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| Composer : | Fauré, Gabriel (1845 - 1924) | ||||
| Instrumentation : | Oboe, Piano (keyboard) | ||||
| Style : | Romantic | ||||
| Key : | E major | ||||
| Arranger : Publisher : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Copyright : | Public Domain | ||||
| Added by magataganm, 15 Dec 2022 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. "Au bord de l'eau" (By the waterside) Opus 8 No. 1: This poem was discovered by the composer in a magazine that was hot off the press: it appears in Sully-Prudhomme’s 1875 collection entitled Les vaines tendresses. Here is the quintessential Fauré for those who are not drawn to the later songs of the composer. This is music of sublime drift – the nonchalant flowing of water, seemingly uneventful, but adding up to the melancholy passing of time. Each seductively inconsequential triplet gliding between voice and finger seems to prolong a summer idyll at the same time as effacing it. Fauré was already thirty when he wrote this, and it is not the work of a teenager or wunderkind. It takes a certain maturity to be aware of water passing under the bridge, but it takes a master to be able to comment on it with this degree of philosophical calm and grace. The poet’s sentimental contention that his love will uniquely survive the passing of time seems gently but firmly refuted by the flow of Fauré’s music which is tinged with just the appropriate amount of an almost Schubertian melancholy. Like many songs of the period the vocal line launches itself with an upward leap followed by a spiralling descent of ingratiating melody rich in harmonic implications. Fauré then interleaves this principal idea with two ascending themes that make the subsequent falling phrases ever more evocative of watery ebb and flow. It is a sign of the composer’s skill that the song appears the most natural commentary on nature, that all these musical means have been conjured with seemingly the minimum of effort. 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 "Au bord de l'eau" (Op. 8 No. 1) for Oboe & Piano. Sheet central : | Au bord de l'eau; La rançon; Ici-bas (6 sheet music) | | |||
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