Edge Rewrite
// HTMLRewriter · presentation

This page was redesigned at the edge.

Cloudflare fetched the original article and streamed it through HTMLRewriter to apply an entirely new visual system without rebuilding the source page.

// request.cf · coarse context

A page that knows where it met you.

Only coarse request metadata is shown. This demo does not display or persist visitor IP addresses.

Country
US
Cloudflare location
CMH
Connection
HTTP/2
Language
Not provided

Ray ID: a23f30986b4b983d

Jump to content

// Workers AI · dad joke modeWhat did "Le Plus Doux Chemin" say to the hiker? You're on the right path.

From Wikipedia, the free encyclopedia
Elderly man with white hair and large white moustache. He is seated, with a cigarette in his left hand
Fauré by Nadar, 1905.

"Le Plus Doux Chemin" ("The Sweetest Path"), Op. 87, No. 1, is a song by Gabriel Fauré, composed in 1904. It was originally for voice and piano accompaniment, and was later arranged by the composer for voice and full orchestra.

Composition

[edit]

In this song Fauré set words by the poet Paul Armand Silvestre.[1] It was composed in 1904 for the amateur singer Emilie Girette after her marriage to the pianist Édouard Risler.[2] Originally for voice and piano, it was later orchestrated by Fauré as part of his incidental music for Masques et bergamasques (1919). Fauré composed the song in the key of F minor, but it was first published (Hamelle, Paris, 1907) in E minor.[3]

When Fauré orchestrated the song for Masques et bergamasques he wrote to his wife that it was not at all well known: "for just as pianists play the same eight or ten of my pieces, so singers all sing the same songs".[4] The pianist Graham Johnson calls it an "enchantingly mournful serenade of a persistent, if unsuccessful lover … Fauré distilled to the essentials".[3] Both Johnson and Vladimir Jankélévitch find an autumnal quality in the song, despite the reference to "la saison nouvelle".[3] The Fauré expert Jean-Michel Nectoux rates it among the composer's most inspired songs, and groups it with "Le Ramier", Op. 87, No. 2 and "Chanson", Op. 94 as "a kind of homogeneous triptych … a cheerful but nostalgic farewell, the last sparks of the galant madrigal which Fauré had practised for so long".[2]

Analysing the song, Johnson describes it as a madrigal with an accompaniment evoking "the gentle plucking of a lute, although the strength of the bass line, almost a counter-melody in itself, depends on the legato tone of a piano to make its effect."[3]

Text

[edit]

References

[edit]
  1. Nectoux, p. 551
  2. 1 2 Nectoux, p. 302
  3. 1 2 3 4 Johnson, p. 28
  4. Jones, p. 179

Sources

[edit]
  • Johnson, Graham (2005). Notes to Gabriel Fauré: Dans un parfum de roses – Mélodies. London: Hyperion Records. OCLC 690608417.
  • Jones, J. Barrie (1989). Gabriel Fauré – A Life in Letters. London: B T Batsford. ISBN 978-0-7134-5468-0.
  • Nectoux, Jean-Michel (1991). Gabriel Fauré – A Musical Life. Roger Nichols (trans). Cambridge: Cambridge University Press. ISBN 978-0-521-23524-2.