{"id":822,"date":"2023-03-07T10:00:33","date_gmt":"2023-03-07T10:00:33","guid":{"rendered":"http:\/\/matija.kranjcic.com\/?p=822"},"modified":"2023-11-02T13:41:09","modified_gmt":"2023-11-02T13:41:09","slug":"faure","status":"publish","type":"post","link":"https:\/\/www.duovonmeck.com\/?p=822","title":{"rendered":"G. Faur\u00e9: Fantaisie, Op. 79"},"content":{"rendered":"\n<p class=\"has-text-align-right\">9 \ud83d\udcd6 (+80 \ud83c\udfa7) minutes<\/p>\n\n\n\n<h2 class=\"wp-block-heading has-text-align-center\"><strong><em>Composer<\/em><\/strong><\/h2>\n\n\n\n<div class=\"wp-block-media-text alignwide has-media-on-the-right is-stacked-on-mobile\"><div class=\"wp-block-media-text__content\">\n<p class=\"has-text-align-center has-drop-cap has-normal-font-size\">The harmonic sense, modulations, choice of chords and modal tonalities are the links between two great French composers &#8211; Claude Debussy and Gabriel Faur\u00e9. The main difference is that Faur\u00e9<em> (photo)<\/em> rarely wrote program music. He looked for his inspiration in the music itself which is why the concept of \u201cimpressionism\u201d cannot be applied to his art. Faur\u00e9 excelled as a composer of Lieder (songs), piano and chamber music. His music is characterised by neatness, balance, elegance and restraint; it is more like classical calmness and order, rather than late romantic wanderings. <\/p>\n<\/div><figure class=\"wp-block-media-text__media\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"http:\/\/matija.kranjcic.com\/wp-content\/uploads\/2023\/03\/gabriel-faure-1024x683-1.jpg\" alt=\"\" class=\"wp-image-870 size-full\" srcset=\"https:\/\/www.duovonmeck.com\/wp-content\/uploads\/2023\/03\/gabriel-faure-1024x683-1.jpg 1024w, https:\/\/www.duovonmeck.com\/wp-content\/uploads\/2023\/03\/gabriel-faure-1024x683-1-300x200.jpg 300w, https:\/\/www.duovonmeck.com\/wp-content\/uploads\/2023\/03\/gabriel-faure-1024x683-1-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure><\/div>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"has-text-align-center\" style=\"font-style:italic;font-weight:300\">\ud83d\udca1Like Beethoven, Faur\u00e9 started losing his hearing as he approached his later years.<\/p>\n<\/blockquote>\n\n\n\n<h2 class=\"wp-block-heading has-text-align-center\"><strong><em>Mistresses M<\/em><\/strong><\/h2>\n\n\n\n<div class=\"wp-block-media-text alignwide is-stacked-on-mobile\"><figure class=\"wp-block-media-text__media\"><img loading=\"lazy\" decoding=\"async\" width=\"620\" height=\"460\" src=\"http:\/\/matija.kranjcic.com\/wp-content\/uploads\/2023\/03\/debussy-and-wife-emma-bardac-1345566020-view-0.jpg\" alt=\"\" class=\"wp-image-867 size-full\" srcset=\"https:\/\/www.duovonmeck.com\/wp-content\/uploads\/2023\/03\/debussy-and-wife-emma-bardac-1345566020-view-0.jpg 620w, https:\/\/www.duovonmeck.com\/wp-content\/uploads\/2023\/03\/debussy-and-wife-emma-bardac-1345566020-view-0-300x223.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p class=\"has-text-align-center has-drop-cap has-normal-font-size\">Marianne Viardot, Marie Fr\u00e9miet, Marguerite Hasselmans and Maddison Adela are just some of Gabriel Faur\u00e9&#8217;s (1845-1924) mistresses. However, with Emma Bardac, later wife of Claude Debussy <em>(photo)<\/em>, &#8220;for the first time he experienced a fulfilling, passionate relationship which extended over several years&#8221;.<\/p>\n<\/div><\/div>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"has-text-align-center\" style=\"font-style:italic;font-weight:300\">\ud83d\udca1He was a professional organist for over 40 years but left no solo compositions for the organ.