Le papillon et la fleur; Mai - Opus 1

INSTRUMENTATIONS :
ORCHESTRE
› Vents & Orchestre Cordes 2
PIANO
› Alto et Piano (ou orgue) 1
CLARINETTE
› Clarinette, Piano 1

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Fauré, Gabriel

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Partitions Orchestre ⮞ Vents & Orchestre Cordes ⮞ Gabriel Fauré

"Le papillon et la fleur" from "2 Songs" for Winds & Strings
Op. 1 No. 1
Gabriel Fauré

Vents & Orchestre Cordes

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VoirTélécharger PDF : "Le Papillon et la Fleur" from "2 Songs" (Op. 1 No. 1) for Winds & Strings (14 pages - 353.19 Ko)60x⬇

VoirTélécharger PDF : Basson (64.16 Ko)

VoirTélécharger PDF : Violoncelle (61.58 Ko)

VoirTélécharger PDF : Flûte (70.39 Ko)

VoirTélécharger PDF : French Cor (64.91 Ko)

VoirTélécharger PDF : Hautbois (64.55 Ko)

VoirTélécharger PDF : Piccolo (70.13 Ko)

VoirTélécharger PDF : Alto (68.41 Ko)

VoirTélécharger PDF : Violon 1 (67.78 Ko)

VoirTélécharger PDF : Violon 2 (69.28 Ko)

VoirTélécharger PDF : Conducteur complet (199.91 Ko)

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Compositeur	Gabriel Fauré (1845 - 1924)
Instrumentation	Vents & Orchestre Cordes ➔ 1 autre version
Genre	Romantique
Arrangeur Editeur	MAGATAGAN, MICHAEL (1960 - ) Suivre 101 Contacte Faire un don
Tonalité	Do majeur
Droit d'auteur	Public Domain
Gabriel Urbain Fauré (1845 – 1924) was a French composer, organist, pianist and teacher. He was one of the foremost French composers of his generation, and his musical style influenced many 20th-century composers. Among his best-known works are his Pavane, Requiem, Sicilienne, nocturnes for piano and the songs "Après un rêve" and "Clair de lune". Although his best-known and most accessible compositions are generally his earlier ones, Fauré composed many of his most highly regarded works in...(+) Gabriel Urbain Fauré (1845 – 1924) was a French composer, organist, pianist and teacher. He was one of the foremost French composers of his generation, and his musical style influenced many 20th-century composers. Among his best-known works are his Pavane, Requiem, Sicilienne, nocturnes for piano and the songs "Après un rêve" and "Clair de lune". Although his best-known and most accessible compositions are generally his earlier ones, Fauré composed many of his most highly regarded works in his later years, in a more harmonically and melodically complex style. Fauré was born into a cultured but not especially musical family. His talent became clear when he was a young boy. At the age of nine, he was sent to the École Niedermeyer music college in Paris, where he was trained to be a church organist and choirmaster. Among his teachers was Camille Saint-Saëns, who became a lifelong friend. After graduating from the college in 1865, Fauré earned a modest living as an organist and teacher, leaving him little time for composition. When he became successful in his middle age, holding the important posts of organist of the Église de la Madeleine and director of the Paris Conservatoire, he still lacked time for composing; he retreated to the countryside in the summer holidays to concentrate on composition. By his last years, he was recognised in France as the leading French composer of his day. An unprecedented national musical tribute was held for him in Paris in 1922, headed by the president of the French Republic. Outside France, Fauré's music took decades to become widely accepted, except in Britain, where he had many admirers during his lifetime. Fauré's music has been described as linking the end of Romanticism with the modernism of the second quarter of the 20th century. When he was born, Chopin was still composing, and by the time of Fauré's death, jazz and the atonal music of the Second Viennese School were being heard. The Grove Dictionary of Music and Musicians, which describes him as the most advanced composer of his generation in France, notes that his harmonic and melodic innovations influenced the teaching of harmony for later generations. During the last twenty years of his life, he suffered from increasing deafness. In contrast with the charm of his earlier music, his works from this period are sometimes elusive and withdrawn in character, and at other times turbulent and impassioned. Fauré begins his song-writing career with a pianistic carte de visite. A ritornello is launched with élan (one ascending C major scale, then another – a musical commonplace adapted for lepidopteran acrobatics) followed by sequences that spiral downwards in waltz rhythm. The song is usually chattered in a fast tempo (and in a bright D major transposition) that emphasizes its glittering superficiality. In the lower, original, key there is room for a touch of sadness and vulnerability; we can see a lovesick teenager rooted to the spot and not yet able to quench the thirsts of adolescence. The cover of the autograph (where the composer takes more pains in the penmanship of the title, La fleur et le papillon, than in the setting’s prosody) contains an amusing sketch of a flower with tiny arms looking up to a hovering butterfly wearing a crown. This was drawn by Saint-Saëns, Fauré’s teacher at the École Niedermeyer, who was clearly bemused by his pupil’s achievement. The poem, No XXVII in Hugo’s Chants du crépuscule has no title in the first edition. Perhaps the composer knew the text from Henri Reber’s modest setting of 1847. Source: Wikipedia (https://en.wikipedia.org/wiki/Gabriel_Faur%C3%A9) Although originally composed for Voice (Soprano) and Piano, I created this Interpretation of the "Le Papillon et la Fleur" from "2 Songs" (Op. 1 No. 1) for Winds (Piccolo, Flute, Oboe, French Horn & Bassoon) and Strings (2 Violins, Viola & Cello).
	Ajoutée par magataganm, 19 Avr 2023
Partition centrale	Le papillon et la fleur; Mai, 1 (4 partitions)