FAURE: Barcarolles - NaxosDirect
Along with other rare sources, these offer some variant textures in the First Barcarolle and throw important light on tempo and rhythmic treatment in particularly the first two Barcarolles. The Fifth Barcarolle shows a vital manuscript variant and some variant rhythmic notation, both of which impinge strongly on the piece's tonal and rhythmic structure; in the Eighth Barcarolle a whole series of faulty or missing accidentals is corrected.
A long-standing confusion of slurs and ties is resolved in the Tenth Barcarolle, along with a problem of continuity at one point.
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Some oft-debated textures in the Eleventh and Twelfth Barcarolles are clarified, along with the correction of an unusually large number of wrong notes in the Eleventh. The remaining pieces appear with many smaller but telling corrections, in all bringing a new clarity to this epoch-defining series of pieces spanning four decades. Contains: - Barcarolle No.
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Deselect All. Trois Romances sans paroles, Op.
Barcarolle No. 2, Op. 41 in G Major: Allegretto quasi Allegro
Solo: Charles Owen piano. Faure's "harmonic staircase" effect involves layered descending harmonies that land on pearly arpeggios. The G Minor , composed in Lugano, borrows from the sensibility of his opera Penelope, the ultimate symbol of wifely devotion. Saint-Saens found the Barcarolle No. Over a liquid bass, the treble melody sings and expands, then engages in dialogue with ever-shimmering figures.
Faure scholars place this piece earlier than its stated opus number declares. The last of the set in C Major, Op.
Barcarolle No. 2 in G Major, Op. 41 Sheet Music by Gabriel Fauré
Owen ends his program with three pieces from Faure's s excursions into exercises commanded by his teacher Saint-Saens, whose love of Mendelssohn's keyboard works was no secret. Two A-flat Major studies surround an exercise in A Minor. Graceful, lyrical, eminently tasteful, they serve as a commentary on the entire album as well done.
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