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Pieces for Violoncello & Piano. Gabriel Faure. Cello Solo sheet music.

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Dijelovi za violončelo. Gabriel Faure. Violončela notnih.

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Pieces for Violoncello & Piano composed by Gabriel Faure. 1845-1924. For Cello, Piano. Sheet Music. Published by Edition Peters. PE.P09570. Concluding Remarks. Gabriel Faure. 1845-1924. is one of the most significant French composers of the second half of the 19th and the beginning of the 20th century. His main work consists of piano, vocal and chamber music compositions. Gabriel Faure was trained in Paris, at the Louis Niedermeyer School of Church Music, his teachers being Niedermeyer and Camille Saint-Saens, became choir-master. 1877. and subsequently organist at the Madeleine. 1896-1905. He took charge, in 1896, of a composition class at the Paris Conservatory and was its Director from 1905-1920. Among his pupils were Maurice Ravel, Charles Koechlin, Florent Schmitt, Roger Ducasse and Nadia Boulanger. The foundation of the Societe Nationale de Musique by Saint Saens and Bussine in 1871 encouraged Faure to write chamber music. Together with Saint-Saens, Edouard Lalo and Cesar Franck, he took part in the revival of French chamber music. Faure always showed a predilection for the Violoncello. Apart from the two fine Sonatas, Op. 109 and 117 which he composed towards the end of his life, the special position that he assigned to that instrument in his chamber music compositions mail be seen, for example, in ti-12 adagio of the first Piano Quartet, Op. 15, at the beginning and in the andante of the Piano Trio, Op. 120, and in the finale of the String Quartet, Op. 121. the significant function of the cello however, should also be stressed in connection with his orchestral compositions. This specific feature might be explained by his training as organist and performer of church music. the cello also functions as an organ pedal. , but it is known that the composer bad a particular preference for the basses in his harmony. "Come on, basses. " was one of his frequent utterances. It is therefore not surprising that Faure should have composed various short works in the course of his life which may he regarded as precursors of the two later sonatas of his maturity. The first of these shorter compositions is the famous Eleie, Op. 24. This was probably the work first performed on June 21st, 1880 in Saint-Saens' salon of which Faure wrote to his publisher, Julien Hamelle. "my cello piece had an excellent reception", adding. "it greatly encourages me to make it into a complete sonata". This sonata project explains the wealth of content and the A-B-A-form of the work. but the cello sonata was not completed. The work was first printed in 1883 with a dedication to Jules Loeb, professor of cello at the Paris Conservatory, who gave the first public performance on December 15th, 1883 at the Societe Nationale de Musique. In 1895 Faure made a version with orchestral accompaniment. As soon as it was published, the Elegie was so successful that Hamelle immediately ordered a new work, intended as a virtuoso pendant to the Elegie. Faure set about composing the piece with little enthusiasm. the new work was mentioned in a contract dated September 25th, 1884, but its publication was delayed for a long time since the composer had a quarrel with the publisher concerning the title. It is known that Faure preferred abstract titles without extra-musical connotations. This, however, was of no concern to the publisher, who knew the preference of the public for visual titles. Faure insisted on the plain title Piece for Violoncello, whereas Hamelle for his part proposed Libellules. dragonflies. , a title which was also mentioned in the contract. Fourteen years passed before the composer unwillingly consented to the title Papillon. butterfly. , which he diskliked intensely. He at least succeeded in retaining Piece for Violoncello, Op. 77 as sub-title. This eloquent and light composition also met with wide response among cellists, although its musical interest is somewhat limited. By 1898, the year of its belated publication, it scarcely correspondend in style with Faure's works of this period, which is characterised by works as the 7th Nocturne, Op. 74 and the incidental music of Pelleas et Melisande, Op. 80. The great passionate phrase of the second theme is in fact much closer to the 4th Nocturne, Op. 36. 