<\/p>\n<\/blockquote>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Faur\u00e9: Pavane, Op. 50 - Radio Philharmonic Orchestra led by Peter Dijkstra - Live Concert HD\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/HQQFWtw4FIQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading has-text-align-center\"><strong><em>Student and professor<\/em><\/strong><\/h2>\n\n\n\n<div class=\"wp-block-media-text alignwide is-stacked-on-mobile\" style=\"grid-template-columns:49% auto\"><figure class=\"wp-block-media-text__media\"><img loading=\"lazy\" decoding=\"async\" width=\"561\" height=\"720\" src=\"http:\/\/matija.kranjcic.com\/wp-content\/uploads\/2023\/03\/11334248_p1020147.jpg\" alt=\"\" class=\"wp-image-872 size-full\" srcset=\"https:\/\/www.duovonmeck.com\/wp-content\/uploads\/2023\/03\/11334248_p1020147.jpg 561w, https:\/\/www.duovonmeck.com\/wp-content\/uploads\/2023\/03\/11334248_p1020147-234x300.jpg 234w\" sizes=\"auto, (max-width: 561px) 100vw, 561px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p class=\"has-text-align-center has-drop-cap\">Under the tutelage of Louis Niedermeyer and Camille Saint-Sa\u00ebns, Faur\u00e9 completed his composition studies at the age of 20. Thanks to Niedermeyer, he got to know Gregorian Chants and Johann Sebastian Bach&#8217;s work. Saint-Sa\u00ebns introduced him to the music of Franz Liszt, Richard Wagner and Robert Schumann. In 1896 he was appointed church organist at the church of La Madeline in Paris&nbsp;<em>(photo)<\/em>, as a successor of Saint-Sa\u00ebns, and professor of composition at the Paris Conservatory. He taught numerous composers, such as Maurice Ravel, Jules Massenet, Nadia Boulanger, Georges Enesco, Charles Koechlin, Jean Roger-Ducasse, and Florent Schmitt. The reason for such a large number of successful composers who studied with Faur\u00e9 <em>(photo)<\/em> is probably his commitment to free education, i.e. he encouraged the development of a student&#8217;s natural abilities.<\/p>\n<\/div><\/div>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"has-text-align-center\" style=\"font-style:italic;font-weight:300\">\ud83d\udca1He proved that a great progress in French music can be achieved by small steps based on great musical models.<\/p>\n<\/blockquote>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Faure Requiem - Sinfonia Rotterdam\/ Laurenscantorij\/ Conrad van Alphen\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/p-uzBqbMUvc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption class=\"wp-element-caption\">The great Croatian conductor Vladimir Kranj\u010devi\u0107 once said: &#8220;Only Faur\u00e9&#8217;s Requiem gives comfort to a person who has lost a loved one.&#8221;<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading has-text-align-center\"><strong><em>&#8220;French Schumann&#8221;<\/em><\/strong><\/h2>\n\n\n\n<div class=\"wp-block-media-text alignwide has-media-on-the-right is-stacked-on-mobile\" style=\"grid-template-columns:auto 51%\"><div class=\"wp-block-media-text__content\">\n<p class=\"has-text-align-center has-drop-cap\">Like Mozart, Cherubini, Berlioz, Dvo\u0159\u00e1k, Verdi, Brahms, and Schumann, Faur\u00e9 wrote a requiem (<em>video<\/em>), but in the form of a poem about a calm and mild death. He was soon compared to the great German composer Robert Schumann. French critics called Faur\u00e9 the <em>French Schumann<\/em>, which was a huge recognition. The characteristics they have in common are subtlety, restraint, suggestiveness and polyphony of the inner sections. At the time of WWI the Parisian publisher Jacques Durand asked prominent French composers and pianists to undertake the arrangement of the Collected Works of one European master; Ravel chose Mendelssohn, Dukas chose Beethoven, Debussy chose Chopin and Faur\u00e9 chose Schumann. The last homage to Schumann is <em>Th\u00e8me et variations<\/em>, op. 73, <em>(video)<\/em> &#8211; linked to Schumann&#8217;s Symphonic Etudes, op. 13 in terms of musical intertextuality, same tonality, related theme and the number of variations.