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Pieces for Violoncello & Piano. Gabriel Faure. Cello Solo sheet music.

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Stukke vir Tjello. Gabriel Faure. Tjello Solo bladmusiek.

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Pieces for Violoncello & Piano composed by Gabriel Faure. 1845-1924. For Cello, Piano. Sheet Music. Published by Edition Peters. PE.P09570. Concluding Remarks. Gabriel Faure. 1845-1924. is one of the most significant French composers of the second half of the 19th and the beginning of the 20th century. His main work consists of piano, vocal and chamber music compositions. Gabriel Faure was trained in Paris, at the Louis Niedermeyer School of Church Music, his teachers being Niedermeyer and Camille Saint-Saens, became choir-master. 1877. and subsequently organist at the Madeleine. 1896-1905. He took charge, in 1896, of a composition class at the Paris Conservatory and was its Director from 1905-1920. Among his pupils were Maurice Ravel, Charles Koechlin, Florent Schmitt, Roger Ducasse and Nadia Boulanger. The foundation of the Societe Nationale de Musique by Saint Saens and Bussine in 1871 encouraged Faure to write chamber music. Together with Saint-Saens, Edouard Lalo and Cesar Franck, he took part in the revival of French chamber music. Faure always showed a predilection for the Violoncello. Apart from the two fine Sonatas, Op. 109 and 117 which he composed towards the end of his life, the special position that he assigned to that instrument in his chamber music compositions mail be seen, for example, in ti-12 adagio of the first Piano Quartet, Op. 15, at the beginning and in the andante of the Piano Trio, Op. 120, and in the finale of the String Quartet, Op. 121. the significant function of the cello however, should also be stressed in connection with his orchestral compositions. This specific feature might be explained by his training as organist and performer of church music. the cello also functions as an organ pedal. , but it is known that the composer bad a particular preference for the basses in his harmony. "Come on, basses. " was one of his frequent utterances. It is therefore not surprising that Faure should have composed various short works in the course of his life which may he regarded as precursors of the two later sonatas of his maturity. The first of these shorter compositions is the famous Eleie, Op. 24. This was probably the work first performed on June 21st, 1880 in Saint-Saens' salon of which Faure wrote to his publisher, Julien Hamelle. "my cello piece had an excellent reception", adding. "it greatly encourages me to make it into a complete sonata". This sonata project explains the wealth of content and the A-B-A-form of the work. but the cello sonata was not completed. The work was first printed in 1883 with a dedication to Jules Loeb, professor of cello at the Paris Conservatory, who gave the first public performance on December 15th, 1883 at the Societe Nationale de Musique. In 1895 Faure made a version with orchestral accompaniment. As soon as it was published, the Elegie was so successful that Hamelle immediately ordered a new work, intended as a virtuoso pendant to the Elegie. Faure set about composing the piece with little enthusiasm. the new work was mentioned in a contract dated September 25th, 1884, but its publication was delayed for a long time since the composer had a quarrel with the publisher concerning the title. It is known that Faure preferred abstract titles without extra-musical connotations. This, however, was of no concern to the publisher, who knew the preference of the public for visual titles. Faure insisted on the plain title Piece for Violoncello, whereas Hamelle for his part proposed Libellules. dragonflies. , a title which was also mentioned in the contract. Fourteen years passed before the composer unwillingly consented to the title Papillon. butterfly. , which he diskliked intensely. He at least succeeded in retaining Piece for Violoncello, Op. 77 as sub-title. This eloquent and light composition also met with wide response among cellists, although its musical interest is somewhat limited. By 1898, the year of its belated publication, it scarcely correspondend in style with Faure's works of this period, which is characterised by works as the 7th Nocturne, Op. 74 and the incidental music of Pelleas et Melisande, Op. 80. The great passionate phrase of the second theme is in fact much closer to the 4th Nocturne, Op. 36. 