Faure Op.25 Impromptu No.1 E flat major 佛瑞 即興曲 第1號 作品25 Fauré フォーレ Score Sheet 譜 樂譜 谱 乐谱 楽譜付き【Kero】

【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き
Faure Op.25 Impromptu No.1 in E flat major
佛瑞 即興曲 第1號 作品25 降E大調
佛瑞 即兴曲 第1号 作品25 降E大调
Fauré Impromptu n.º 1 Op.25 en mi bemol mayor
フォーレ 即興曲 第1番 変ホ長調
piano 鋼琴 钢琴 ピアノ
Classical music Música clásica クラッシック 古典音樂 古典音乐
#Faure #Impromptu #即興曲

The French composer Gabriel Fauré (1845–1924) wrote in many genres, including songs, chamber music, orchestral pieces, and choral works. His compositions for piano, written between the 1860s and the 1920s, include some of his best known works.
Fauré's major sets of piano works are thirteen nocturnes, thirteen barcarolles, six impromptus, and four valses-caprices. These sets were composed during several decades in his long career, and display the change in his style from uncomplicated youthful charm to a final enigmatic, but sometimes fiery introspection, by way of a turbulent period in his middle years. His other notable piano pieces, including shorter works, or collections composed or published as a set, are Romances sans paroles, Ballade in F♯ major, Mazurka in B♭ major, Thème et variations in C♯minor, and Huit pièces brèves. For piano duet, Fauré composed the Dolly Suite and, together with his friend and former pupil André Messager, an exuberant parody of Wagner in the short suite Souvenirs de Bayreuth.
Much of Fauré's piano music is difficult to play, but is rarely virtuosic in style. The composer disliked showy display, and the predominant characteristic of his piano music is a classical restraint and understatement.

Faure Impromptus(6)
Impromptu No. 1 in E♭ major, Op. 25 (1881)
Cortot compared the first impromptu to a rapid barcarolle, redolent of "sunlit water", combining "stylised coquetry and regret".
Impromptu No. 2 in F minor, Op. 31 (1883)
Dedicated to Mlle Sacha de Rebina, the second impromptu maintains an airy tarantella rhythm. It is scored less richly than the first of the set, giving it a lightness of texture.
Impromptu No. 3 in A♭ major, Op. 34 (1883)
The third impromptu is the most popular of the set. Morrison calls it "among Fauré's most idyllic creations, its principal idea dipping and soaring above a gyrating, moto perpetuo accompaniment". It is marked by a combination of dash and delicacy.
Impromptu No. 4 in D♭ major, Op. 91 (1906)
Dedicated to "Madame de Marliave" (Marguerite Long), the fourth impromptu was Fauré's return to the genre in his middle period. Unlike much of his music of the period, it avoids a dark mood, but Fauré had by now moved on from the uncomplicated charm of the first three of the set. His mature style is displayed in the central section, a contemplative andante, which is followed by a more agitated section that concludes the work.
Impromptu No. 5 in F♯ minor, Op. 102 (1909)
Nectoux describes this impromptu as "a piece of sheer virtuosity celebrating, not without humour, the beauties of the whole-tone scale." Morrison, however, writes that the work "seethes with unrest".
Impromptu in D♭ major, Op. 86 bis (Transcription of the Impromptu for harp, Op. 86, 1904)
The last work in the published set was written before numbers four and five. It was originally a harp piece, composed for a competition at the Paris Conservatoire in 1904. Cortot made a transcription for piano, published in 1913 as Fauré's Op. 86 bis. The outer sections are light and brilliant, with a gentler central section, marked meno mosso.