<\/p>\n<\/div><figure class=\"wp-block-media-text__media\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"737\" src=\"http:\/\/matija.kranjcic.com\/wp-content\/uploads\/2023\/03\/2003.072.008_1-min-1024x737.jpg\" alt=\"\" class=\"wp-image-876 size-full\" srcset=\"https:\/\/www.duovonmeck.com\/wp-content\/uploads\/2023\/03\/2003.072.008_1-min-1024x737.jpg 1024w, https:\/\/www.duovonmeck.com\/wp-content\/uploads\/2023\/03\/2003.072.008_1-min-300x216.jpg 300w, https:\/\/www.duovonmeck.com\/wp-content\/uploads\/2023\/03\/2003.072.008_1-min-768x553.jpg 768w, https:\/\/www.duovonmeck.com\/wp-content\/uploads\/2023\/03\/2003.072.008_1-min-1536x1105.jpg 1536w, https:\/\/www.duovonmeck.com\/wp-content\/uploads\/2023\/03\/2003.072.008_1-min-2048x1473.jpg 2048w, https:\/\/www.duovonmeck.com\/wp-content\/uploads\/2023\/03\/2003.072.008_1-min-1200x863.jpg 1200w, https:\/\/www.duovonmeck.com\/wp-content\/uploads\/2023\/03\/2003.072.008_1-min-1980x1425.jpg 1980w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure><\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Faur\u00e9 - Jean Hubeau (1988) Th\u00e8me et variations op 73 en ut di\u00e8se mineur\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/SqKYudFZdHQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h1 class=\"wp-block-heading has-text-align-center\">Fantaisie<\/h1>\n\n\n\n<div class=\"wp-block-media-text alignwide is-stacked-on-mobile\" style=\"grid-template-columns:37% auto\"><figure class=\"wp-block-media-text__media\"><img loading=\"lazy\" decoding=\"async\" width=\"641\" height=\"1024\" src=\"http:\/\/matija.kranjcic.com\/wp-content\/uploads\/2023\/03\/Screenshot-2023-03-19-at-23.23.36-min-641x1024.png\" alt=\"\" class=\"wp-image-943 size-full\" srcset=\"https:\/\/www.duovonmeck.com\/wp-content\/uploads\/2023\/03\/Screenshot-2023-03-19-at-23.23.36-min-641x1024.png 641w, https:\/\/www.duovonmeck.com\/wp-content\/uploads\/2023\/03\/Screenshot-2023-03-19-at-23.23.36-min-188x300.png 188w, https:\/\/www.duovonmeck.com\/wp-content\/uploads\/2023\/03\/Screenshot-2023-03-19-at-23.23.36-min-768x1227.png 768w, https:\/\/www.duovonmeck.com\/wp-content\/uploads\/2023\/03\/Screenshot-2023-03-19-at-23.23.36-min.png 896w\" sizes=\"auto, (max-width: 641px) 100vw, 641px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p class=\"has-text-align-center has-drop-cap\"><em>Fantasia<\/em> is also called <em>fantasy<\/em> or <em>fancy<\/em> (from the Greek word <em>phantas\u00ed\u0101<\/em>, appearance, idea, imagination). In music, it is an instrumental composition in which the features of free&nbsp;<em>fantasy<\/em>&nbsp;or improvisation are present. Freedom in form and expression have been the main features of <em>fantasy<\/em> since the 16th century, when the term was first mentioned. In the 16th and 17th centuries, it was mainly written for string and wind instruments. It can be found all over Europe. <strong>Henry Purcell<\/strong> is an English composer known for his <em>fantasias<\/em> for keyboard, lute and viola in the 17th century. In Germany, it was mainly composed for the organ.<strong> <\/strong>In the 18th century, <strong>Johann Sebastian Bach<\/strong> and his son <strong>Carl Philipp Emanuel Bach<\/strong> . Father&#8217;s <em>fantasies<\/em> are mostly paired with a formally clearly defined fugue and thus form a complementary whole. The improvisational character is manifested both in the written sheet music and in the frequent omission of bar lines in the son&#8217;s <em>fantasies<\/em> <em>(photo)<\/em>.