1884. , composed during the same period. In 1893 Faure was commissioned to write incidental music for Moliere's Le Bourgeois Gentilhomme, and for this he composed the Sicilienne for small orchestra, the posthumously published Serenade for voice and, it would seem, a Menuet for small orchestra which remains unpublished. The project, apparently, was not realised, but Faure was clearly pleased with the Sicilienne, since he used it again in 1898 for his incidental music to Maurice Maeterlinck's Pelleas et Melisande on the occasion of the first performance in London, where it introduced the second act. scene by the well. In the same year, it was published separatly in a version for cello and piano by Metzler & Co. in London and, simultaneously, by Hamelle in Paris. It is dedicated to the British cellist William Henry Squire, who recorded it in 1925. As for the orchestral version of this wellknown piece, it was omitted when Faure compiled a symphonic suite from the Pelleas music, which appeared in 1901. but at the express request of the composer it was printed in 1909 and included in the Suite, Op. 80. The Romance in A, Op. 69 should not be confused with the transcription for cello. also in A. of the third Romance sans Paroles, Op. 17. A flat in the original piano version. This Romance, Op. 69 is one of the best of Faure's compositions for cello. It was probably written in 1894, a year in which many of Faure's master works were created. the cycle of the songs La Bonne Chanson, Op. 61, the 6tb Nocturne, Op. 63, the 5tb Barcarolle, Op. 70 and the songs Soir and Prison, Op. 83 were all composed during that year. The Romance in A begins and ends in a Brahmsian chiaroscuro which suddenly flares up und then unfolds in a long and flexible phrase accompanied by surging piano arpeggios. Its exhaustable lyricism has something of the passionate Elan of La Bonne Chanson, Faure performed it for the first time in Geneva on November 14th, 1894, with Adolf Rehberg. The work is dedicated to the cellist Jules Griset, who used to arrange chamber music and oral concerts at his home. Chabrier wrote his Ode to Music for him. The autograph, it may be noted, in inscribed Andante and Op. 63. It was transcribed by Faure into a version for cello and organ which was never published. The last of the short pieces for cello is the Serenade, Op. 98, composed for the young Pablo Casals, who had become acquainted with , Faure as early as 1901, the year of his Paris debut, when he played the P-Mgie with the composer conducting. The Serenade was published in 1908 by Heugel. this composition reveals the unusual care with which Faure composed even the smallest of his works. exceptionally for Faure, it is full of humour and fantasy, with ornaments reminiscent of the harpsichord music of the 18th century. Yet this Serenade is by no means a mere pastiche. it is harmonically daring and at times wilfully abrasive. Beneath the irony, one has a glimpse of the distilled, austere style of the last works, so remote from the romanticism of the Elegie. "The Serenade", Casals wrote to Faure, "ist delightful and every time I play it, it seems new to me in its beauty. " In fact however, Casals does not seem to have played it very often, giving preference to the questionable transcription of the piano song Apres un Reve which he had himself published in 1910. For this reason the Serenade has remained little known, despite perhaps because of, its originality. Translated by Eva Breck and Stuart Thync. Paris, Autumn 1977 Jean-Michel Nectoux. Romance A-Dur op. 69 -fur Violoncello und Klavier-. Piece pour Violoncelle. Papillon. A-Dur op. 77 -fur Violoncello und Klavier-. Sicilienne g-Moll op. 78 -fur Violoncello und Klavier-. Serenade h-Moll op. 98 -fur Violoncello und Klavier-.

