Gabriel Faure Books

(Vocal Collection). with online audio of diction lessons and piano accompaniments; includes historical notes, translations and International Phonetic Alphabet This is a collection of the most famous songs of Faure. Diction lessons were recorded by coach, conductor and diction specialist Pierre Vallet. The diction for each song is recorded first recited as an actor would speak it, showing flow of the language and mood, followed by a slow, deliberate lesson, allowing time for the student to repeat each line. This experienced language coach adapts the "R" in French in the slow versions as recommended for classical singers. He is also very senstive to liaisons between word sounds in musical settings. Apres un reve* Au bord de l'eau * Aurore * Automne * Chanson d'amour * Clair de lune * Ici-bas * Le Secret * Les berceaux * Les roses d'Ispahan * Lydia * Mandoline * Nell * Notre amour * Rencontre.

Here are ten of the most famous melodies beautifully arranged for cello and piano. You'll love playing them and others will enjoy listening ! Air from Suite No. 3 (JS Bach), Barcarolle (Offenbach), Berceuse from 'Dolly Suite' (Faur), Gymnopdie No. 1 (Satie), Largo from 'Serse/Xerxes' (Handel), Meditation from 'Thas' (Massenet), Nimrod from 'Enigma Variations' (Elgar), Panis angelicus (Franck), Salut d'amour (Elgar), The Swan (Saint-Sans). Printed Music CELLO & PIANO BEST SELLER!

Edited and arranged by Wendy Hiscocks and Roy Howat. Fauré made a piano transcription of the Pavane, but subsequently he revised his original orchestral score. Hiscocks and Howat's new transcription is true to the spirit of Fauré's arrangement. The preface quotes from Sir Adrian Boult's recollection that Fauré preferred (and played the piece at) a tempo considerably faster than the rather doleful interpretations one often hears. Fauré composed the Pavane in the summer of 1887, originally as a purely orchestral piece for the concert series of the Parisian conductor Jules Danubé. For some reason Danubé left it unperformed, a miscalculation he must have later regretted when the piece became immensely popular in various forms for orchestra or piano, with or without voices. In 1975, in letters to Robert Orledge, Sir Adrian Boult recalled meeting Fauré and hearing him play at the London home of Leo Frank Schuster in 1906 and 1908. Sir Adrian concludes: May I ask you to do all you can to prevent the prevalent performances of the Pavane as if it were a piece of German Romanticism, written by someone like Schumann with a full measure of sentiment. The words are obviously a leg-pull, and the scene is a number of young people dancing and chaffing each other. . .

Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.