 | Fauré, Gabriel - "Aurore" for Oboe & Piano Op. 39 No. 1 Hautbois, Piano (clavier) |
VoirPDF : "Aurore" (Op. 39 No. 1) for Oboe & Piano (8 pages - 200.07 Ko)42x⬇ VoirPDF : Hautbois (63.33 Ko) VoirPDF : Piano (92.7 Ko) VoirPDF : Conducteur complet (148.96 Ko) MP3 : "Aurore" (Op. 39 No. 1) for Oboe & Piano 11x⬇ 62x
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| Compositeur : | Fauré, Gabriel (1845 - 1924) | ||||
| Instrumentation : | Hautbois, Piano (clavier)1 autre version | ||||
| Genre : | Romantique | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 30 Aoû 2023 Gabriel Urbain Fauré (1845 – 1924) was a French composer, organist, pianist and teacher. He was one of the foremost French composers of his generation, and his musical style influenced many 20th-century composers. Among his best-known works are his Pavane, Requiem, Sicilienne, nocturnes for piano and the songs "Après un rêve" and "Clair de lune". Although his best-known and most accessible compositions are generally his earlier ones, Fauré composed many of his most highly regarded works in his later years, in a more harmonically and melodically complex style. 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. The third song of the Opus 39 collection, Le pays des reves (Land of Dreams), uses repetition almost as persistently, though here the repeated, gentle melodies in the piano and vocal lines, with some resemblance to a lullaby, are far removed from the wild passions of Fleur jetee. The vocal lines are appropriately dreamy, accented by the rocking accompaniment and the quick ornamentation from the piano, and often rise at the end of each line with a gently yearning effect. There is a slightly more sober moment at the lines "Mais/Ah combien la terre est lointaine," but the first mood returns quickly, and is sustained through the end. This song’s beckonings correspond to Gounod’s Où voulez-vous aller? or Duparc’s L’invitation au voyage. In Silvestre’s collection, Les ailes d’or, the second half of the poem is a Baudelaire-like sequel personifying the ominous dreams of the past. But there is nothing disturbing here, and the music rocks us gently, benignly, into the stratosphere. We wander high above the world’s gardens and the fragrance of jasmine. There are passages in this song where the musical discourse wanders into the indeterminate ether in a manner of which no other French composer of the time was capable. Fauré’s harmonic excursions are usually underpinned by strong bass lines, but here, as in another Silvestre setting, La fée aux chansons, the composer abandons the F clef for much of the time in favour of higher, more etiolated regions. There are delicious ambiguities here, for example the pivotal role played by E flat (D sharp) in the keys of A flat major (dominant) and E minor (leading note). Jankélévitch hears similarities with Wolf’s An eine Äolsharfe composed only four years later. The two songs share a berceuse rhythm and an other-worldly evanescence, but Silvestre is clearly no Mörike, and it is Fauré’s harmonic refinement that disguises his poet’s sentimental streak. Source: AllMusic (https://www.allmusic.com/composition/songs-4-for-voice -piano-op-39-mc0002486201). Although originally written for Voice (Mezzo-Soprano) and Piano, I created this Interpretation of the "Aurore" (Dawn) from "Four Songs" (Op. 39 No. 1) for Oboe & Piano. Partition centrale : | Aurore; Fleur jetée; Le pays des rêves; Les roses d'Ispahan (11 partitions) | | |||
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