<\/p>\n<\/div><\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"C. P. E. Bach: Fantasia for Clavichord in C Minor, Robert Hill\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/X53TvVY4_BY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<div class=\"wp-block-media-text alignwide has-media-on-the-right is-stacked-on-mobile\" style=\"grid-template-columns:auto 30%\"><div class=\"wp-block-media-text__content\">\n<p class=\"has-text-align-center\">Classical balance can be found in <strong>Wolfgang Amadeus Mozart<\/strong>&#8216;s <em>Fantasias<\/em>, while <strong>Ludwig van Beethoven<\/strong> used improvisational elements in <em>Fantasia for Piano, Choir and Orchestra<\/em>, Op. 80. Besides, he calls two piano sonatas Op. 27 <em>&#8220;quasi una fantasia&#8221;<\/em>. <strong>Franz Schubert<\/strong>&#8216;s <em>&#8220;Wanderer&#8221; Fantasia<\/em> is considered one of his most difficult piano pieces, it foreshadows the development of <em>fantasia<\/em> in romanticism. In the 19th century, we find <strong>Robert Schumann<\/strong>&#8216;s <em>Fantasia in C major<\/em>, Op. 19, <strong>Fr\u00e9d\u00e9ric Chopin<\/strong>&#8216;s <em>Fantaisie in F minor<\/em>, Op. 49, <strong>Felix Mendelssohn<\/strong>&#8216;s <em>Fantasia in F-sharp minor<\/em>, Op. 28, <strong>Pyotr Ilyich Tchaikovsky<\/strong>&#8216;s <em>&#8220;Romeo and Juliet&#8221; Overture-Fantasy <\/em>and<em> &#8220;Francesca da Rimini&#8221; Symphonic Fantasy<\/em>, and <strong>Max Reger<\/strong><em>&#8216;s Fantasie und Fuge \u00fcber B-A-C-H<\/em>. The 20th century was marked by <strong>Ferruccio Busoni<\/strong>&#8216;s <em>Fantasia contrappuntistica<\/em> and <strong>Arnold Schoenberg<\/strong>&#8216;s <em>Phantasy for Violin and Piano<\/em>. Fans of animated films are probably familiar with the <em>Fantasia<\/em> film from 1940 produced and released by <strong>Walt Disney Productions<\/strong> <em>(photo)<\/em>, which used many of the most famous pieces of classical music, thus promoting it <em>(photo)<\/em>.<\/p>\n<\/div><figure class=\"wp-block-media-text__media\"><img loading=\"lazy\" decoding=\"async\" width=\"252\" height=\"400\" src=\"http:\/\/matija.kranjcic.com\/wp-content\/uploads\/2023\/03\/Fantasia-poster-1940.jpg\" alt=\"\" class=\"wp-image-918 size-full\" srcset=\"https:\/\/www.duovonmeck.com\/wp-content\/uploads\/2023\/03\/Fantasia-poster-1940.jpg 252w, https:\/\/www.duovonmeck.com\/wp-content\/uploads\/2023\/03\/Fantasia-poster-1940-189x300.jpg 189w\" sizes=\"auto, (max-width: 252px) 100vw, 252px\" \/><\/figure><\/div>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-default\"\/>\n\n\n\n<h1 class=\"wp-block-heading has-text-align-center\"><em>Fantaisie, Op. 79<\/em><\/h1>\n\n\n\n<div class=\"wp-block-media-text alignwide is-stacked-on-mobile\"><figure class=\"wp-block-media-text__media\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"576\" src=\"http:\/\/matija.kranjcic.com\/wp-content\/uploads\/2023\/04\/tempa-1024x576.png\" alt=\"\" class=\"wp-image-971 size-full\" srcset=\"https:\/\/www.duovonmeck.com\/wp-content\/uploads\/2023\/04\/tempa-1024x576.png 1024w, https:\/\/www.duovonmeck.com\/wp-content\/uploads\/2023\/04\/tempa-300x169.png 300w, https:\/\/www.duovonmeck.com\/wp-content\/uploads\/2023\/04\/tempa-768x432.png 768w, https:\/\/www.duovonmeck.com\/wp-content\/uploads\/2023\/04\/tempa-1200x675.png 1200w, https:\/\/www.duovonmeck.com\/wp-content\/uploads\/2023\/04\/tempa.png 1280w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p class=\"has-text-align-center\">Faur\u00e9&#8217;s <em>fantasia<\/em> for flute and piano consists of two contrasting parts. The first part (<em>Andantino<\/em>) has a lyrical and melancholic character, and the second (<em>Allegro<\/em>) is playful and rhythmic. It is interesting to note the relationship between these two parts. In terms of time duration, they are in the golden ratio, and the tempo remains the same, although it sounds different. The pulse remains the same, and the note values are fragmented, so the sense of continuity is present. (3&#215;50\u2248144) (<em>photo<\/em>)<\/p>\n<\/div><\/div>\n\n\n\n<blockquote class=\"wp-block-quote has-text-align-center is-layout-flow wp-block-quote-is-layout-flow\">\n<p>\ud83d\udca1<em>Fantaisie was composed and published in 1898 in Paris<\/em>.<\/p>\n<\/blockquote>\n\n\n\n<div class=\"wp-block-media-text alignwide has-media-on-the-right is-stacked-on-mobile\"><div class=\"wp-block-media-text__content\">\n<p class=\"has-text-align-center\">An important characteristic of the first part is the danceability of the waltz, which later appears in the second part, with the use of triplets in the flute section and the initial tonality of E minor (measure 88), which further emphasise the reminiscence. The same melody is presented in the flute part in the first part (measure 19) and the second part (measure 145), unconsciously sounding familiar (<em>photo<\/em>). Faur\u00e9 contrasts the tragic tonality of E minor with the bright C major.  From the similarities on a small scale, the initial long notes and the ascending and descending passages in the flute section can be singled out, while the piano section mainly consists of a harmonic background based on a bass melody.<\/p>\n<\/div><figure class=\"wp-block-media-text__media\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"576\" src=\"http:\/\/matija.kranjcic.com\/wp-content\/uploads\/2023\/04\/m.19-1024x576.png\" alt=\"\" class=\"wp-image-973 size-full\" srcset=\"https:\/\/www.duovonmeck.com\/wp-content\/uploads\/2023\/04\/m.19-1024x576.png 1024w, https:\/\/www.duovonmeck.com\/wp-content\/uploads\/2023\/04\/m.19-300x169.png 300w, https:\/\/www.duovonmeck.com\/wp-content\/uploads\/2023\/04\/m.19-768x432.png 768w, https:\/\/www.duovonmeck.com\/wp-content\/uploads\/2023\/04\/m.19-1200x675.png 1200w, https:\/\/www.duovonmeck.com\/wp-content\/uploads\/2023\/04\/m.19.png 1280w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure><\/div>\n\n\n\n<blockquote class=\"wp-block-quote has-text-align-center is-layout-flow wp-block-quote-is-layout-flow\">\n<p>\ud83d\udca1<em>It is&nbsp;dedicated to Claude Paul Taffanel, a famous flute player, teacher and conductor<\/em>.<\/p>\n<\/blockquote>\n\n\n\n<div class=\"wp-block-media-text alignwide is-stacked-on-mobile\"><figure class=\"wp-block-media-text__media\"><img loading=\"lazy\" decoding=\"async\" width=\"720\" height=\"720\" src=\"http:\/\/matija.kranjcic.com\/wp-content\/uploads\/2023\/04\/chromaticism.png\" alt=\"\" class=\"wp-image-984 size-full\" srcset=\"https:\/\/www.duovonmeck.com\/wp-content\/uploads\/2023\/04\/chromaticism.png 720w, https:\/\/www.duovonmeck.com\/wp-content\/uploads\/2023\/04\/chromaticism-300x300.png 300w, https:\/\/www.duovonmeck.com\/wp-content\/uploads\/2023\/04\/chromaticism-150x150.png 150w\" sizes=\"auto, (max-width: 720px) 100vw, 720px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p class=\"has-text-align-center\">The first part of the <em>Fantaisie<\/em> is marked by the singing part of the flute and the harmonic backbone and pulsation in the piano. With varied repetition, chromaticism and shredding of note values, the climax is reached, a thriller on e3 in the 33rd measure (<em>photo<\/em>). The upper note of