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NI 5915
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NI 5915

Faure - Mirages & La Chanson d'Ève

The Classical Shop
release date: July 2014

Originally recorded in 2014

Artists:

Adrian Farmer

piano

Charlotte de Rothschild

soprano

Venue:

Wyastone Leys, Monmouth

24/25 Jan & 28 Mar 2014

Record Label
Nimbus

Genre:

Vocal & Song


Piano

Total Time - 69:12
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GABRIEL FAURE

 

Mirages Op.113 (1919)

 
  Baronne A. de Brimont  
1 I Cygne sur l'eau 3:46
2 II Reflets dans l'eau 4:42
3 III Jardin nocturne 3:09
4 IV Danseuse 2:28
   
 

Cinq mélodies 'de Vénise' Op.58 (1891)

 
  Paul Verlaine  
5 I Mandoline 2:07
6 II En sourdine 3:54
7 III Green 1:57
8 IV A Clymène 2:57
9 V C'est l'extase 3:14
   
 

La Chanson d'Ève Op.95 (1906-10)

 
  Charles Van Lerberghe  
10 I Paradis 6:22
11 II Prima verba 2:35
12 III Roses ardentes 1:41
13 IV Comme Dieu rayonne 1:55
14 V L'Aube blanche 1:28
15 VI Eau vivante 1:32
16 VII Veilles-tu, ma senteur de soleil? 1:51
17 VIII Dans un parfum de roses blanches 1:57
18 IX Crépuscule 2:17
19 X Ô mort, poussière d'étoiles 2:34
   
20 

Dans la forêt de Septembre Op.85 No.1 (1902)

4:04
  Catulle Mendès  
21 

Accompagnement Op.85 No.3 (1902)

4:27
  Albert Samain  
22 

Le Don silencieux Op.92 (1906)

2:36
  Marie Closset  
23 

Spleen Op.51 No.3 (1888)

2:37
  Paul Verlaine  
24 

La Rose Op.51 No.4 (1890)

3:02
  Leconte de Lisle  
  TT 69:12      
   
 Charlotte de Rothschild soprano
 Adrian Farmer piano
   


 Both listener and performer have been so long attached to the songs Fauré wrote in the period 1860-1890 that it seems to have prevented us from embracing his later, and far more satisfying, works. Lydia, Clair de lune, Après un rêve and about twenty other songs from Fauré’s early and middle years have achieved high status, and rightly so; as far as individual songs go they are the best of the best. But concert audiences will only occasionally encounter one of the late cycles, perhaps Mirages, rarely the complete La Bonne chanson and even less likely Fauré’s perfectly executed final utterance L’Horizon chimérique. Performances of the main work presented here – La Chanson d’Ève – are rarer than hens’ teeth. How this twenty-four minute masterpiece has so completely slipped the net is a mystery and a tragedy. During the planning stages for this recital Charlotte de Rothschild and I both mention to colleagues that we were learning the work and we became used to the response – ‘never heard it, actually never even heard of it’. It was impossible to be too smug since we had only discovered the work ourselves a few months earlier. Adrian Farmer

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