The melodic line is equally naive, beginning with the tonic triad and ending with the tonic scale. Some harmonic interest is created by the use of the tonic (F major for high voice) as a pedal point for several measures and by the double-stemmed bass notes in the measures that follow. The simplicity of the harmonic scheme is indicated by the pedal instruction: one pedal for each measure. The piano figure is rhythmically uniform from beginning to end it is obvious that the accompaniment-and it is never more than sheer accompaniment-is supposed to suggest the ocean’s waves. Once again the same music is used for each of the three verses of the poem despite the wistfulness of the words in the middle verse. Here we have another example of Fauré’s youthful efforts in the song form. The melodic line flows along pleasantly with no competition from the completely subordinate piano part. Its harmonies are simple, with only the augmented chord in measure three (not counting the introduction) to give a slight Gallic flavor. The structure of this song is dictated by the poem-thirty-two measures for verse one (after the two-bar introduction) repeated in toto for verse two, with the first sixteen bars repeated once again for the truncated final verse. At his best he was a powerful and dramatic writer, at his worst a facile versifier who sinks almost to the level of doggerel. Hugo’s output was enormous and embraced many styles.
It is interesting that several of these early songs are settings of poems by Victor Hugo (1802–1885), probably the most famous nineteenth-century Romantic poet in all France. I through 8 all appeared before the composer’s twentieth birthday (1865), it is not surprising that most of them are somewhat derivative efforts which do not display the unique style Fauré was to develop later. Since the twenty songs which constitute Fauré’s Op. Sous les piliers, les arceaux, et les marbres:Ĭ’est l’histoire des oiseaux dans les arbres. On s’embrasse à chaque instant, puis encore, On sent croître ton aube amour dans la nuit Seuls tous deux ravis, chantants, comme on s’aime, Jadis pleines de fronts blancs, de coeurs sombres.ĭe la joie frais échos mêlés au vent qui frissonne, Seuls, tous deux, ravis, chantants, comme on s’aime Ĭomme on cueille le printemps que Dieu sème, One must avoid a coy delivery of the words since they already veer too strongly in that direction. One need only compare the opening bars of the piano introduction, which are obviously meant to suggest the free-flying butterfly, to the first section of Robert Schumann’s piano piece “Papillons,” which happens to be in the same key and is also an early work (Opus II), to see how ordinary the Fauré portrayal is.Īnalysis of the basically I–IV°–V–I harmonies seems unnecessary, and the composer has clearly indicated where the expressive moments are. Nowhere does one find the inimitable touch of the master Fauré was to become. Its arch text by Victor Hugo is set to a banal um-pah-pah accompaniment with piano interludes of equally limited imagination.
This first published work by Fauré is little more than a salon piece. Prends comme moi racine ou donne-moi des ailes Tu fuis, puis tu reviens, puis tu t’en vas encoreĪussi me trouves-tu toujours à chaque auroreĪh! pour que notre amour coule des jours fidèles, Mais non, tu vas trop loin, parmi des fleurs sans nombre,Įt moi je reste seule à voir tourner mon ombre Je voudrais embaumer ton vol de mon haleine,
Mais hélas, l’air t’emporte et la terre m’enchaine,
Pourtant nous nous aimons, nous vivons sans les hommes,Įt nous nous ressemblons et l’on dit que nous sommes Vois comme nos destins sont différents, je reste La pauvre fleur disait au papillon céleste:
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