Fauré, Gabriel

Nectoux, Jean-Michel

doi:10.1093/gmo/9781561592630.article.09366

Cited by 2 publications

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“…Thus "Mandoline" sets the Watteau-esque dreamlike atmosphere in which the four love-poems were to be played out; "En sourdine" is tender and lyrical, mirroring the carnal and spiritual link which unites the lovers; "Green," more upbeat, more mischievous, is a playful declaration of feeling; "À Clymène" is a sensuous and mystical portrait of the beloved; and "C'est l'extase" brings everything together in what Jean-Michel Nectoux in his biography describes as "a pantheist expression of human love." 25 [FIGURE 3 4. Adela Maddison (1866-1929): musician, translator, cosmopolitan "Mandoline" was translated into English by Adela Maddison (Fig.…”

Section: Frederick Delius (1862-1934): Songs Of Sunsetmentioning

confidence: 99%

Late-Victorian Decadent Song Literature

Desmarais¹

2021

Victorian Literature and Culture

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This article considers the Victorian and Edwardian vogue for setting late-Victorian decadent poetry to music. It examines the particular appeal of Ernest Dowson's and Arthur Symons's verse to the composers Cyril Scott and Frederick Delius, whose Songs of Sunset (1911) was regarded as the “quintessential expression of the fin-de-siècle spirit,” and discusses the contribution of women composers and musicians—particularly that of the Irish composer and translator Adela Maddison (1866–1929)—to the cross-continental tradition of decadent song literature and the musical legacy of decadence in the late-Victorian period and beyond.

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Section: Frederick Delius (1862-1934): Songs Of Sunsetmentioning

confidence: 99%

Late-Victorian Decadent Song Literature

Desmarais¹

2021

Victorian Literature and Culture

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“…In 1871, Fauré was introduced to the salons of Saint-Saëns and Pauline Viardot, "where he met […] members of Parisian musical society[,]" often premiering his works for these audiences. 5 Hahn was introduced to high musical society at an even younger age, singing and playing his own accompaniments in the salon of Madeleine Lemaire at the age of nineteen. 6 Among the songs performed for the French elite by Fauré and Hahn were their respective settings of Paul Verlaine's poetry.…”

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confidence: 99%

A Comparative Analysis of Reynaldo Hahn’s and Gabriel Fauré’s Settings of Paul Verlaine’s “La Lune Blanche Luit Dans Les Bois”

Giancaterino

2021

Philologia

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This paper compares Reynaldo Hahn's and Gabriel Fauré's musical settings of Paul Verlaine's poem, "La lune blanche luit dans les bois." Composing at the end of the 19th century, Hahn and Fauré were prominent figures in French musical culture-performing in the salons of the Parisian intelligentsia-and made significant contributions to the development of French art song. Despite having shared influences, their respective approaches to Verlaine's poem are highly individual. I begin by introducing Verlaine and the poem through the broader lens of the symbolist movement, followed by an original interpretation of the poem. Through my analysis, I provide insight into Fauré's and Hahn's harmonic languages, with an emphasis on their use of chromatic harmony, while highlighting unique characteristics of each setting and how they convey an individualized interpretation of the poem. I conclude by inviting additional exploration of Hahn's and Fauré's output to gain a further understanding of their musical languages, and by framing their works within the broader context of 19th century France.

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Fauré, Gabriel

Cited by 2 publications

References 0 publications

Late-Victorian Decadent Song Literature

Late-Victorian Decadent Song Literature

A Comparative Analysis of Reynaldo Hahn’s and Gabriel Fauré’s Settings of Paul Verlaine’s “La Lune Blanche Luit Dans Les Bois”

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