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The D flat major sixth nocturne (1894) exhibits extended, irregular phrase lengths and chromatic manipulations which share that quality of freshness and adventure; and the central section, with its melody high above flurries of glittering semiquavers, is so beautiful that once a society lady begged to know where he had dreamed it up. Fauré replied: ‘In the Simplon Tunnel.’ Gradually the different ideas are brought together and implode. Then the opening idea returns, to reach a soft close.
In 1904 Emma finally left her husband … for Claude Debussy.
from notes by Jessica Duchen © 2023
Dans le sixième nocturne (1894), en ré bémol majeur, les phrases sont plus longues et irrégulières, avec des manipulations chromatiques qui partagent cette qualité de fraîcheur et d’aventure; et la section centrale, la mélodie scintillant au-dessus de rafales de doubles croches étincelantes, est si belle qu’un jour, une dame de la haute société lui demanda où il l’avait conçue. Fauré répondit: «Sous le tunnel du Simplon.» Peu à peu, les différentes idées sont réunies et implosent. Ensuite, l’idée initiale revient, pour atteindre une douce conclusion.
En 1904, Emma finit par quitter son mari … pour Claude Debussy.
extrait des notes rédigées par Jessica Duchen © 2023
Français: Marie-Stella Pâris
Einen ähnlichen Eindruck vermitteln erweiterte, unregelmäßige Phrasen und chromatische Wendungen im Nocturne Nr. 6 Des-Dur (1894); und der Mittelteil mit einer Melodie, die über Schwärmen flirrender Sechzehntelnoten aufleuchtet, ist von solcher Schönheit, dass eine Dame ihn einmal bat zu verraten, wo er diese Musik erträumt hätte. Fauré erwiderte: „Im Simplon-Tunnel.“ Schrittweise werden die Themen kombiniert und fallen in sich zusammen. Das Anfangsthema kehrt zurück und führt das Stück zu einem ruhigen Schluss.
1904 verließ Emma ihren Ehemann—um mit Claude Debussy zusammenzuleben.
aus dem Begleittext von Jessica Duchen © 2023
Deutsch: Friedrich Sprondel
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