Faure Op.106bis Barcarolle No.12 E flat major 佛瑞 船歌 第12號 フォーレ バルカローレ 第12番 Score Sheet 譜 谱 楽譜付き【Kero】
【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き
Faure Op.106bis Barcarolle No.12 in E flat major
佛瑞 船歌 第12號 作品106 降E大調
佛瑞 船歌 第12号 作品106 降E大调
Fauré Barcarola n.º 12 en mi bemol mayor
フォーレ バルカローレ 第12番 変ホ長調
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career, and they similarly display the evolution of his style from the uncomplicated charm of the early pieces to the withdrawn and enigmatic quality of the late works.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. 12 in E♭ major, Op. 106bis (1915)
Dedicated to Louis Diémer, the twelfth barcarolle is an allegretto giocoso. It opens in what was by now for Fauré a rare uncomplicated theme, in the traditional Venetian manner, but is developed in more subtle rhythms. Despite the increasing complexity of the polyphonic lines, Fauré keeps the melody prominent, and the piece ends with it transformed into "a theme of almost triumphal character" (Nectoux).