1884. , composed during the same period. In 1893 Faure was commissioned to write incidental music for Moliere's Le Bourgeois Gentilhomme, and for this he composed the Sicilienne for small orchestra, the posthumously published Serenade for voice and, it would seem, a Menuet for small orchestra which remains unpublished. The project, apparently, was not realised, but Faure was clearly pleased with the Sicilienne, since he used it again in 1898 for his incidental music to Maurice Maeterlinck's Pelleas et Melisande on the occasion of the first performance in London, where it introduced the second act. scene by the well. In the same year, it was published separatly in a version for cello and piano by Metzler & Co. in London and, simultaneously, by Hamelle in Paris. It is dedicated to the British cellist William Henry Squire, who recorded it in 1925. As for the orchestral version of this wellknown piece, it was omitted when Faure compiled a symphonic suite from the Pelleas music, which appeared in 1901. but at the express request of the composer it was printed in 1909 and included in the Suite, Op. 80. The Romance in A, Op. 69 should not be confused with the transcription for cello. also in A. of the third Romance sans Paroles, Op. 17. A flat in the original piano version. This Romance, Op. 69 is one of the best of Faure's compositions for cello. It was probably written in 1894, a year in which many of Faure's master works were created. the cycle of the songs La Bonne Chanson, Op. 61, the 6tb Nocturne, Op. 63, the 5tb Barcarolle, Op. 70 and the songs Soir and Prison, Op. 83 were all composed during that year. The Romance in A begins and ends in a Brahmsian chiaroscuro which suddenly flares up und then unfolds in a long and flexible phrase accompanied by surging piano arpeggios. Its exhaustable lyricism has something of the passionate Elan of La Bonne Chanson, Faure performed it for the first time in Geneva on November 14th, 1894, with Adolf Rehberg. The work is dedicated to the cellist Jules Griset, who used to arrange chamber music and oral concerts at his home. Chabrier wrote his Ode to Music for him. The autograph, it may be noted, in inscribed Andante and Op. 63. It was transcribed by Faure into a version for cello and organ which was never published. The last of the short pieces for cello is the Serenade, Op. 98, composed for the young Pablo Casals, who had become acquainted with , Faure as early as 1901, the year of his Paris debut, when he played the P-Mgie with the composer conducting. The Serenade was published in 1908 by Heugel. this composition reveals the unusual care with which Faure composed even the smallest of his works. exceptionally for Faure, it is full of humour and fantasy, with ornaments reminiscent of the harpsichord music of the 18th century. Yet this Serenade is by no means a mere pastiche. it is harmonically daring and at times wilfully abrasive. Beneath the irony, one has a glimpse of the distilled, austere style of the last works, so remote from the romanticism of the Elegie. "The Serenade", Casals wrote to Faure, "ist delightful and every time I play it, it seems new to me in its beauty. " In fact however, Casals does not seem to have played it very often, giving preference to the questionable transcription of the piano song Apres un Reve which he had himself published in 1910. For this reason the Serenade has remained little known, despite perhaps because of, its originality. Translated by Eva Breck and Stuart Thync. Paris, Autumn 1977 Jean-Michel Nectoux. Romance A-Dur op. 69 -fur Violoncello und Klavier-. Piece pour Violoncelle. Papillon. A-Dur op. 77 -fur Violoncello und Klavier-. Sicilienne g-Moll op. 78 -fur Violoncello und Klavier-. Serenade h-Moll op. 98 -fur Violoncello und Klavier-.

