Faure Op.66 Barcarolle No.5 佛瑞 船歌 第5號 作品66 フォーレ バルカローレ 第5番 Score Sheet 譜 樂譜 乐谱 Partitura 楽譜付き【Kero】

【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き
Faure Op.66 Barcarolle No.5 in F sharp minor
佛瑞 船歌 第5號 作品66 升F小調
佛瑞 船歌 第5号 作品66 升F小调
Fauré Barcarola n.º 5 en fa sostenido menor
フォーレ バルカローレ 第5番 嬰ヘ短調
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career, and they similarly display the evolution of his style from the uncomplicated charm of the early pieces to the withdrawn and enigmatic quality of the late works.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. 5 in F♯ minor, Op. 66 (1894)
Dedicated to Mme la Baronne V. d'Indy, the fifth barcarolle was written after a five-year period in which Fauré composed nothing for the piano. Orledge calls it powerful, agitated and virile. It is the first of Fauré's piano works in which there are no identifiable sections; its changes are in metre, not in tempo.