Vertaling

Stukke vir Tjello. 1845-1924. Vir tjello, klavier. Sheet Music. Gepubliseer deur Edition Peters. PE.P09570. Slotopmerkings. Gabriel Faure. 1845-1924. is een van die belangrikste Franse komponiste van die tweede helfte van die 19de en die begin van die 20ste eeu. Sy belangrikste werk bestaan ​​uit klavier, vokale en kamermusiek komposisies. Gabriel Faure is opgelei in Parys, by die Louis Niedermeyer School of Church Music, sy onderwysers om Niedermeyer en Camille Saint-Saens, het koor-meester. 1877. en daarna orrelis by die Madeleine. 1896-1905. Hy het beheer, in 1896, van 'n samestelling klas by die Parys Konservatorium en was sy Direkteur 1905-1920. Onder sy leerlinge was Maurice Ravel, Charles Koechlin, Florent Schmitt, Roger Ducasse en Nadia Boulanger. Die stigting van die Nasionale Maatschappij Musique deur Saint Saens en Bussine in 1871 aangemoedig Faure kamermusiek te skryf. Saam met Saint-Saens, Edouard Lalo en Cesar Franck, het hy deelgeneem aan die herlewing van die Franse kamermusiek. Faure altyd het 'n voorliefde vir die cello. Afgesien van die twee fyn Sonatas, Op. 109 en 117 wat hy gekomponeer het aan die einde van sy lewe, die spesiale posisie wat hy tot die instrument wat in sy kamermusiek komposisies pos gesien word, byvoorbeeld, in ti-12 Adagio van die eerste Piano Quartet, Op. 15, aan die begin en in die andante van die Piano Trio, Op. 120, en in die finale van die String Quartet, Op. 121. die belangrike funksie van die tjello moet egter ook in verband met sy orkes komposisies beklemtoon word. Hierdie spesifieke funksie kan verduidelik word deur sy opleiding as orrelis en sanger van kerkmusiek. die tjello funksioneer ook as 'n orgaan pedaal. , Maar dit is bekend dat die komponis sleg om 'n besondere voorkeur vir die basse in sy harmonie. "Kom, basse. "Was een van sy gereelde uitsprake. Dit is dus nie verbasend dat Faure verskeie kort werke moet saamgestel het in die loop van sy lewe wat hy beskou as die voorlopers van die twee later sonates van sy volwassenheid. Die eerste van hierdie korter komposisies is die beroemde Eleie, Op. 24. Dit was waarskynlik die werk vir die eerste keer op 21 Junie 1880 in Saint-Saëns se salon waarvan Faure het geskryf aan sy uitgewer, Julien Hamelle. "My tjello stuk het 'n uitstekende ontvangs", en voeg. "Dit baie moedig my om dit te maak in 'n volledige sonate". Dit Sonate projek verduidelik die rykdom van die inhoud en die ABA-vorm van die werk. Maar die tjello Sonate is nie voltooi nie. Die werk is die eerste keer in 1883 gedruk met 'n toewyding aan Jules Loeb, professor van die tjello by die Parys Konservatorium, wat die eerste openbare optrede op 15 Desember 1883 het die Societe Nationale de Musique. In 1895 Faure het 'n weergawe met orkesbegeleiding. Sodra dit gepubliseer is, die Elegie was so suksesvol dat Hamelle dadelik bestel 'n nuwe werk, wat bedoel is as 'n virtuose hanger aan die Elegie. Faure stel oor die samestelling van die stuk met min entoesiasme. die nuwe werk in 'n kontrak gedateer 25 September 1884 genoem, maar sy publikasie is uitgestel vir 'n lang tyd sedert die komponis het 'n twis met die uitgewer oor die titel. Dit is bekend dat Faure verkies abstrakte titels sonder ekstra musikale konnotasies. Dit was egter nie die saak na die uitgewer, wat die voorkeur van die publiek vir visuele titels geweet. Faure het daarop aangedring op die vlakte titel Stuk vir Tjello, terwyl Hamelle vir sy deel voorgestelde LIBELLULES. naaldekokers. , 'N titel wat ook in die kontrak genoem. Veertien jaar het verloop voordat die komponis onwillig ingestem om die titel Papillon. butterfly. , Wat hy intens diskliked. Hy ten minste daarin geslaag om die behoud van Stuk vir cello, Op. 77 as sub-titel. Dit welsprekende en ligte samestelling ook 'n ontmoeting met 'n wye reaksie onder tjelliste, hoewel sy musikale belang is ietwat beperk. Teen 1898, die jaar van sy late publikasie, is dit skaars correspondend in styl met Faure se werke van hierdie periode, wat gekenmerk word deur werke as die 7 Nocturne Op. 74 en die toevallige musiek van Pelleas et Melisande, Op. 80. Die groot passievolle sin van die tweede tema is in werklikheid baie nader aan die 4 Nocturne Op. 36. 