Prijevod

Komadi za violončelo. 1845-1924. Za violončelo, glasovir. Sheet Music. Objavio Edition Peters. PE.P09570. Zaključna razmatranja. Gabriel Faure. 1845-1924. jedan je od najznačajnijih francuskih skladatelja druge polovice 19. i početka 20. stoljeća. Njegov glavni posao se sastoji od klavira, vokalnih i komornih glazbenih sastava. Gabriel Faure je trenirao u Parizu, na Niedermeyer školi za crkvenu glazbu Louisa, njegovi učitelji biti Niedermeyer i Camille Saint-Saens, postao je zbor-master. 1877. , a potom i orguljaš na Madeleine. 1896-1905. On je zadužen, 1896, klase kompozicije na Konzervatoriju u Parizu i bio je njegov direktor 1905-1920. Među njegovim učenicima bili Maurice Ravel, Charles Koechlin, Florent Schmitt, Roger Ducasse i Nadia Boulanger. Temelj Societe Nationale de Musique Sveti Saëns i Bussine 1871 ohrabrio Faure pisati komornu glazbu. Zajedno sa Saint-Saëns, Edouard Lalo i Cesara Francka, on je sudjelovao u oživljavanju francuske komorne glazbe. Faure uvijek pokazao sklonost za violončelo. Osim dvije fine sonata, op. 109 i 117 koji je sastavljen prema kraju svog života, posebno mjesto koje je dodijeljen taj instrument u njegovim komornim sastavima mail se vidi, primjerice, u ti-12 adagio prvog klavirskog kvarteta, op. 15, na početku i na Andante u klavirskog trija, op. 120, au završnici gudački kvartet, op. 121. Značajan funkcija violončelo Međutim, također treba naglasiti u vezi s njegovim orkestralnih skladbi. Ova specifična značajka može se objasniti njegov trening kao orguljaš i izvođač crkvene glazbe. violončelo također služi kao organa papučicu. , Ali je poznato da je skladatelj loše posebna prednost za basova u svojoj harmoniji. "Hajde, basa. "Bio je jedan od njegovih čestih iskaza. Stoga nije čudno da Faure trebao sastoji razne kratke radove u toku svog života koju on može smatrati prethodnicima dva kasnije sonata njegove zrelosti. Prvi od tih kraćih skladbi je poznato Eleie, op. 24. To je vjerojatno djelo praizveden 21. lipnja 1880, u Saint-Saëns 'salona od kojih Faure napisao da njegov izdavač, Julien Hamelle. "Moj violončelo komad imao odličan prijem", dodavši. "Uvelike me potiče da ga u potpuni sonata". Ovaj sonata projekt objašnjava bogatstvo sadržaja i ABA-oblik djela. ali violončelo sonata nije završena. Rad je prvi put tiskan u 1883 s posvetom Jules Loeb, profesor violončela na Konzervatoriju u Parizu, koji je dao prvi javni nastup na 15. prosinca 1883 u Societe Nationale de Musique. Godine 1895 Faure napravio verziju s orkestralnom pratnjom. Čim je objavljen, Elegie bila toliko uspješna da Hamelle odmah naručio novi posao, a namijenjen je kao virtuoz na bočnu Elegie. Faure skup o sastavljanju komad s malo entuzijazma. Novo radno spominje u ugovoru datiranom 25. rujna 1884, ali njezino objavljivanje odgođeno je za dugo vremena, jer skladatelj posvadio s izdavačem glede naslov. Poznato je da Faure prednost apstraktnije naslove bez extra-glazbenih konotacijama. To, međutim, nije od važnosti za izdavača, koji je poznavao sklonost javnosti za vizualne naslova. Faure inzistirao na običnom naslovnoj komad za violončelo, dok Hamelle svoje strane predložio Libellules. vretenac. , Naslov koji se također spominje u ugovoru. Četrnaest godina prošlo prije skladatelja nevoljko pristala na naslovnoj Papillon. butterfly. , Koji je diskliked intenzivno. On je barem saccuva komad za violončelo, op. 77 kao Podnaslov. Ovaj elokventan i svjetlo sastav također sastao s širokim odgovor među violončelista, iako je njegov glazbeni interes ponešto ograničena. Do 1898 godine od njegovog zakašnjelog objavljivanja, što je jedva correspondend u stilu s Faure djela iz tog razdoblja, koje karakterizira djela u 7. Nocturne, op. 74 i slučajne glazba Pelleas et Melisande, op. 80. Veliki strastveni izraz na drugu temu je zapravo mnogo bliže 4. Nocturne, op. 36. 