sur mes jours Qui fuyaient dans le temps. J’ai fait tant de projets Qui sont restés en l’air, J’ai fondé tant d’espoirs Qui se sont envolés, Que je reste perdu, Ne sachant où aller, Les yeux cherchant le ciel, Mais le cœur mis en terre. Hier encore J’avais vingt ans Je gaspillais le temps En croyant l’arrêter Et pour le retenir Même le devancer Je n’ai fait que courir Et me suis essoufflé. Ignorant le passé, Conjuguant au futur, Je précédais de moi Toute conversation Et donnais mon avis Que je voulais le bon Pour critiquer le monde Avec désinvolture. Hier encore J’avais vingt ans Mais j’ai perdu mon temps À faire des folies Qui ne me laissent au fond Rien de vraiment précis Que quelques rides au front Et la peur de l’ennui Car mes amours sont mortes Avant que d’exister Mes amis sont partis Et ne reviendront pas Par ma faute j’ai fait Le vide autour de moi Et j’ai gâché ma vie Et mes jeunes années Du meilleur et du pire En jetant le meilleur J’ai figé mes sourires Et j’ai glacé mes pleurs Où sont-ils à présent ? À présent, mes vingt ans ? |
Only yesterday I was twenty years old. I enjoyed time I played with life Like we play with love. And I lived nights Without counting my days That faded in time. I made so many plans That remained in thin air. I had so many hopes That flew away. So I remain lost Not knowing where to go Eyes scanning the sky But heart fallen to earth. Only yesterday I was twenty years old I wasted time Thinking to stop it And to hold it back Or even get ahead of it I did nothing but run And ran out of breath Ignoring the past, Thinking about the future, I jumped ahead in Every conversation. And I spoke my mind How I wanted to do good By criticizing the world Casually. Only yesterday I was twenty years old. But I wasted my time Doing foolish things That basically left me Nothing really specific Except wrinkles on my brow And fear of boredom. Because my romances died Before even existing. My friends have gone And will never return. It’s my fault--I’ve created a void Around myself. I’ve wasted my life And my youthful years. From the best and the worst While throwing away the best. I fixed my smiles And I froze my tears. Where are they now? Now--my twenty years? |
Yesterday When I Was Young
Herbert Kretzmer
English journalist and lyricist Herbert Kretzmer was a close collaborator with Charles Aznavour. Kretzmer (1925-20) was born in South Africa of emigré Lithuanian Jewish parents. He moved to London in 1954 and worked as a journalist and lyricist. After Aznavour released "Hier encore" in 1964, Kretzmer wrote an English language adaptation named “Yesterday When I was Young.” In 1969 it became a huge hit in America for country singer Roy Clark of Hee Haw fame who took it to the #9 position on the "Hot Country Singles" chart and even earned a spot on the "List of One Hit Wonders." In 1970, Aznavour's own English language version was a hit single release in Europe and the song was subsequently covered by a long list of artists. When it comes to vocal artistry, none surpasses Aznavour himself in expression, articulation, modulation and phrasing. Combined with Kretzmer's adaptation, it's a winner.
Kretzmer's lyrics for Aznavour's song differ from the French original but are faithful to its spirit and represent an outstanding interpretation. Aznavour himself once commented that it was even more poetic than the original. The two versions are remarkably isometric in poetic structure, each with 7 stanzas of 7 or 8 lines. Curiously, the French version proceeds at a more rapid pace and feels rushed, clocking only 2m22s compared with the more leisurely pace of the English version at 3m40s. Neither the French nor the American version exhibits significant narrative or melodic progress during the course of the song. Both songs are an extended lament in old age about disappointments and bad decisions during life with each verse accounting for a segment of the sad story. Things began with high hopes and living life to the fullest but ultimately missed what life was really all about. The two versions diverge in their portrayal of past mis-steps but by-and-large they depict mirror images of a wastrel’s life. Regret arises from failed projects, lost relationships and the rapidly approaching end of life. Melodically, stanzas are similar with some uplift in the chorus and a more somber tone in the outgoing outro.
