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This fourth and final volume in the Fauré Complete Songs series brings together his last four cycles: La Chanson d'Ève; Le Jardin clos; Mirages; and L'Horizon chimérique. This represents the major part of Fauré's vocal output between 1906 and 1921. Published together for the first time, these late masterpieces form the bedrock of the twentieth-century French song cycle. This is the first published edition to make the four cycles available to higher voices. Also available: Complete Songs Vol. 1: 1861--1882 (high voice EP11391a; medium voice EP11391b) Complete Songs Vol. 2: 1884--1919 (high voice EP11392a; medium voice EP11392b) Complete Songs Vol. 3: The Complete Verlaine Settings (high voice EP11393a; medium voice EP11393b) 45 Vocalises for Voice and Piano (EP11385)
Providing an historical overview of the song cycle and a survey of the children's song cycle, this text includes structural, stylistic, and interpretative analysis of four representative children's song cycles and an original cycle.
Offering comprehensive coverage of classical music, this guide surveys more than eleven thousand albums and presents biographies of five hundred composers and eight hundred performers, as well as twenty-three essays on forms, eras, and genres of classical music. Original.
(Vocal Collection). Contents: Adieu * Apres un reve * Au Bord De L'eau * Au Cimetiere * Aurore * C'est L'extase * Clair De Lune * Dans Les Ruines D'une Abbaye * En Priere (In Prayer) * En Sourdine * Fleur Jetee * Green * La Chanson Du Pecheur * La Fee Aux Chansons * Le Secret * Les Berceaux * Lydia * Mandoline * Nell * Notre Amour * Prison * Rencontre * The Rose of Ispahan * Soir * Toujours.
Numbering more than 100 in total, and composed across a 60-year period, Gabriel Fauré's songs form the single most influential contribution to the field of French art song. Despite their importance, the songs have long been riddled with misprints and inconsistencies. This first complete critical edition is based on study of hundreds of manuscript and printed sources, along with evidence and interpretative advice from artists who worked with Fauré. Above all, it is a practical edition, informed by extensive work with musicians in performances, masterclasses and workshops. This second volume comprises the songs of Fauré's creative maturity, including popular favourites (Les Roses d'Ispahan, Clair de lune) alongside some lesser-known gems, together with his three vocal duets and the delightful four-voice Madrigal. Version for High Voice.
W HAT I H A V E attempted in this book is a survey of song; the kind of song which one finds variously described as 'concert', 'art', or sometimes even 'classical song'. 'Concert song' seems the most useful, certainly the least inexact or misleading, of some descriptions, especially since 'art song' sounds primly off putting, and 'classical song' really ought to be used only to refer to songs written during the classical period, i. e. the 18th century. Concert song clearly means the kind of songs one hears sung at concerts or recitals. Addressing myself to the general music-lover who, though he possesses no special knowledge of the song literature, is never theless interested enough in songs and their singers to attend recitals of Lieder or of songs in various languages, I have naturally confined myself to that period of time in which the vast majority of these songs was composed, though not necessarily only to those composers whose songs have survived to be remembered in recital programmes today. I suppose this to be roughly the three centuries covered by the years 1650-1950, though most of the songs we, as audiences, know and love were composed in the middle of this period, in other words in the 19th century.