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Difficulty (Explanation)
Other titles of this difficulty
Fantaisie op. 79
8 difficult
Morceau de lecture
6 medium

About the Composer

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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.

1845Born in Pamiers (Ariège) on May 12, the son of a primary school teacher.
1854–65Attends the École de musique classique et religieuse (founded by L. Niedermeyer), where liturgical musicians were educated; lessons with Saint-Saëns (from 1861).
1866–70Organist at the church of Saint-Sauveur in Rennes.
1871After 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.
1874Premiere of his “Suite d’orchestre” in F major (“Symphony No. 1”), which is a compilation of existing pieces.
1875/76Violin Sonata No. 1 in A major, Op. 13.
1876–79Piano Quartet No. 1 in C minor, Op. 15
1877Maître de chapelle at Paris’s Église de la Madeleine.
1876/78Premiere of his choral work “Les Djinns,” Op. 12.
from 1879Attends performances of Wagner’s music; in his own compositions he distances himself from Wagner.
1885Premiere of his Symphony No. 2 in D minor, later destroyed.
1887/88Requiem, Op. 48.
1891“Cinq Mélodies ‘de Venise’,” Op. 58, on texts by Verlaine.
1892–94“La bonne chanson,” Op. 61, on texts by Verlaine.
1896Successor to Dubois at the Madeleine. He conducts a composition class at the Paris Conservatoire.
1900Premiere of the tragédie lyrique “Prométhée,” Op. 82.
1905–20Director of the Conservatoire.
1909President of the Société musicale indépendante.
1913Premiere in Monte Carlo of his opera “Pénélope.”
1919Song cycle, “Mirages,” Op. 113, with clear features of his modernist late style.
1924Death in Paris on November 4.

© 2003, 2010 Philipp Reclam jun. GmbH & Co. KG, Stuttgart

About the Authors

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Annette Oppermann (Editor)

Dr. Annette Oppermann, born in 1965, trained as a music dealer in Frankfurt am Main and studied historical and systematic musicology as well as modern German literature at Hamburg University.

From 1993 to 1996 she worked as an editor for Sony Classical International in Hamburg; from 1996 to 1999 she was a doctoral candidate in the postgraduate programme Textkritik at the Ludwig-Maximilians-Universität in Munich, in January 2000 she earned her doctorate with a dissertation on “Musikalische Klassikerausgaben” (Hans-Joachim Marx, Hamburg). From 2000 to 2008 she worked as a research associate at the Joseph Haydn-Institut in Cologne, and was editor of the Oratorio “Die Schöpfung” in the Complete Edition of Joseph Haydn’s Works. Since February 2008 she has been an editor at G. Henle Publishers in Munich, with a particular focus on vocal music, chamber music and books.

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Klaus Schilde (Fingering)

Prof. Klaus Schilde, born in 1926, spent his childhood in Dresden. There he was greatly influenced by Walter Engel, who taught him the piano (Kodaly method), composition and violin. From 1946–1948 he studied at the music conservatory in Leipzig with Hugo Steurer. After moving to the west in 1952 he studied with Walter Gieseking and Edwin Fischer, as well as with Marguerite Long, Lucette Descaves and Nadia Boulanger in Paris.

Schilde won numerous prizes. From 1947 onwards he gave concerts as a soloist and chamber musician on almost every single continent with renowned orchestras. He taught at the music conservatories in East Berlin Detmold, West Berlin, Munich, Tokyo (Geidai) and Weimar. From 1988–1991 he was President of the Staatliche Hochschule für Musik und Theater in Munich, where he also taught for decades as a professor. There are numerous radio and television broadcasts with Klaus Schilde as well as CD recordings. Schilde has contributed fingerings to almost 100 Henle Urtext editions.

Prof. Klaus Schilde passed away on 10 December, 2020.

Flötist/inn/en und ihre Begleiter/innen dürfen sich deshalb über diese Henle-Neuausgabe auf chamoisfarbenem Papier mit dem bekannten blaugrauen Einband freuen: Sie ist - ich bin geneigt »natürlich wieder« zu sagen - vorbildlich klar und übersichtlich gesetzt, mit Rücksichtnahme auf günstige Seitenwendestellen. Und sie enthält als weitere Komposition ein kleines Morceau de lecture, also ein Blattlesestück, ebenfalls - wie die Fantaisie - für den »Concours de flûte« am Pariser Conservatoire komponiert.

Das Liebhaberorchester, 2018

Inutile de vous présenter la Fantaisie Op 79, un des classiques du répertoire (...) Chez Henle Verlag, elle est couplée avec le morceau de lecture publié dans sa version originale (19 mesures), la préface d'Annette Oppermann précise remarquablement les circonstances de la naissance de ces deux oeuvres que les huit élèves de Paul Taffanel au conservatoire de Paris durent exécuter le 28 Juillet 1898 au concours annuel.

Traversières, 2017

Das Autograph der Fantaisie ist leider verschollen. Für die neue Urtext-Ausgabe stand deshalb als Quelle nur die Erstausgabe zur Verfügung. Die darin enthaltenen Druckfehler und Ungenauigkeiten wurden jedoch von der Herausgeberin sorgfältig korrigiert und detailliert aufgelistet. Schon allein deshalb lohnt sich die Anschaffung der neuen Urtextausgabe, selbst für Besitzer einer der älteren Editionen. Ein weiteres Argument für den Kauf der vorliegenden Neuausgabe ist das Morceau de lecture, das quasi als Zugabe in die Ausgabe aufgenommen wurde.

Tibia, 2016

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Further editions of this title
Further editions of this title