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Track(s) taken from CDA66320

Aurore, Op 39 No 1

First line:
Des jardins de la nuit s'envolent les étoiles
composer
20 May 1884, published as Op 39 No 1, E major (original key G major) 4/4 Andante
author of text

Dame Janet Baker (mezzo-soprano), Geoffrey Parsons (piano)
Recording details: August 1988
Seldon Hall, Haberdashers' Aske's School, Hertfordshire, United Kingdom
Produced by Martin Compton
Engineered by Antony Howell
Release date: November 1989
Total duration: 2 minutes 0 seconds
 
1

Other recordings available for download

Stephen Varcoe (baritone), Graham Johnson (piano)

Reviews

'This varied and generous selection of 28 songs is perhaps the best general introduction to this important side of Fauré's output and is also one of Geoffrey Parsons's finest recordings: voice and piano seem always to be at one. A magical disc' (BBC Music Magazine Top 1000 CDs Guide)

'Deeply considered and deeply moving performances' (BBC Record Review)

'A performance to treasure' (Opera Now)
The model of this kind of mélodie has already been established by Le secret (1880). The accompaniment (as in so many later Fauré songs) begins in simple crotchets, slightly detached (in this case distant stars a-twinkle – cf Diane, Séléné from L’horizon chimérique), seemingly uneventful, yet the epitome of harmonic subtlety. With the gradual arrival of dawn the music builds and develops over four pages. After the rapt diffidence of the first strophe the accompaniment (without a change of pulse) flowers into semiquavers for the second verse in the minor key. At the third strophe (the song is an ABA structure) the semiquavers are re-energized for a triumphant return to the major. With the warmth of a new dawn comes a new romantic confidence. The deployment of notes between the hands (a crotchet in the left, three semiquavers in the right) as well as the key of G major, prophesy the optimistic N’est-ce pas? from La bonne chanson. The poem is the fourth in a sequence of eight (entitled Matutina) from Silvestre’s collection Le pays des roses. The title ‘Aurore’ is Fauré’s own.

from notes by Graham Johnson © 2005

Le secret (1880) a déjà établi le modèle de ce genre de mélodie. L’accompagnement (comme si souvent dans les mélodies fauréennes ultérieures) commence par de simples noires, légèrement staccato (ici, des étoiles lointaines qui se mettent à scintiller—cf. Diane, Séléné, extraite de L’horizon chimérique), apparemment banales, mais qui sont la quintessence de la subtilité harmonique. Avec la venue progressive de l’aube, la musique se construit et se développe sur quatre pages. Après la pudeur extatique de la première strophe, l’accompagnement (sans changement de rythme) s’épanouit en doubles croches pour la deuxième strophe, en mineur. À la troisième strophe (la mélodie présente une structure ABA), les doubles croches sont revitalisées pour un retour triomphant du mode majeur. La chaleur d’une aurore nouvelle s’accompagne d’une nouvelle confiance romantique. Le déploiement des notes partagées aux deux mains (une noire à la gauche, trois doubles croches à la droite), mais aussi la tonalité de sol majeur, préfigurent l’optimiste N’est-ce pas? de La bonne chanson. Aurore est le quatrième poème d’une série de huit textes intitulée Matutina et tirée du recueil de Silvestre, Le pays des roses. Le titre est de Fauré.

extrait des notes rédigées par Graham Johnson © 2005
Français: Hypérion

Other albums featuring this work

Fauré: The Complete Songs, Vol. 4 – Dans un parfum de roses
CDA67336
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