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Le papillon et la fleur for Viola & Piano
MP3 (2.03 Mo) : (by MAGATAGAN, MICHAEL)6x⬇ 2x
Vidéo :
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| Composer : | Fauré, Gabriel (1845 - 1924) | ||||
| Instrumentation : | Viola and Piano (or organ) | ||||
| Style : | Romantic | ||||
| Arranger : Publisher : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Copyright : | Public Domain | ||||
| Added by magataganm, 21 Nov 2023 When Gabriel Fauré was a boy, Berlioz had just written La damnation de Faust and Henry David Thoreau was writing Walden. By the time of his death, Stravinsky had written The Rite of Spring and World War I had ended in the devastation of Europe. In this dramatic period in history, Fauré strove to bring together the best of traditional and progressive music and, in the process, created some of the most exquisite works in the French repertoire. He was one of the most advanced figures in French musical circles and influenced a generation of composers world-wide. Fauré was the youngest child of a school headmaster and spent many hours playing the harmonium in the chapel next to his father's school. Fauré's father enrolled the 9-year-old as a boarder at the École Niedermeyer in Paris, where he remained for 11 years, learning church music, organ, piano, harmony, counterpoint, and literature. In 1861, Saint-Saëns joined the school and introduced Fauré and other students to the works of more contemporary composers such as Schumann, Liszt, and Wagner. Fauré's earliest songs and piano pieces date from this period, just before his graduation in 1865, which he achieved with awards in almost every subject. For the next several years, he took on various organist positions, served for a time in the Imperial Guard, and taught. In 1871 he and his friends -- d'Indy, Lalo, Duparc, and Chabrier -- formed the Société Nationale de Musique, and soon after, Saint-Saëns introduced him to the salon of Pauline Viardot and Parisian musical high society. "Le papillon et la fleur" (The butterfly and the flower) Opus 1 No. 1: Fauré begins his song-writing career with a pianistic carte de visite. A ritornello is launched with élan (one ascending C major scale, then another – a musical commonplace adapted for lepidopteran acrobatics) followed by sequences that spiral downwards in waltz rhythm. The song is usually chattered in a fast tempo (and in a bright D major transposition) that emphasizes its glittering superficiality. In the lower, original, key there is room for a touch of sadness and vulnerability; we can see a lovesick teenager rooted to the spot and not yet able to quench the thirsts of adolescence. The cover of the autograph (where the composer takes more pains in the penmanship of the title, La fleur et le papillon, than in the setting’s prosody) contains an amusing sketch of a flower with tiny arms looking up to a hovering butterfly wearing a crown. This was drawn by Saint-Saëns, Fauré’s teacher at the École Niedermeyer, who was clearly bemused by his pupil’s achievement. The poem, No XXVII in Hugo’s Chants du crépuscule has no title in the first edition. Perhaps the composer knew the text from Henri Reber’s modest setting of 1847. Source: AllMusic (https://www.allmusic.com/artist/gabriel-faur%C3%A9-mn0 000654108/biography) Although originally composed for Voice (Soprano) and Piano, I created this arrangement of "Le papillon et la fleur" (Op. 1 No. 1) for Viola & Piano. Sheet central : | Le papillon et la fleur; Mai (4 sheet music) | | |||
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