Kretzmer's lyrics for Aznavour's song differ from the French original but are faithful to its spirit and represent an outstanding interpretation. Aznavour himself once commented that it was even more poetic than the original. The two versions are remarkably isometric in poetic structure, each with 7 stanzas of 7 or 8 lines. Curiously, the French version proceeds at a more rapid pace and feels rushed, clocking only 2m22s compared with the more leisurely pace of the English version at 3m40s. Neither the French nor the American version exhibits significant narrative or melodic progress during the course of the song. Both songs are an extended lament in old age about disappointments and bad decisions during life with each verse accounting for a segment of the sad story. Things began with high hopes and living life to the fullest but ultimately missed what life was really all about. The two versions diverge in their portrayal of past mis-steps but by-and-large they depict mirror images of a wastrel’s life. Regret arises from failed projects, lost relationships and the rapidly approaching end of life. Melodically, stanzas are similar with some uplift in the chorus and a more somber tone in the outgoing outro.
Kretzmer also wrote English lyrics with Aznavour for "She," a song that was originally written in English as a theme song for a BBC show "The Seven Faces of Women." That show ran from 1974-78 and the song was a huge #1 hit on British charts. Aznavour released it in France 1974 under its French name "Tous les visages de l'amour" because the word "She" sounded like a slang word to French people. Elvis Costello later sang "She" in 1999 in the film "Notting Hill" starring Hugh Grant and Julia Roberts.
Kretzmer’s work with Aznavour on “Hier Encore” and “Tous Les Visages de l’Amour” (“She”) caught the ears of English producer Cameron Mackintosh (Cats, Phantom of the Opera, Miss Saigon). Kretzmer was primarily a "newspaper man" but also a part-time lyricist with remarkable gifts in the English language despite his childhood incubation in Yiddish and Afrikaans. In 1984, Mackintosh asked Kretzmer to write English lyrics for a little-known French musical "concept album" named Les Misérables written by Alain Boublil (lyrics) and Claude-Michel Schoenberg (music). It had premiered in 1980 for a short run in Paris at the Palais des Sports. Kretzmer’s adaptation expanded the show from 2 to 3 hours. Its songs, themes, characters and narrative created a global phenomenon. Les Miz opened in London in October 1985 and continues today as the longest-running West End musical in history. The success of the London show brought a 1991 Paris revival in French, and another one in Fall 2024 at the Chatelet Theater (reworked by Alain Boublil).
Kretzmer’s work with Aznavour on “Hier Encore” and “Tous Les Visages de l’Amour” (“She”) caught the ears of English producer Cameron Mackintosh (Cats, Phantom of the Opera, Miss Saigon). Kretzmer was primarily a "newspaper man" but also a part-time lyricist with remarkable gifts in the English language despite his childhood incubation in Yiddish and Afrikaans. In 1984, Mackintosh asked Kretzmer to write English lyrics for a little-known French musical "concept album" named Les Misérables written by Alain Boublil (lyrics) and Claude-Michel Schoenberg (music). It had premiered in 1980 for a short run in Paris at the Palais des Sports. Kretzmer’s adaptation expanded the show from 2 to 3 hours. Its songs, themes, characters and narrative created a global phenomenon. Les Miz opened in London in October 1985 and continues today as the longest-running West End musical in history. The success of the London show brought a 1991 Paris revival in French, and another one in Fall 2024 at the Chatelet Theater (reworked by Alain Boublil).
Since Aznavour's version of "Yesterday When I was Young" is superior to most, we feature it below.
Verse
Yesterday, when I was young
The taste of life was sweet
As rain upon my tongue
I teased at life as if it were
A foolish game
The way the evening breeze
May tease a candle flame
Verse
The thousand dreams I dreamed, The splendid things I planned
I always built alas
On weak and shifting sand
I lived by night and shunned
The naked light of day
And only now, I see
How the years ran away
Chorus
Yesterday, when I was young
So many drinking songs
Were waiting to be sung
So many wild pleasures
Lay in store for me
And so much pain
My dazzled eyes refused to see
Verse
I ran so fast that time,
And youth at last ran out
I never stopped to think
What life was all about
And every conversation
I can now recall
Concerned itself with me, me
And nothing else at all
Verse
Yesterday, the moon was blue
And every crazy day
Brought something new to do
I used my magic age
As if it were a wand
I never saw the waste
And emptiness beyond
Verse
The game of love I played
With arrogance and pride
And every flame I lit,
Too quickly, quickly died
The friends I made all seemed Somehow to drift away
And only I am left on stage
To end the play
Verse
There are so many songs
In me that won't be sung
I feel the bitter taste
Of tears upon my tongue
The time has come for me
To pay for yesterday
When I was young, young, young
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