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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 35 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)

Les berceaux, Op 23 No 1
composer
1879, Op 23 No 1, ‘À Mademoiselle Alice Boissenet’, Hamelle: Second Collection p27, B flat minor (original key) 12/8 Andante
author of text
author of text

Other recordings available for download
Sarah Walker (mezzo-soprano), Roger Vignoles (piano)
Dame Janet Baker (mezzo-soprano), Geoffrey Parsons (piano)
Introduction  EnglishFrançais
This song was composed four years after Au bord de l’eau to a text by the same poet. This appears in Sully-Prudhomme’s Stances et poèmes (1865) where it has the title Le long du quai les grands vaisseaux. The theme of the poem is ‘Men must work, and women must weep’, a play of words and thoughts between the vessels (‘vaisseaux’) in which sailors go off to sea, and the smaller yet similarly shaped cradles (‘berceaux’) in which mothers nurse the children who may never know their fathers. Fauré has written a combination of a berceuse and a barcarolle in the key of B flat minor, one of his very special tonalities. At first the song seems suitably intimate for the rocking of cradles (the accompaniment in triplets undulating between the hands is a masterful invention); in the climactic central section (‘Tentent les horizons qui leurrent’) the music takes on a heightened dramatic tone rare in this composer’s mélodies – we suddenly hear the heartbreak of the women left behind, as well as their anger at the sea, the sailors’ perpetual mistress. This explosion of feeling subsides as suddenly as it has occurred. The vocal range of the song encompasses an amazing 13th, from low A flat to high F. It is a measure of Fauré’s control of his means at the time (his so-called second period) that he avoids any sense of helter-skelter contrast between the women at home and the men on the ocean wave. Everything is skilfully managed with poise, including a remarkably concise, and superbly effective, transition into the poem’s third strophe. The moto perpetuo which is this haunting mélodie seems an unconscious echo of Whitman’s contemporary words: ‘Out of the cradle endlessly rocking … the musical shuttle … A reminiscence sing.’

from notes by Graham Johnson © 2005


Other albums featuring this work
'Fauré: La chanson d'Ève & other songs' (CDA66320)
Fauré: La chanson d'Ève & other songs
'The Sea' (CDA66165)
The Sea

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