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Hyperion Records

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Track(s) taken from CDA67315
Recording details: December 2001
Rosslyn Hill Unitarian Chapel, Hampstead, London, United Kingdom
Produced by Mark Brown
Engineered by Simon Eadon
Release date: August 2002
Total duration: 1 minutes 28 seconds

Fleur jetée, Op 39 No 2
First line:
Emporte ma folie
composer
‘À Mme Jules Gouin’, Hamelle: Second Collection p51, F minor (original key) 6/8 Allegro énergico
author of text

Other recordings available for download
John Mark Ainsley (tenor), Graham Johnson (piano)
Introduction  EnglishFrançais
The poem follows Notre amour in Silvestre’s collection entitled Les ailes d’or. It inspires a powerful song that is often compared to Schubert’s Erlkönig because of the challenging octave repetitions of the piano-writing. There is a romantic grandiloquence about this music, one might even call it melodramatic, which is not native to the composer. Because Fauré so seldom allows himself to become passionate in this manner, Fleur jetée is a useful foil for the more introverted mélodies when performers plan a group of contrasting Fauré songs. It is rare to find an instance where Fauré’s teacher Camille Saint-Saëns has actually exerted an influence on his pupil, but the piano-writing here, requiring both exact adherence to the tempo and clarity in its repetitive articulation, reminds us of the robust demands of certain passages in the Saint-Saëns piano concertos (speed up the accompaniment to Dalila’s aria, Mon cœur s’ouvre à ta voix, and you will find similarities with the stave-hopping piano-writing of the whole central portion of Fleur jetée). The voice too, as in some of Saint-Saëns’ songs, is unafraid to flirt with an operatic scale and manner that easily becomes ‘ham’ in the hands of less refined singers. There are, nevertheless, details a-plenty to admire; the seamless harmonic progress of the music sweeps us along and blows us away, ‘au gré du vent’, in one great courbe. As in Notre amour, the pulsating right-hand accompaniment is interlaced with ascending and descending scale passages in the left hand. Towards the end the time signature changes for three bars from 6/8 to 9/8 – an indication of how well Fauré understood the voice, and the expanded space that it needs to manoeuvre at the top of the stave. A polished performance of Fleur jetée can be thrilling, but too often the public remembers only the final high notes, and the thundering postlude where the pianist always risks landing on a split chord at the last hurdle.

from notes by Graham Johnson © 2005


Other albums featuring this work
'Fauré: The Complete Songs, Vol. 3 – Chanson d'amour' (CDA67335)
Fauré: The Complete Songs, Vol. 3 – Chanson d'amour

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