the thriller represents the highest note in the first part of the <em>Fantaisie<\/em>. It is very easy to notice how Faur\u00e9 uses a method known since the Baroque era: the ascending melodic lines grow in dynamics and intensity; the descending ones relax, which is natural to singing and human expression. Paradoxically, for the very climax he leaves a quiet dynamic that gives a feeling of helplessness and pain. The melody in the low register of the flute in the already mentioned 19th measure, which is repeated sequentially, stands out. The pianist must provide bass support to the high part of the flute and understand which harmonies have tension and which are the resolution of the same. The flautist has to understand harmonies, think about long phrases, line up smaller peaks and not rush on small rhythmic values. In any case, it is necessary to demonstrate the freedom of improvisation\/interpretation and the singing ability of the flute in all registers.<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-media-text alignwide has-media-on-the-right is-stacked-on-mobile\"><div class=\"wp-block-media-text__content\">\n<p class=\"has-text-align-center\">The second part of the <em>Fantaisie<\/em> begins with a piano introduction leading to flute fanfare. The virtuosity is evident soon after in the solo passages, thus revealing a clear distinction between the two parts. The already mentioned reminiscence appears in bar 88,Contrasting with the first cheerful melody. The <em>Fantaisie<\/em> offers some interesting dialogues between the two instruments in measures 94 and 103, where the piano responds to the flute with the same material (<em>photo<\/em>). The piano part is written like a harp with arpeggio chords, and the tonal instability is felt in the sudden changes of the centre until the appearance of E flat major, which will also appear before the coda. We can sense the appearance of a recapitulation, but something is wrong, it appears in a parallel minor and clashes with the initial joy. The <em>Fantaisie<\/em> ends with a virtuoso, technically demanding, but appropriate coda.<\/p>\n<\/div><figure class=\"wp-block-media-text__media\"><img loading=\"lazy\" decoding=\"async\" width=\"720\" height=\"720\" src=\"http:\/\/matija.kranjcic.com\/wp-content\/uploads\/2023\/04\/odgovori.png\" alt=\"\" class=\"wp-image-990 size-full\" srcset=\"https:\/\/www.duovonmeck.com\/wp-content\/uploads\/2023\/04\/odgovori.png 720w, https:\/\/www.duovonmeck.com\/wp-content\/uploads\/2023\/04\/odgovori-300x300.png 300w, https:\/\/www.duovonmeck.com\/wp-content\/uploads\/2023\/04\/odgovori-150x150.png 150w\" sizes=\"auto, (max-width: 720px) 100vw, 720px\" \/><\/figure><\/div>\n\n\n\n<div class=\"wp-block-media-text alignwide is-stacked-on-mobile\"><figure class=\"wp-block-media-text__media\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"576\" src=\"http:\/\/matija.kranjcic.com\/wp-content\/uploads\/2023\/04\/coda-1-1024x576.png\" alt=\"\" class=\"wp-image-993 size-full\" srcset=\"https:\/\/www.duovonmeck.com\/wp-content\/uploads\/2023\/04\/coda-1-1024x576.png 1024w, https:\/\/www.duovonmeck.com\/wp-content\/uploads\/2023\/04\/coda-1-300x169.png 300w, https:\/\/www.duovonmeck.com\/wp-content\/uploads\/2023\/04\/coda-1-768x432.png 768w, https:\/\/www.duovonmeck.com\/wp-content\/uploads\/2023\/04\/coda-1-1200x675.png 1200w, https:\/\/www.duovonmeck.com\/wp-content\/uploads\/2023\/04\/coda-1.png 1280w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p class=\"has-text-align-center\">The flautist is expected to achieve balance and slenderness in the rapid changes of technically demanding and vocal parts. The pianist must achieve long phrases, despite the multitude of pauses and broken rhythm. Also, the pianist has to realize the sound of several different instruments in different places, sometimes a harp <em>arpeggio<\/em>, and sometimes a string melody in the upper voice in dialogue with the flute.