Fauré’s Barcarolles and Nocturnes (both a lucky 13 in number) offer a comprehensive survey of an incomparable art. And listening through the Barcarolles from. No‚ I hadn’t heard of her before‚ either‚ but on opening my copy of Fauré’s Nocturnes I noticed that ‘G Thyssens-Valentin’ was credited with fingering the first . Product description. Barcarolles & Ballade op. 19 / Pierre-Alain Volondat, piano. This is a poor listening program, but an excellent CD.
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These sets were composed during several decades in his long career, and display the change in his style from uncomplicated youthful charm to a final enigmatic, but sometimes barcarollew introspection, by garcarolles of a turbulent period in his middle years. The composer disliked showy display, and the predominant characteristic of his piano music is a classical restraint and understatement. It’s perhaps the most difficult genre of all.
His works for the piano are marked by a classical French lucidity;  he was unimpressed by pianistic display, commenting of keyboard virtuosi, “the greater they are, the worse they play me.
The lyricism and complexity of his style in the s are evident in the Nocturnes nos.
Finally, the stripped-down style of the final period informs the last nocturnes nos. The nocturnes, along with the barcarolles, are generally regarded as the composer’s greatest piano works.
They are lyrical, generally impassioned pieces, sometimes anguished or wholly elegiac. Nectoux rates the first nocturne as one of the best of the composer’s early works. In the third nocturne, Morrison notes that the composer’s fondness for syncopation is at its gentlest, “nostalgia lit by passion.
An expansive melody with syncopated left-hand accompaniment leads into a middle section in which a dolcissimo theme metamorphoses into bursts of passion.
Piano music of Gabriel Fauré
The first theme barcarollrs and is followed by a short coda. By contrast with its predecessor, the fifth nocturne is more animated, with unexpected shifts into remote keys.
Cortot said, “There are few pages in all music comparable to these. A recapitulation of the principal theme takes the piece to its conclusion. The nocturne, the last piece in the set barcarklles eight, is shorter and less complex than its immediate predecessor, consisting of a song-like main theme with a delicate semiquaver accompaniment in the left hand.
In contrast with the ninth, however, the tenth is darker and badcarolles. The composer applies the A—B—A form less rigorously than in earlier nocturnes, and the opening bars of the piece recur intermittently throughout, eventually building to a fierce climax, described barcaroples Morrison as “a slow central climb There are deliberate dissonances and harmonic ambiguities that Pinkas describes as “taking tonality to its limit while still maintaining a single key.
Nectoux writes that along with the sixth, it is “incontestably the most moving and barcarrolles of the series. Barcarolles were originally folk songs sung by Venetian gondoliers. His son Philippe recalled, “he would far rather have given his Nocturnes, Impromptus, and even his Barcarolles the simple title Piano Piece no. The first barcarolle was dedicated to the pianist Caroline de Serres Mme.
The second barcarolle, dedicated to the pianist Marie Poitevin,  is a longer and more ambitious work than the first, with what Morrison calls an Italianate profusion of detail.
It opens with a simple phrase that is quickly elaborated into trills reminiscent of Chopin. The pianist Marguerite Long said that these ornaments “crown the theme like sea foam. One of the best-known of the set,  the fourth barcarolle is “tuneful, quite short, perhaps more direct than the others. Dedicated to Mme la Baronne V. Orledge calls it powerful, agitated and virile. Koechlin brackets the sixth and seventh of the set together as a contrasting pair.
Both pieces show “an economy of writing”, the sixth “more moderate and tranquil in expression”. Dedicated to Suzanne Alfred-Bruneau,  the eighth barcarolle opens in with a cheerful theme, which soon gives way to melancholy. The ninth barcarolle, in Koechlin’s view, “recalls, as in a hazy remoteness, the happiness of the past”.
The last of the set is dedicated to Magda Gumaelius.
Piano music of Gabriel Fauré – Wikipedia
Cortot compared the first impromptu to a rapid barcarolle, redolent of “sunlit water”, combining “stylised coquetry and regret”. Dedicated to Mlle Sacha de Vaure,  the second impromptu maintains an airy tarantella rhythm.
The bardarolles impromptu is the most popular of the set. His mature style is displayed in the central section, a contemplative andantewhich is followed by a more agitated section that concludes the work. Nectoux describes this impromptu as “a piece of sheer virtuosity celebrating, not without humour, the beauties of the whole-tone scale.
