Mandoline (Fauré)

This is a recording of Gabriel Fauré's setting of a poem by Paul Verlaine. The recording was made by Lori Joachim Fredrics, soprano with Leanne Singh-Levett, piano on 6 September, 2009 at Toy Gun Studios, Hampton Wick, UK. The recording was engineered by Dr. Howard Fredrics who also did the video editing, using a variety of images, including original photographs as well as paintings by Antoine Wateau.

Category:

Music

Tags:

• french melodie
• fauré
• mandoline
• verlaine
• fredrics
• singh-levett
• art song
• lori joachim fredrics
• leanne singh-levett
• howard fredrics
• toy gun studios
• auracle music

[catface1965]

@brookon broadway, -the piano part is supposed to mimic the sound of "plucked" Mandoline strings. The articulations are appropriate. Should also contain "rubato". Have a look at the score and you will understand.

[tubesocks1990]

How funny that MegaMinkster points out that this song is about Watteau paintings to the creator of the video, when the paintings are in the video! MegaMinkster is one of those individuals who reads a book, makes a comment to try to show expertise, and ends up looking like a buffoon.

@lorifredrics Thanks for all of your explanations, of your performance, fascinating.

[lorifredrics]

It is a narrative, as you say, it is not "emotional" as you suggest MegaMinkster, I am using vocal color, and phrasing to aid in my description.

Finally this piece was composed in Venice not while sitting and contemplating a painting. The "Tourbillonent dans l’extase" (Whirl around in the ecstasy) with the swirling in the accompaniment,which is quite impressionistic is more reminiscent of ecstatic dancing at a masked ball in Venice. I felt it required abandon to keep if from being stilted.

[lorifredrics]

The word "chanteuses" is melismatic so is the word "tendre', and in order to express it's meaning I chose an extremely slight slowing of the tempo and change in vocal color to express tenderness, and contrast the pointed and slightly more dramatic vocal weight and pointed timbre of the word "cruelle".

On "Leurs courtes vestes de soie" (Their short silk coats) I chose to sing more staccato and on "Leurs longues robes à queues"(Their long dresses with trains) I chose to sing more legato.

[lorifredrics]

@MegaMinkster What a mistake to think that a descriptive text should not not be given an "invovled" interpretation entirely based on the text.

Faure set this Mélodie with wonderful moments of text painting!

Just because a direction to change vocal color, dynamic or slight rubato is not explicitly explained, does not mean that a piece should be performed, within tasteful limits with expression.

Musicians should always be musical and the choice to be entirely detached is ALWAYS a poor one.

[MegaMinkster]

@catface1965 Nowhere in the original score does it say the performer should take liberties with rhythm, even though the piece does belong in the Romantic era where tempo rubato was prominent. The only place where a ritardando is present is in bar 36. This is a narration of a painting by Watteau depicting a woman being entertained by stock characters Tircis, Damis, Clitandre and Aminte. This is not a emotionally expressive piece where rubato would be encouraged; it is an entertaining narrative.

[MilagrosAndaluz]

yay! i will also be studying alongside this recording, beautiful voice, and the piano is very expressive!

[brookeonbroadway]

Is it supposed to be this choppy throughout? It seems just... too separated in some parts, and then it seems to drag at other times. Is this really the correct style?

[classicalila]

AAAAAAAAARG ! Affreux 

[RyanFrenk]

@LazEstrada HAHAHA indeed! :D