<\/p>\n<\/div><\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Duo von Meck, Concert of Chamber Ensembles\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/yUzRKXGbYSA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h1 class=\"wp-block-heading has-text-align-center\">La fin<\/h1>\n\n\n\n<p class=\"has-text-align-center\">Let us return to Faur\u00e9&#8217;s improvisation because it contains a lot in a compact and short form. At first glance, the composition has only several technically demanding moments that need to be practised. However, it also contains a lot of interwoven content that needs to be brought to life and made aware of in the performance (as with any great composer, there are so many significant details). Nothing needs to be added. &#8220;Libera me&#8221;, Faur\u00e9, for adding one note at the end of the composition. It is due to the youthful enthusiasm, joy and misunderstanding of that time. &#8220;When I was a child, I talked like a child, I thought like a child, I reasoned like a child.&#8221; (1 Cor. 13:11)<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Gabriel Faur\u00e9   Libera Me (Requiem) Roderick Williams, baryton\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/VMdoq7uE74A?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<div class=\"wp-block-buttons is-content-justification-center is-layout-flex wp-container-core-buttons-is-layout-a89b3969 wp-block-buttons-is-layout-flex\">\n<div class=\"wp-block-button\"><a class=\"wp-block-button__link has-text-align-center wp-element-button\" href=\"http:\/\/matija.kranjcic.com\/?page_id=1050\" target=\"_blank\" rel=\"noreferrer noopener\">sources<\/a><\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>9 \ud83d\udcd6 (+80 \ud83c\udfa7) minutes Composer The harmonic sense, modulations, choice of chords and modal tonalities are the links between two great French composers &#8211; Claude Debussy and Gabriel Faur\u00e9. The main difference is that Faur\u00e9 (photo) rarely wrote program music. He looked for his inspiration in the music itself which is why the concept [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[17],"tags":[],"class_list":["post-822","post","type-post","status-publish","format-standard","hentry","category-a-quiet-improvisation"],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"post_mailing_queue_ids":[],"_links":{"self":[{"href":"https:\/\/www.duovonmeck.com\/index.php?rest_route=\/wp\/v2\/posts\/822","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.duovonmeck.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.duovonmeck.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.duovonmeck.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.duovonmeck.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=822"}],"version-history":[{"count":180,"href":"https:\/\/www.duovonmeck.com\/index.php?rest_route=\/wp\/v2\/posts\/822\/revisions"}],"predecessor-version":[{"id":1119,"href":"https:\/\/www.duovonmeck.com\/index.php?rest_route=\/wp\/v2\/posts\/822\/revisions\/1119"}],"wp:attachment":[{"href":"https:\/\/www.duovonmeck.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=822"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.duovonmeck.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=822"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.duovonmeck.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=822"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}