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原文

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

译文

件为大提琴. 加布里埃尔·福雷. 大提琴独奏乐谱.

原文

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-.

译文

饮片为大提琴. 1845-1924. 大提琴，钢琴. 乐谱. 出版版彼得斯. PE.P09570. 结语. 加布里埃尔·福雷. 1845-1924. 是19年下半年最显著的法国作曲家和20世纪初. 他的主要工作包括钢琴，声乐及室内乐组合的. 加布里埃尔福雷被训练在巴黎，在教会音乐的路易尼德迈耶学校，他的老师是尼德迈耶和圣桑，成为合唱团主. 1877. 随后管风琴在马德琳. 1896-1905. 他负责，在1896年，在巴黎音乐学院的组合类的，是其董事，由1905至20年. 在他的学生是拉威尔，查尔斯克什兰，弗洛朗施密特，罗杰·杜卡斯和Nadia Boulanger餐厅. 兴业全国音乐由圣桑和Bussine的基础在1871年鼓励福雷写室内乐. 连同圣桑，爱德华拉罗和塞萨尔弗兰克，他在法国室内乐的复兴参加. 福雷总是表现出偏爱的大提琴. 除了这两个细奏鸣曲，作品。 109和117，他对他生命的尽头组成，他分配给该仪器在他的室内乐组合的特殊地位邮件中可以看出，例如，TI-12慢板第一钢琴四重奏，作品的。 15，一开始和钢琴三重奏，作品的行板。 120，而在弦乐四重奏，作品的结局。 121. 大提琴的显著作用但是，也应该在与他的管弦乐连接强调. 这种特殊的功能可能由他的训练作为管风琴教堂音乐和表演来解释. 大提琴也可以用作器官踏板. ，但它是已知的作曲家的贝司在他的和谐坏一个特别的偏爱. “来吧，贝司. “是他频繁的话语1. 因此，毫不奇怪，福雷应该在他的生活的过程中，可能他认为他的成熟的两年后奏鸣曲的前体由各种短篇作品. 其中第一个较短的成分是著名的Eleie，作品。 24. 这可能是第一次在圣桑的沙龙，其中福雷写信给他的出版商，朱利安Hamelle进行的1880年6月21日的工作. “我的大提琴作品有很好的接待”，并补充. “它极大地鼓励我，使之成为一个完整的奏鸣曲”. 这首奏鸣曲项目解释了丰富的内容和ABA的形式工作. 但大提琴奏鸣曲未完成. 这项工作是第一次在1883年印有奉献精神，以儒勒·勒布，大提琴在巴黎音乐学院的教授，是谁给了于1883年12月15日首次公开演出在兴业全国音乐. 1895年福雷做了一个版本，管弦乐伴奏. 当它发表后，Elegie是如此成功，以至于Hamelle立即下令一个新的工作，目的是作为一个演奏家挂件到Elegie. 福雷着手撰写的作品几乎没有热情. 新作被提及日期为1884年9月25日的合同，但其报告被推迟了很长的时间，因为作曲家有过争吵有关于标题发布. 据了解，福尔首选抽象的标题没有额外的音乐内涵. 然而，这并没有关注到发布的，谁知道大众的偏爱视觉职称. 福雷坚持平原标题片断为大提琴，而Hamelle他的部分建议Libellules. 蜻蜓. ，这也是在合同中提及的标题. 十四年，作曲家才不情愿地传递同意称号巴比. butterfly. ，这是他diskliked强烈. 他至少成功地保留片断为大提琴，作品。 77为子标题. 这雄辩和光成分还与大提琴家的广泛响应，但其音乐兴趣受到一定限制. 在1898年以前，其迟来的出版年份，它几乎correspondend的风格与福雷的作品这一时期，其特点是作品为第七届夜曲，作品。 74和佩利亚斯与梅丽桑德，作品的配乐。 80. 第二个主题的伟大激情句话其实更接近第四夜曲，作品。 36. 1884. ，在同一时期由. 1893年福雷委托编写配乐莫里哀的Le资产阶级Gentilhomme，为此他创作的Sicilienne的小乐队，在死后出版小夜曲的声音，并且它似乎，一个为小步舞曲小乐队这仍然未公布. 该项目，显然，并没有实现，但福雷显然是高兴的Sicilienne，因为他再次用它在1898年为他的配乐，以莫里斯·梅特林克的佩利亚斯与梅丽桑德在伦敦，在那里推出了第二首表演之际法案. 现场的井. 同年，它是在一个版本为大提琴和钢琴梅茨勒separatly公布. 它是专门为英国大提琴家威廉·亨利·斯奎尔，谁在1925年记录了它. 至于这个知名作品的管弦乐版本，它是在福雷编译的交响组曲从佩利亚斯音乐，它出现在1901省略. 但在它被印在1909年列入组曲，作品作曲家的明确要求。 80. 在A，作品的浪漫。 69不应该与转录为大提琴混淆. 也是在. 第三浪漫SAN的假释，作品。 17. 在原来的钢琴版一台. 这个浪漫，作品。 69是最好的佛瑞的成分为大提琴1. 它可能是写于1894年，其中许多佛瑞大师的作品被创造了一年. 歌曲香格里拉博讷香颂，作品的周期。 61，6TB夜曲，作品。 63，5TB船歌，作品。 70，歌曲晚报和监狱，作品。 83在这一年都组成. 在A中的爱情的开始和结束的Brahmsian明暗对比，突然燃起UND然后在展开长期，灵活的短语伴随着澎湃的钢琴琶音. 其exhaustable抒情的东西拉博讷香颂的激情活力的，福雷执行它首次在日内瓦1894年11月14日，与阿道夫·雷伯格. 这项工作是专门为大提琴家儒勒Griset，谁使用安排室内乐和口腔演唱会在他的家. 夏布里埃写了他的咏乐为他. 的签名，可以注意到，在落款行板与运算。 63. 它是由转录成福雷一个版本为大提琴和风琴这是从来没有出版. 短的片断为大提琴的最后是小夜曲，作品。 98，组成了年轻的帕布罗卡萨尔斯，谁已成为熟悉，福雷，早在1901年，他在巴黎的首次亮相今年，当他扮演的P-MGIE与作曲家进行. 小夜曲是由Heugel出版于1908年. 这种组成揭示了不同寻常的关心与福雷组成即使是最小的他的作品. 特别对福雷，它是充满了幽默和幻想，与饰品让人联想到18世纪的大键琴音乐. 然而，这小夜曲绝不是一个单纯的仿作. 它是和声大胆，有时故意磨料. 下方的讽刺，一个人的最后作品的蒸馏水，简朴风格的一瞥，让远离Elegie的浪漫主义. “小夜曲”，卡萨尔斯写信给福雷，“北京时间愉快，每次我打它，它似乎新的给我在它的美丽. “然而在事实上，卡萨尔斯似乎并没有起到很频繁，钢琴曲的Apres未亮采的就是他自己出版于1910年的可疑转录优先考虑. 由于这个原因，小夜曲一直鲜为人知，尽管也许是因为，它的独创性. 由Eva布雷克和斯图尔特Thync翻译. 巴黎，1977年秋让 - 米歇尔·Nectoux. 遗事-DUR运. 69 - 毛皮大提琴UND全键盘，. 片大提琴. 蝴蝶. à-DUR运. 77 - 毛皮大提琴UND全键盘，. Sicilienne G-莫尔运. 78 - 毛皮大提琴UND全键盘，. 小夜曲H-莫尔运. 98 - 毛皮大提琴UND全键盘，.