The second verse is more emotionally taut: loved ones are at the graveside, now, kneeling, "his bones, there beneath the flowers The fluidity of the melodic line in the first two verses sets in relief the rigidity and irresolution of the melody of third, which begins with loud, strident chords and ardent repeated notes in the upper register of the voice, inflected only by semitone alternations. The scene in the text turns from melancholy to gruesome as the singer laments the fate of those not fortunate enough to be buried on land, the perished sailor who languishes in the depths of the sea "tossed, naked and forgotten, their eyes still big and unblinking.
The poem depicts the amorous entreaties of a flower to the butterfly that visits it, the former bemoaning how widely the latter roams free, untethered by roots in the soil, visiting countless other flowers. The poem unrolls in a singsong manner, with clear rhyme and meter, suggesting a similarly straightforward setting. Indeed, the sturdy bassline underscoring the melody and the cascading figure in the right hand that serves as an interlude between strophes aptly conveys the coy romantic humor of the poet's transparent metaphor. Clair de lune, Op.
Silvestre, in fact, provides poems for three of the songs in the Op. There is perhaps an explicit pictorial element associated with the image of the cut and withering flower, and the abrupt alternation between right and left hands of the repeated chord texture at the song's midpoint.
Les Berceaux (The Cradles) - No. 1 from "Three Songs" op. 23 - Kindle edition by Gabriel Fauré. Download it once and read it on your Kindle device, PC. , Op 23 No 1, 'À Mademoiselle Alice Boissenet', Hamelle: Second Collection p27, At first the song seems suitably intimate for the rocking of cradles (the.
As the texture fractures, the chordal progressions as well grow more conflicted, with increasingly chromatic harmonies underscoring an increasingly agitated melody. The line seems bound by the upper ceiling of the F minor tonality, however, reaching further upward with each appearance of the word "wind," but failing to break past the high F.
The poem describes large ships rocked by the water and cradles rocked by women: "But the day of farewells will come, because women must weep, and curious men must dare the lure of the horizon. The song opens with the lulling motion of arpeggios in the piano bass line, underpinning a soothing, quietly sung vocal line. At the line "But the day of farewells will come, " a crescendo slowly builds to a forte climax on "dare the lure of the horizon.
You called me, and I left the earth, to flee with you towards the light Return, return, radiant, mysterious night! While the vocal range is not especially demanding, the accompaniment provides little pitch support for the voice's sometimes unusual intervals.
When well performed, this richly expressive song is one of the most impressive and moving in the entire repertoire. Toujours The second, the only song in the cycle in a minor key, is much faster, allegro con fuoco, and even violent in the passionate phrasing. Read reviews of. Related articles. Steven Isserlis at still innovating, still inspiring More by David Smythe. David Smythe. David the farmer was drawn into music through choirs, orchestras, taking part in and directing 'serious' opera as a student.
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K detyam To the Children arr. Milhaud: 6 Chants populaires hebraiques, Op. Berceuse arr. Weber: Wiegenlied, Op. Ukolebavka arr.
Alfano: Antica ninna-nanna partenopea arr. Grechaninov: 5 Songs: No. Kolibel'naya arr. Wiegenlied im Sommer arr.
Add download to basket. Contents Delius: 7 Songs from the Norwegian: No. Show 14 remaining works on this recording Wagner: Dors mon enfant arr.