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Pavane, Op 50


Forget (if you had remembered them) S Club 7 and World Cup ’98. Think instead of a high- Renaissance palazzo, the origin of the Pavane as a courtly dance with four beats in the bar: or of a private chamber in an Elizabethan house, appointed with recorder and lutenist. John Dowland, Thomas Morley and many others wrote Pavanes for this mise-en-scène: Morley described the Pavane as ‘a kind of staid music, ordained for grave dancing’.

So it is in Fauré’s ‘translation’ of the dance to late-nineteenth-century Paris. The flute, modern cousin to the recorder, sings the doleful main theme; you can even hear the archaic lute in the gentle, plucked bass of the accompaniment. After the theme has passed from the winds to the strings, there is a short middle section, more impassioned but still in the modal, detached style of the whole, before the theme returns.

from notes by Peter Quantrill © 2011


Ravel, Fauré & Poulenc: LCO Live
SIGCD211Download only

Track-specific metadata for SIGCD211 track 5

Recording date
21 April 2010
Recording venue
St John's, Smith Square, London, United Kingdom
Recording producer
Raphaël Mouterde
Recording engineer
Mike Cox & Mike Hatch
Hyperion usage
  1. Ravel, Fauré & Poulenc: LCO Live (SIGCD211)
    Disc 1 Track 5
    Release date: July 2011
    Download only
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