Gabriel Fauré
3 Mélodies - Au bord de l'eau, Les Berceaux, Nocturne
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Gabriel Fauré
3 Mélodies - Au bord de l'eau, Les Berceaux, Nocturne
- Instrumentation Mixed Choir (SATB) and Piano
- Edition Sheet Music
- Composer Gabriel Fauré
- Editor Emmanuel Robin
- Publisher Symétrie
- Order no. 9790231808377
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ships within 1-2 weeks
Description:
Every singer knows Gabriel Fauré's art songs. They are to French language and impressionism what Schubert lieder are to German language and romanticism.
Where the piano of Schubert is madrigalesque, descriptive of the place or the emotion, that of Fauré is colors or spleen, water lilies or impressions of the setting sun. Both composers have the same combined genius of writing for the voice with that of the piano, and with both of them, there is the same happiness for the interpreter as well as of the listener.
Alas! The salons in which these melodies were given no longer exist. Shall we let them sink into oblivion, reserve them to too rare recitals or to our domestic listening?
My intention is not to distort the work, but, on the contrary, by trying to sublimate the counterpoints and harmonies of the original score, to give the vocal ensembles the opportunity to bring to the public this precious music. These first arrangements also have the ambition to offer to each section of the ensemble to alternately take part to the melody or to accompany it in the finest sense of the word, with an constant concern for the voice, as a humble tribute to Fauré.
Shall you have joy singing them and make them live. This is the only happiness to which I long.
(translation Philippe Do)
Where the piano of Schubert is madrigalesque, descriptive of the place or the emotion, that of Fauré is colors or spleen, water lilies or impressions of the setting sun. Both composers have the same combined genius of writing for the voice with that of the piano, and with both of them, there is the same happiness for the interpreter as well as of the listener.
Alas! The salons in which these melodies were given no longer exist. Shall we let them sink into oblivion, reserve them to too rare recitals or to our domestic listening?
My intention is not to distort the work, but, on the contrary, by trying to sublimate the counterpoints and harmonies of the original score, to give the vocal ensembles the opportunity to bring to the public this precious music. These first arrangements also have the ambition to offer to each section of the ensemble to alternately take part to the melody or to accompany it in the finest sense of the word, with an constant concern for the voice, as a humble tribute to Fauré.
Shall you have joy singing them and make them live. This is the only happiness to which I long.
(translation Philippe Do)
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