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Hyperion Records

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Track(s) taken from CDA67333
Recording details: January 2004
All Saints' Church, East Finchley, London, United Kingdom
Produced by Mark Brown
Engineered by Julian Millard
Release date: January 2005
Total duration: 2 minutes 47 seconds

'Hyperion's sound is impeccable and in both his playing and accompanying essay, Graham Johnson penetrates to the heart of one of music's most subtle and enigmatic geniuses' (Gramophone)

'There can be nothing but praise for Johnson's pianism and his selection and arrangement of the songs. Volumes 3 and 4 are eagerly awaited' (The Sunday Telegraph)

'Johnson's own fluent playing finds the right tempo for each song, and his booklet notes are invaluable. Those who already love a handful of Fauré's songs will make many worthwhile discoveries here' (BBC Music Magazine)

'It sounds as if Hyperion is inviting us to embark on what will become a deeply satisfying voyage' (International Record Review)

'A dozen individual songs on aqueous themes are shared by a distinguished line-up of mostly British singers. As ever in Hyperion's song surveys, the piano accompaniments and the written documentation are immaculately presented by Graham Johnson' (The Guardian)

'Johnson's vignette-studded notes, encompassing the poems with idiomatic translations, make a consistently engaging cornucopia worth at least the price of admission and whose wide-ranging erudition will afford surprises even to close students of the period' (Fanfare, USA)

Seule!, Op 3 No 1
First line:
Dans un baiser, l’onde au rivage
composer
1871, Op 3 No 1, ‘À Monsieur E Fernier’, Hamelle: First Collection p19, E minor (original key) 4/4 Andante
author of text

Introduction  EnglishFrançais
This is Gautier (the Poésies nouvelles again) in the Dardanelles and ‘au bord de l’eau’. The poem has no heading but Fauré changes the poet’s own adjectival ‘seul’ in the second strophe to the feminine ‘seule’ and uses this, together with a dramatic exclamation mark, as his title. The imposing classical economy and severity of the music, and its musically appointed feminine narrator, cannot help but bring to mind that most famous of mourners who waited in vain for a sign of life from the Hellespont – Hero, priestess of Aphrodite, whose lover Leander had drowned there. In order to visit Hero, Leander had nightly swum the four miles (Byron measured the distance by setting himself the same challenge) between Sestos and Abydos. Before committing suicide Hero lamented Leander’s death – perhaps in words like these. Gautier’s visit to Constantinople in 1852 accounts for a reference in the second strophe to the basilica of Saint Sophia, admittedly an anachronism had any classical allusion been intended. But if the poem has set Fauré thinking of this episode in Greek mythology one might opine that this was his first classically inspired song. France’s defeat in the Franco-Prussian war, and the ensuing chaos of the Commune, began a new chapter in French music; the contemporary example of Duparc’s L’invitation au voyage seems to have given Fauré confidence to write songs in the grand manner. This is his first in the minor key, and the composer no longer strives automatically for a salon-pleasing charm. The music gives the impression of being an obsessive passacaglia punctuated by tolling right-hand octaves.

from notes by Graham Johnson © 2005

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