1884. , Saamgestel in dieselfde tydperk. In 1893 Faure is in opdrag toevallige musiek vir Moliere se Le Bourgeois Gentilhomme te skryf, en vir hierdie hy gekomponeer die Sicilienne vir klein orkes, die postuum gepubliseerde Serenade vir stem en, sou dit lyk, 'n Menuet vir klein orkes wat ongepubliseerde bly. Die projek, wat blykbaar nie besef nie, maar Faure was duidelik tevrede met die Sicilienne, want hy het dit gebruik om weer in 1898 vir sy toevallige musiek Maurice Maeterlinck se Pelleas et Melisande op die geleentheid van die eerste vertoning in Londen, waar dit het die tweede Wet. toneel by die put. In dieselfde jaar, was dit apart in 'n weergawe vir tjello en klavier deur Metzler gepubliseer. Dit is toegewy aan die Britse tjellis William Henry Squire, wat dit in 1925 aangeteken. Soos vir die orkes weergawe van hierdie bekende stuk, is dit weg sodra Faure saamgestel 'n simfoniese suite van die Pelleas musiek, wat in 1901 verskyn. maar by die uitdruklike versoek van die komponis is in 1909 gedruk en ingesluit in die Suite, Op. 80. Die Romance in A, Op. 69 moet nie met die transkripsie vir tjello verwar word. ook in 'n. van die derde Romance sans Paroles, Op. 17. 'N woonstel in die oorspronklike klavier weergawe. Dit Romance, Op. 69 is een van die beste van Faure se komposisies vir tjello. Dit is waarskynlik in 1894, 'n jaar waarin baie van Faure se meester werke is geskep geskryf. die siklus van die liedjies La Bonne Chanson, Op. 61, die 6tb Nocturne Op. 63, die 5TB Barcarolle, Op. 70 en die liedjies Soir en gevangenis, Op. 83 is al wat bestaan ​​in daardie jaar. Die Romance in 'n begin en eindig in 'n Brahmsian chiaroscuro wat skielik fakkels und dan ontvou in 'n lang en buigsaam frase vergesel deur klink klavier arpeggios. Die exhaustable liriese het iets van die passievolle Elan van La Bonne Chanson, Faure gedoen het vir die eerste keer in Genève op 14 November 1894, met Adolf Rehberg. Die werk word gewy aan die tjellis Jules Griset, wat gebruik word om kamermusiek en mondelinge konserte te reël by sy huis. Chabrier het sy ode aan Musiek vir hom. Die handtekening, kan dit in ag geneem word, in ingeskrewe Andante en Op. 63. Dit is deur Faure oorgeskryf in 'n weergawe vir tjello en orrel wat nooit gepubliseer. Die laaste van die kort stukke vir tjello is die Serenade, Op. 98, saamgestel vir die jong Pablo Casals, wat geword het vertroud is met, Faure so vroeg as 1901, die jaar van sy debuut in Parys, toe hy die P-Mgie gespeel met die komponis uitvoer. Die Serenade is in 1908 gepubliseer deur Heugel. hierdie samestelling openbaar die ongewone sorg waarmee Faure saamgestel om selfs die kleinste van sy werke. besonder vir Faure, dit is vol humor en fantasie, met ornamente wat herinner aan die klavesimbel musiek van die 18de eeu. Tog is dit Serenade is geensins 'n blote pastiche. dit harmonies durf en by tye doelbewus skuur. Onder die ironie, die een het 'n blik op die gedistilleerde, sober styl van die laaste werke, so ver van die romantiek van die Elegie. "Die Serenade", Casals geskryf Faure, "ist heerlike en elke keer as ek dit speel, lyk dit vir my nuut in sy skoonheid. "In werklikheid egter Casals nie lyk, het dit baie dikwels gespeel het, gee voorkeur aan die twyfelagtige transkripsie van die klavier lied Apres un Reve wat hy homself gepubliseer in 1910. Vir hierdie rede het die Serenade het klein bekende gebly, ten spyte van miskien as gevolg van, sy oorspronklikheid. Vertaal deur Eva Breck en Stuart Thync. Parys, Autumn 1977 Jean-Michel Nectoux. Romance A-Dur op. 69-pels Violoncello und Klavier-. Stuk vir tjello. Butterfly. A-Dur op. 77-pels Violoncello und Klavier-. Sicilienne g-Moll op. 78-pels Violoncello und Klavier-. Serenade h-Moll op. 98-pels Violoncello und Klavier-.