Barcarolle no. 11 in G minor - Op. 105, no. 1

Adagio - Allegro molto Live Mozart: Variation I Live Mozart: Variation II Live Mozart: Variation IV Live Mozart: Variation V Live Haydn: Piano Trio in G Major, Hob. Poco adagio Live Haydn: Allegro assai Live Beethoven: Tempo di minuetto, ma molto moderato e grazioso Live Beethoven: Allegro vivace Live Beethoven: Allegro con brio Live Beethoven: Adagio con espressione Live Beethoven: Tema con variazioni Live Beethoven: Variation I Live Beethoven: Variation II Live Beethoven: Variation IV Live Beethoven: Variation V Live Beethoven: Variation VI Live Beethoven: Rondo - Allegro scherzando Live Beethoven: Allegro vivace e con brio Live Beethoven: Largo assai ed espressivo Live Beethoven: Triple Concerto in C Major, Op.

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Ronda alla Polacca Live Beethoven: Adagio sostenuto ed espressivo Live Beethoven: Rondo - Allegro Live Beethoven: Fantasia in C Minor, Op. Largo Live Bach, JS: Allegro Live Bach, JS: Adagio Live Bach, JS: Variation I Live Schubert: Variation II Live Schubert: Variation IV Live Schubert: Variation V Live Schubert: Variation VI Live Schubert: Molto Allegro, agitato Live Mendelssohn: Andante con moto, tranquillo Live Mendelssohn: Scherzo - Leggiero e vivace Live Mendelssohn: Finale - Allegro assai appassionato Live Chopin: Allegro maestoso Live Chopin: Romanze Larghetto [Live] Chopin: Rondo Vivace [Live] Chopin: Introduction et polonaise brillante in C Major, Op.

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Allegro affettuoso Live Schumann: Intermezzo Andante grazioso [Live] Schumann: Allegro vivace Live Schumann: Nicht schnell, mit innigem Ausdruck Live Schumann: Langsam und mit Ausdruck Live Schumann: Im Marsch-Tempo Live Schumann: Sostenuto assai - Allegro ma non troppo Live Schumann: Scherzo Molto vivace [Live] Schumann: Andante cantabile Live Schumann: Finale Vivace [Live] Schumann: Allegro brillante Live Schumann: In modo d'una marcia.

Un poco largamente Live Schumann: Molto vivace Live Schumann: Allegro ma non troppo Live Schumann: Mit Humor - Vanitas vanitatum Live Schumann: Nicht schnell, mit viel Ton zu spielen Live Schumann: Nicht zu rasch Live Schumann: Nectoux writes that along with the sixth, it is "incontestably the most moving and inspired of the series.

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Barcarolles were originally folk songs sung by Venetian gondoliers. His son Philippe recalled, "he would far rather have given his Nocturnes, Impromptus, and even his Barcarolles the simple title Piano Piece no. The first barcarolle was dedicated to the pianist Caroline de Serres Mme.

The second barcarolle, dedicated to the pianist Marie Poitevin, [47] is a longer and more ambitious work than the first, with what Morrison calls an Italianate profusion of detail. It opens with a simple phrase that is quickly elaborated into trills reminiscent of Chopin. The pianist Marguerite Long said that these ornaments "crown the theme like sea foam. One of the best-known of the set, [29] the fourth barcarolle is "tuneful, quite short, perhaps more direct than the others. Dedicated to Mme la Baronne V. Orledge calls it powerful, agitated and virile.

Barcarolle No.11, Op.105 (Fauré, Gabriel)

Koechlin brackets the sixth and seventh of the set together as a contrasting pair. Both pieces show "an economy of writing", the sixth "more moderate and tranquil in expression". Dedicated to Suzanne Alfred-Bruneau, [55] the eighth barcarolle opens in with a cheerful theme, which soon gives way to melancholy. The ninth barcarolle, in Koechlin's view, "recalls, as in a hazy remoteness, the happiness of the past". The last of the set is dedicated to Magda Gumaelius. Cortot compared the first impromptu to a rapid barcarolle, redolent of "sunlit water", combining "stylised coquetry and regret".

Dedicated to Mlle Sacha de Rebina, [55] the second impromptu maintains an airy tarantella rhythm.

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The third impromptu is the most popular of the set. His mature style is displayed in the central section, a contemplative andante , which is followed by a more agitated section that concludes the work. Nectoux describes this impromptu as "a piece of sheer virtuosity celebrating, not without humour, the beauties of the whole-tone scale.

The last work in the published set was written before numbers four and five. It was originally a harp piece, composed for a competition at the Paris Conservatoire in His is too orderly, too logical a mind to be really capricious.

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Chopin's influence is marked in the first two pieces. Orledge observes that the right-hand figuration at the end of No 1 is remarkably similar to that at the end of Chopin's Waltz in E minor. Orledge writes that the second two valses-caprices are subtler and better integrated than the first two; they contain "more moments of quiet contemplation and more thematic development than before.

Philippe Dieterlen, No 4 to Mme. They were not published until , but they then became some of his most popular works.

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Copland considered them immature pieces, which "should be relegated to the indiscretions every young composer commits. The theme is presented first in the higher and then in the middle register, before flowing evenly to its conclusion. The second romance, in A minor, an exuberant piece, has a strong semiquaver figure supporting the theme, and running high into the treble and low into the bass. After a lively display, the piece ends quietly. After gentle variation, it equally gently fades to silence at the end. The third section is an andante introducing a third theme.

In the last section, an allegro, a return of the second theme brings the work to a conclusion in which Nectoux comments, the treble sings with particular delicacy. The play of fleeting curves that is its essence can be compared to the movements of a beautiful woman without either suffering from the comparison. The Mazurka was composed in the mids but not published until The Pavane was conceived and originally written as an orchestral piece.

Certainly it is one of Faure's most approachable works. Even at first hearing it leaves an indelible impression.

The "Theme" itself has the same fateful, march-like tread, the same atmosphere of tragedy and heroism, that we find in the introduction of Brahms's First Symphony. And the variety and spontaneity of the eleven variations which follow bring to mind nothing less than the Symphonic Etudes.

How many pianists, I wonder, have not regretted that the composer disdained the easy triumph of closing on the brilliant, dashing tenth variation. No, poor souls, they must turn the page and play that last, enigmatic and most beautiful one, which seems to leave the audience with so little desire to applaud. The piece, in G minor, contrasts a gravely noble andante moderato theme representing Penelope with a forthright theme for Ulysses.

The polyphonic writing transfers effectively from the orchestral original to the piano. When he moved on to another publisher, Hamelle ignored his earlier instructions and issued subsequent editions with titles for each piece. Dedicated to Madame Jean Leonard Koechlin.