Following the enthusiastic reception of his first Violin Sonata (HN 980), it was clear to Fauré that he would continue to write chamber music. In 1880 he wrote a little piece for cello and piano that was intended as the slow movement for a sonata. However, Fauré gave up the sonata project, instead publishing the piece under the title “Élégie”. It was so successful that Fauré was urged by the publisher to write further pieces. The conductor Édouard Colonne commissioned a version of the “Élégie” for orchestra in 1895, which was premièred two years later. As usual, our Urtext edition contains both a marked and an unmarked solo part.
収録作品/詳細
- 難易度 (解説)
- 同じ難易度の作品をもっと見る
Youtube
序文
Encouraged by the success of his Violin Sonata in A major, op. 13, which had been published in 1877, Gabriel Fauré (1845–1924) decided three years later to compose a sonata for violoncello and piano. As was often the case with him, the first thing he wrote was a slow middle movement; he chose c minor, the key of his Piano Quartet op. 15 that had been written in the years … 続き
批判校訂報告
作曲家について
Gabriel Fauré
Representative exponent of French music around 1900. His creative work is centered around the art song, piano music (nocturnes, barcarolles, impromptus, valse-caprice), and chamber music – alongside other genres.
| 1845 | Born in Pamiers (Ariège) on May 12, the son of a primary school teacher. |
| 1854–65 | Attends the École de musique classique et religieuse (founded by L. Niedermeyer), where liturgical musicians were educated; lessons with Saint-Saëns (from 1861). |
| 1866–70 | Organist at the church of Saint-Sauveur in Rennes. |
| 1871 | After occupying various organist positions in Paris, he becomes assistant organist to Saint-Saëns at Saint-Sulpice. He numbers among the founding members of the Société nationale de musique. Performances of his works in their concerts. |
| 1874 | Premiere of his “Suite d’orchestre” in F major (“Symphony No. 1”), which is a compilation of existing pieces. |
| 1875/76 | Violin Sonata No. 1 in A major, Op. 13. |
| 1876–79 | Piano Quartet No. 1 in C minor, Op. 15 |
| 1877 | Maître de chapelle at Paris’s Église de la Madeleine. |
| 1876/78 | Premiere of his choral work “Les Djinns,” Op. 12. |
| from 1879 | Attends performances of Wagner’s music; in his own compositions he distances himself from Wagner. |
| 1885 | Premiere of his Symphony No. 2 in D minor, later destroyed. |
| 1887/88 | Requiem, Op. 48. |
| 1891 | “Cinq Mélodies ‘de Venise’,” Op. 58, on texts by Verlaine. |
| 1892–94 | “La bonne chanson,” Op. 61, on texts by Verlaine. |
| 1896 | Successor to Dubois at the Madeleine. He conducts a composition class at the Paris Conservatoire. |
| 1900 | Premiere of the tragédie lyrique “Prométhée,” Op. 82. |
| 1905–20 | Director of the Conservatoire. |
| 1909 | President of the Société musicale indépendante. |
| 1913 | Premiere in Monte Carlo of his opera “Pénélope.” |
| 1919 | Song cycle, “Mirages,” Op. 113, with clear features of his modernist late style. |
| 1924 | Death in Paris on November 4. |
Die HN-Ausgabe (Hrsg. Jean-Christophe Monnier) besticht hier durch ein viel ausführlicheres Vorwort und eine größere Texttreue.