The last work in the published set was written before numbers four and five. It was originally a harp piece, composed for a competition at the Paris Conservatoire in His is too orderly, too logical a mind to be really capricious. bracarolles
Chopin’s influence is marked in the first two pieces. Orledge observes that the right-hand figuration at the end of No 1 is remarkably similar to that at the end of Chopin’s Waltz in E minor. Orledge writes that the second two valses-caprices are subtler and better integrated than the first faufe they contain “more moments of quiet contemplation and more thematic development than before. Philippe Dieterlen, No 4 to Mme.
They were not published untilbut they then became some of his most popular works. Copland considered them immature pieces, which “should be relegated to the indiscretions every young composer commits.
Fauré Barcarolles; Theme and Variations |
The theme is presented first in the higher and then in the middle register, before flowing evenly to its conclusion. The second romance, in A minor, an exuberant piece, has a strong semiquaver figure supporting the theme, and running high into the treble and low into the bass. After a lively display, the piece ends quietly. After gentle variation, it raure gently fades to silence fahre the end. The third section is an andante introducing a third theme.
In the last section, an allegro, a return of the second theme brings the work to a conclusion in which Nectoux comments, the treble sings with particular delicacy. The play of fleeting curves that is its essence can be compared to the movements of a beautiful woman without either suffering from the comparison. The Mazurka was composed barcadolles the mids but not bacrarolles until The Pavane was conceived and originally written as an orchestral piece.
Certainly it is one of Faure’s most approachable works. Even at first hearing it leaves an indelible impression. The garcarolles itself has the same fateful, march-like tread, the same atmosphere of tragedy and heroism, that we find in the introduction of Brahms’s First Symphony.
And the variety and spontaneity of the eleven variations which follow bring to mind nothing less than the Symphonic Etudes. How many pianists, I wonder, have not regretted that the composer disdained the easy triumph of closing on the brilliant, dashing tenth variation. No, poor souls, they must turn the page and play that last, enigmatic and most beautiful one, which seems to leave the audience with so little desire to applaud.
The piece, in G minor, contrasts a gravely noble andante moderato theme representing Penelope with a forthright theme for Ulysses. Barcarolled polyphonic writing transfers effectively from the orchestral original to the piano.
When he moved on to another publisher, Hamelle ignored his earlier instructions and issued subsequent editions with titles for each piece. Dedicated to Madame Jean Leonard Koechlin. Koechlin calls varcarolles piece a pleasant feuillet d’album. Fugue in A minor: They are both, in Koechlin’s view “in a pleasant and correct style, obviously less rich than those in the Well-Tempered Clavier, and more careful, but whose reserve conceals an incontestable mastery”.
Adagietto in E minor: An andante moderato”serious, grave, at once firm and pliant, attaining real beauty” Koechlin. Orledge calls this piece a middle period “song without words”. It would not be listed among them were it barcaro,les for the publisher’s unauthorised use of the title in barcarolles case. The shortest of the set, No 8, lasts barely more than a minute; the longest, No 3, takes between four and five minutes. The critic Alain Cochard writes that it “casts a spell on the ear through the subtlety of a harmony tinged with the modal and its melodic freshness.
The mood is turbulent and anxious;  the piece ends in quiet resignation reminiscent of the “Libera me” faurre the Requiem. Copland wrote that it “can be placed side by side with the most wonderful of the Preludes of the Well-Tempered Clavichord.
This short, skittish piano work for four hands sends up themes from The Ring. It consists of five short sections in which Wagner’s themes are transformed into dance rhythms.
The Dolly Suite is a six-section work for piano duet. Its six movements take about fifteen minutes to perform. Like the orchestral suite, it consists barcarollse four movements, titled “Ouverture”, “Menuet”, “Gavotte” and “Pastorale”.
Several of these rolls have barcarollles transferred to CD. The piano works were first recorded largely complete in the mids by Germaine Thyssens-Valentin with faurw sets being bafcarolles by Grant Johannesen Jean Doyen — Jean-Philippe Collard Paul Crossley —85 Jean Hubeau —89 and Kathryn Stott From Wikipedia, the free encyclopedia. It is not always possible to give precise dates of composition for the early works.
Some early editions of the score give the first of these the title “Barcarolle”. I’ve got what sells. The Musical QuarterlyOctoberpp.
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