Faure Op.42 Barcarolle No.3 G flat major 佛瑞 船歌 第3號 Fauré Barcarola フォーレ バルカローレ Score Sheet 譜【Kero】
【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き
Faure Barcarolle No.3 Op.42 in G flat major
佛瑞 船歌 第3號 作品42 降G大調
佛瑞 船歌 第3号 作品42 降G大调
Fauré Barcarola n.º 3 en sol bemol mayor
フォーレ バルカローレ 第3番 変ト長調
Classical music Música clásica クラッシック 古典音樂 古典音乐
#Faure #Barcarolle #船歌
Barcarolles were originally folk songs sung by Venetian gondoliers. In Morrison's phrase, Fauré's use of the term was more convenient than precise. Fauré was not attracted by fanciful titles for musical pieces, and maintained that he would not use even such generic titles as "barcarolle" if his publishers did not insist. His son Philippe recalled, "he would far rather have given his Nocturnes, Impromptus, and even his Barcarolles the simple title Piano Piece no. so-and-so." Nevertheless, following the precedents of Chopin and most conspicuously Mendelssohn, Fauré made extensive use of the barcarolle, in what his biographer Jessica Duchen calls "an evocation of the rhythmic rocking and lapping of water around appropriately lyrical melodies."
Fauré's ambidexterity is reflected in the layout of many of his piano works, notably in the barcarolles, where the main melodic line is often in the middle register, with the accompaniments in the high treble part of the keyboard as well as in the bass. Duchen likens the effect of this in the barcarolles to that of a reflection shining up through the water.
Like the nocturnes, the barcarolles span nearly the whole of Fauré's composing career, and they similarly display the evolution of his style from the uncomplicated charm of the early pieces to the withdrawn and enigmatic quality of the late works. All are written with compound time signatures (6/8, 9/8, or 6/4).Barcarolle No. 1 in A minor, Op. 26 (1880)
Barcarolle No. 3 in G♭ major, Op. 42 (1885)
The third barcarolle is dedicated to Henriette Roger-Jourdain, wife of Fauré's friend, the painter Roger-Joseph Jourdain . It opens with a simple phrase that is quickly elaborated into trills reminiscent of Chopin. The middle section, like that of the first, keeps the melody in the middle register with delicate arpeggiated ornaments above and below. The pianist Marguerite Long said that these ornaments "crown the theme like sea foam."