Pavane (Fauré)

küçükresim|1887'de Faure F# minör Pavane, Op. 50, Fransız besteci Gabriel Fauré tarafından 1887'de yazılmış kısa bir eserdir. Aslen bir piyano parçasıydı, ancak Fauré'nin orkestra ve isteğe bağlı koro versiyonunda daha iyi biliniyor. İlk kez 1888'de Paris'te seslendirildi ve bestecinin en popüler eserlerinden biri oldu. == Geçmiş == Eserin adı, aynı adı taşıyan yavaş alaylı İspanyol saray dansındanBrown, Alan. "Pavan" Grove Music Online, Oxford Music Online, accessed 15 November 2011 sonra geliyor. Fauré'nin parçanın orijinal versiyonu 1880'lerinHowat, p. 155 sonlarında piyano ve koro için yazılmıştır."Zarif, kesin ama özellikle önemli değil.Fauré (1984), p. 129 Fauré composed the orchestral version at Le Vésinet in the summer of 1887.Orledge, Robert (1993). Notes to EMI CD CDM 7-64715-2 He envisaged a purely orchestral composition, using modest forces, to be played at a series of light summer concerts conducted by Jules Danbé. After Fauré opted to dedicate the work to his patron, Elisabeth, comtesse Greffulhe,Nectoux. p. 172 he felt compelled to stage a grander affair and at her recommendation he added an invisible chorus to accompany the orchestra (with additional allowance for dancers). The words were inconsequential verses, à la Verlaine, on the romantic helplessness of man, written by the Countess's cousin, Robert de Montesquiou.Nectoux, p. 34 Fauré wrote: The orchestral version was first performed at a Concert Lamoureux under the baton of Charles Lamoureux on 25 November 1888. Three days later, the choral version was premiered at a concert of the Société nationale de musique. In 1891, the Countess finally helped Fauré produce the version with both dancers and chorus, in a "choreographic spectacle" designed to grace one of her garden parties in the Bois de Boulogne.Nectoux, p. 510 From the outset, the Pavane has enjoyed immense popularity, whether with or without chorus.Nectoux, p. 338 With choreography by Léonide Massine a ballet version entered the repertoire of Sergei Diaghilev's Ballets Russes in 1917, alternatively billed as Las Meninas or Les Jardins d'Aranjuez, danced to music by not only Fauré but also Maurice Ravel and others." Las meninas" , Bibliothèque nationale de France. Retrieved 3 March 2021 For Massine, Fauré's music had "haunting echoes of Spain's Golden Age" parallelling the formality and underlying sadness he found in the paintings of Velázquez.Norton, p. 25 Some critics found the ballet pallid, but Diaghilev retained a fondness for the piece, and kept it in the company's repertoire until the end of his life. Fauré's example was imitated by his juniors, who went on to write pavanes of their own: Debussy's Passepied in his Suite bergamasque and Ravel's Pavane pour une infante défunte,Nectoux, p. 109 and "Pavane de la belle au bois dormant" in Ma mère l'oye. == Müzik == bağlantı=https://en.wikipedia.org/wiki/File:Orchesterwerke_Romantik_Themen.pdf?page=232|sağ|sayfa=232|küçükresim|Opening bars The work is scored for modest orchestral forces consisting of strings and one pair each of flutes, oboes, clarinets, bassoons, and horns.Fauré (1901), p. 1 The Fauré scholar Jean-Michel Nectoux writes that the Pavane has become one of the composer's best-known pieces, and "there will be few to deny that it is one of the most attractive of his lesser works: the flute theme, once heard, is not easily forgotten".Nectoux, pp. 108–109 In a 1979 study, Robert Orledge describes the scoring of the Pavane as "delicate and airy, with some practical and inspired woodwind writing and a variety of string textures…" He adds that the strings sometimes double the viola part on either second violins or cellos, "perhaps for safety's sake".Orledge, p. 101 After the opening flute theme, there is a more dramatic central section, comprising a series of four- bar sequences over bass pedals which descend whole tones – a favourite device of Fauré's. There are small and barely perceptible changes to the main theme during the work and reharmonisations that Orledge calls "a miracle of Fauréan ingenuity". Performance timings vary considerably. These recordings made between 1953 and 2014 have playing times from under five minutes to nearly seven: Orchestra Conductor Year Timing Ref Detroit Symphony 1953 4:50 Naxos 9.80451 ORTF National Orchestra 1959 5:09 Parlophone 5099990993251 Philadelphia Orchestra 1968 6:58 Sony Classical 074646264423 Orchestre de Paris 1974 6:18 Parlophone 5099962172059 Academy of St Martin in the Fields 1981 6:35 Decca 00028947820246 Boston Symphony 1986 6:51 Deutsche Grammophon 00028942308923 Montreal Symphony 1987 6:39 Decca 00028942144026 BBC Philharmonic 1995 6:19 ChandosCHAN10113 San Francisco Symphony 2014 6:12 SFS Media190295689018 Fauré intended the piece to be played more briskly than it is sometimes performed in its more familiar orchestral guise. The conductor Sir Adrian Boult heard Fauré play the piano version several times and noted that he took it at a tempo no slower than 100 crotchets a minute.Howat, p. 272 Boult commented that the composer's sprightly tempo emphasised that the Pavane was not a piece of German romanticism, and that the text later added was "clearly a piece of light-hearted chaffing between the dancers".Boult, Adrian C. "Faure's Pavane" , The Musical Times, Vol. 117, No. 1600 (June 1976), p. 490 VerseC'est Lindor, c'est Tircis et c'est tous nos vainqueurs! C'est Myrtille, c'est Lydé! Les reines de nos coeurs! Comme ils sont provocants! Comme ils sont fiers toujours! Comme on ose régner sur nos sorts et nos jours! Faites attention! Observez la mesure! Ô la mortelle injure! La cadence est moins lente! Et la chute plus sûre! Nous rabattrons bien leur caquets! Nous serons bientôt leurs laquais! Qu'ils sont laids! Chers minois! Qu'ils sont fols! (Airs coquets!) Et c'est toujours de même, et c'est ainsi toujours! On s'adore! On se hait! On maudit ses amours! Adieu Myrtille, Eglé, Chloé, démons moqueurs! Adieu donc et bons jours aux tyrans de nos coeurs!It's Lindor! it's Tircis! and all our conquerors! It's Myrtil! it's Lydé! the queens of our hearts! How provocative they are, how proud they are always! How they dare reign over our fates and our days! Pay attention! Observe the measure! O the deadly insult! The pace is slower! And the fall more certain! We'll tone down their chatter! Soon we'll be their lackeys! How ugly they are! Sweet faces! How crazy they are! Coquettish airs! And it's always the same! And will be so always! They love one another! They hate one another! They curse their loves! Farewell, Myrtil! Eglé! Chloe! Mocking demons! Farewell and good days to the tyrants of our hearts!English translation combined from Google and Microsoft translators == Notlar == == Kaynakça== * * * * * * == Dış bağlantılar == * * Free scores of this work in the Choral Public Domain Library (ChoralWiki) * An ASCII-based text and translation of the Pavane from The Lied and Art Songs Text Page Kategori:F-Sharp minör kompozisyonlar Kategori:1887 kompozisyonları Kategori:Koro kompozisyonları Kategori:Gabriel Fauré'nin kompozisyonları