Faure Op.116 Barcarolle No.13 C major 佛瑞 船歌 第13號 作品116 フォーレ バルカローレ 第13番 Score Sheet 譜 乐谱 楽譜付き【Kero】
【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き
Faure Op.116 Barcarolle No.13 in C major
佛瑞 船歌 第13號 作品116 C大調
佛瑞 船歌 第13号 作品116 C大调
Fauré Barcarola n.º 13 en do mayor
フォーレ バルカローレ 第13番 ハ長調
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career, and they similarly display the evolution of his style from the uncomplicated charm of the early pieces to the withdrawn and enigmatic quality of the late works.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. 13 in C major, Op. 116 (1921)
The last of the set is dedicated to Magda Gumaelius. Koechlin writes of it: "bare, superficially almost dry, but at heart most expressive with that deep nostalgia for vanished bright horizons: sentiments that the composer suggests in passing rather than comments on in loquacious or theatrical oratory; he seemed to desire to preserve the soothing and illusory serenity of the mirage."