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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By using this site, you agree to the Terms of Use and Privacy Policy. 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 by Morrison as “a slow central climb Not all the material on this website is in the public domain.

Piano music of Gabriel Fauré – Wikipedia

The piano works were first recorded largely complete in the mids by Germaine Thyssens-Valentin[] with later sets being made by Grant Johannesen[] Jean Doyen —[] Jean-Philippe Collard[] Paul Crossley —85[] Jean Hubeau —89[] and Kathryn Stott It is not always possible to give precise dates of composition for the early works.

The polyphonic writing transfers effectively from the orchestral original to the piano. 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. Orledge writes that the second two valses-caprices are subtler and better integrated than the first two; they contain “more moments of quiet contemplation and more thematic development than before. They are lyrical, generally impassioned pieces, sometimes anguished or wholly elegiac.


Orledge calls it powerful, agitated and virile.

Cortot compared the first impromptu to a rapid barcarolle, redolent of “sunlit water”, combining “stylised coquetry and regret”. I have passed in my love more intoxicated days and nights than Venice baracrolles islands, than even its streams have gondolas. From Wikipedia, the free encyclopedia. His son Philippe recalled, “he would far rather have given his Nocturnes, Impromptus, and even his Barcarolles the simple title Piano Piece no.

Go to the text. The piece, in G minor, contrasts a gravely noble andante moderato theme representing Penelope with a forthright theme for Ulysses. Dedicated to Suzanne Alfred-Bruneau, [55] the eighth barcarolle opens in with a cheerful theme, which soon gives way to melancholy. Mon rideau le clair de lune.

Contents 1 Performances 1. And listening through the Barcarolles from Op 26 to Op is to be made aware of a remarkable journey. Indeed, as one Barcarolle follows another you become aware of a disturbing assumption that if you barvarolles the barcaroles the rest will somehow look after itself.

Fauré Barcarolles

Her other recordings there is at least one Mozart concerto urgently demand reissue. Nor is she one of those artists that it takes a while to get used to.

The material directly above is protected by copyright and appears here by special permission. The theme is presented first in the higher and then in the middle register, before flowing evenly to its conclusion.


Fauré Barcarolles; Theme and Variations

Koechlin calls this piece a pleasant feuillet d’album. 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”.


The third impromptu is the most popular of the set. Cortot said, “There are few pages in all music comparable to these. Reissue – in Six Barcarolles et Cinq Impromptus Whether you want to see what we think of today’s latest releases or discover what our critics thought of your favourite recordings from the past, you will find it all in our fayre Reviews Database.

Copland wrote that it “can be placed side by side with barcarollex most wonderful of the Preludes of the Well-Tempered Clavichord.

The Mazurka was composed in the mids but not published until Even at first hearing it leaves an indelible impression.

The play of faurre curves that is its essence can be compared to the movements of a beautiful woman without either suffering from the comparison. 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. The composer disliked showy display, and the predominant characteristic of his piano music is a classical restraint and understatement.

A recapitulation of the principal theme takes the piece to its conclusion. Bardin is well recorded but while Alpha offers us six photographs of their artist there is no biographical information. They were not published untilbut they then became some of his most popular works.