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Track(s) taken from CDH55454

Après un rêve, Op 7 No 1

composer
arranger
1939; Free Settings of Favourite Melodies No 7

Piers Lane (piano)
Recording details: April 2001
Henry Wood Hall, London, United Kingdom
Produced by Amanda Hurton
Engineered by Tony Faulkner
Release date: June 2002
Total duration: 2 minutes 56 seconds

Cover artwork: Front illustration by Roland Piper (b?)
 
1

Reviews

'Inspired re-creations … strongly recommended to connoisseur and newcomer alike … Grainger's eclectic, idiosyncratic piano transcriptions, despatched with light-fingered clarity. Strauss swoons, Stephen Foster's all of a tingle. Excellent notes, too' (BBC Music Magazine)

'Le pianiste joue franc jeu et rend un bel hommage au compositeur' (Le Monde de la Musique, France)
The transcription of one of Fauré’s most poignant love songs, Après un rêve, Op 7 No 1, was made in 1939, fifteen years after that of Nell, and it is number seven of the ‘Free Settings of Favourite Melodies’. Both pieces have a lucid quality in which Grainger subtly weaves the vocal line into the main texture of the piano writing, not unlike the treatment employed in some of his piano arrangements of folk songs. In the last years of his life, although frail, he would often be heard playing these two Fauré melodies.

from notes by Barry Peter Ould © 2002

En 1939, Grainger transcrit une de ses chansons d’amour les plus poignantes, Après un rêve, op. 7 no1, qui devient le no7 de ses «Adaptations libres de mélodies favorites». Cette pièce et Nell se caractérisent par leur limpidité, Grainger entremêlant subtilement la ligne vocale et la trame de l’écriture pianistique d’une manière qui n’est pas sans rappeler ses arrangements pour piano de chansons populaires. À la fin de sa vie, bien qu’affaibli, Grainger jouera souvent ces deux mélodies de Fauré.

extrait des notes rédigées par Barry Peter Ould © 2002
Français: Josée Bégaud

Im Jahre 1939 folgte die Bearbeitung eines der ergreifendsten Liebeslieder Faurés, Après un rêve, Op. 7, Nr. 1 als Nummer 7 der „Free Settings of Favourite Melodies“. Beide Fauré Stücke haben einen klaren Charakter, und Grainger verwebt auf subtile Art und Weise die Vokallinie und die Haupttextur des Klavierparts miteinander—nicht unähnlich der Technik, die er in einigen seiner Klavierbearbeitungen von Volksliedern verwendete. In den letzten Jahren seines Lebens spielte er, obwohl er recht gebrechlich war, diese beiden Fauré Melodien oft.

aus dem Begleittext von Barry Peter Ould © 2002
Deutsch: Viola Scheffel

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