1884. , Sastoji se u istom razdoblju. Godine 1893 Faure je naručio da napiše glazbu za slučajnu Moliere je Le Bourgeois Gentilhomme, a za to je skladao Sicilienne za mali orkestar, u posthumno objavljenom Serenade za glas i, čini se, Menuet za mali orkestar koja ostaje neobjavljena. Projekt, očito, nije realizirana, ali Faure je očito bio zadovoljan s Sicilienne, jer je to opet koristiti u 1898 za njegov povremenu glazbe do Maurice Maeterlinck je Pelleas et Melisande povodom prvog nastupa u Londonu, gdje je uveden drugi radnja. Prizor na zdencu. U istoj godini, što je objavljeno šatora iu verziji za violončelo i glasovir Metzler. Ona je posvećena britanskom violončelista William Henry Squire, koji ga je zabilježen u 1925. Što se tiče orkestralnoj verziji ovog poznatog komadu, što je izostavljen kada Faure sastavio simfonijsku paket od Pelleas glazbe, koja se pojavila u 1901. , ali na izričit zahtjev skladatelj je tiskan u 1909 i uključeni u Suite, op. 80. Romantika u A, op. 69 ne treba miješati s transkripcije za violončelo. Također u A. od trećih romanskih sans Paroles, op. 17. Stan je u izvornom piano verziji. To Romance, op. 69 je jedan od najboljih Faure skladbe za violončelo. To je vjerojatno napisana u 1894, godini u kojoj mnogi od Faure majstora radovi nastali su. ciklus pjesama La Bonne šansone, op. 61, 6TB Nocturne, op. 63, 5tb Barcarolle, op. 70 i pjesme Soir i zatvor, op. 83 su svi bili u sastavu tijekom te godine. Romantika u A počinje i završava u Brahmsian chiaroscuro koji iznenada bukne und onda odvija u dugom i fleksibilan rečenica popraćena rastom glasovir arpeggia. Njegova exhaustable lirika ima nešto o strastvenoj Elan La Bonne šansone, Faure je izvedena po prvi put u Ženevi 14. studenog 1894, s Adolfom Rehberg. Rad je posvećen violončeliste Jules Griset, koji se koristi za organizirati komornu glazbu i oralne koncerata u svom domu. Chabrier napisao svoju Ode Glazba za njega. Autogram, može se primijetiti, u upisanom Andantea i op. 63. To je prepisao Faure u verziji za violončelo i orgulje koje nikada nije objavljen. Posljednji od kratkih komada za violončelo je Serenade, op. 98, skladana za mlade Pablo Casalsom, koji je postao upoznat s, Faure već 1901 godina svog debija u Parizu, kada je igrao P-Mgie sa skladateljem obavljanje. Serenada objavljen 1908 Heugel. Ovaj sastav otkriva neobičnu skrb s kojima Faure sastavljen čak i najmanji od njegovih djela. iznimno za Faure, to je pun humora i mašte, s ornamentima podsjećaju na čembalističkom glazbe 18. stoljeća. Ipak, to Serenade nipošto nije puki pasti. to je skladno smion i ponekad namjerno brusi. Ispod ironije, jedan ima pogled na destiliranu, asketski stil od posljednjih radova, tako daleko od romantizma Elegie. "Serenade", Casals pisao Faure, "ist divan i svaki put sam ga igrati, čini novo za mene u svojoj ljepoti. "U stvari, međutim, Casals ne izgleda kao da su ga igrao vrlo često, dajući prednost upitnom transkripciju klavirski pjesme Apres un Reve kojoj je i sam objavljenoj 1910. Iz tog razloga Serenade je ostao malo poznat, unatoč možda zbog, njegova izvornost. Preveo Eva Breck i Stuart Thync. Paris, jesen 1977 Jean-Michel Nectoux. Romance-Dur op. 69-krzno violončelo und Klavier-. Komad za violončelo. Leptir. -Dur op. 77-krzno violončelo und Klavier-. Sicilienne g-Moll op. 78-krzno violončelo und Klavier-. Serenada h-Moll op. 98-krzno violončelo und Klavier-.