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there is a more dramatic central section, comprising a series of four-bar sequences over bass pedals which descend whole tones – a favourite device of Fauré's. There are small and barely perceptible changes to the main theme during the work and reharmonisations that
Orledge calls "a miracle of Fauréan ingenuity".
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describes the scoring of the Pavane as "delicate and airy, with some practical and inspired woodwind writing and a variety of string textures…" He adds that the strings sometimes double the viola part on either second violins or cellos, "perhaps for safety's sake". After the opening flute theme,
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fit to be both danced and sung. He has given it a delightful text: sly coquetries by the female dancers, and great sighs by the male dancers that will singularly enhance the music. If the whole marvellous thing with a lovely dance in fine costumes and an invisible chorus and orchestra could be
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writes that the Pavane has become one of the composer's best-known pieces, and "there will be few to deny that it is one of the most attractive of his lesser works: the flute theme, once heard, is not easily forgotten". In a 1979 study,
70:, he felt compelled to stage a grander affair and at her recommendation he added an invisible chorus to accompany the orchestra (with additional allowance for dancers). The words were inconsequential verses,
43:. It was originally a piano piece, but is better known in Fauré's version for orchestra and optional chorus. It was first performed in Paris in 1888, becoming one of the composer's most popular works.
120:. In 1891, the Countess finally helped Fauré produce the version with both dancers and chorus, in a "choreographic spectacle" designed to grace one of her garden parties in the
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M. de
Montesquiou ... has most kindly accepted the egregiously thankless and difficult task of setting to this music, which is already complete, words that will make our
55:. Fauré's original version of the piece was written for piano and chorus in the late 1880s. He described it as "elegant, assuredly, but not particularly important."
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and others. For
Massine, Fauré's music had "haunting echoes of Spain's Golden Age" parallelling the formality and underlying sadness he found in the paintings of
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155:. Some critics found the ballet pallid, but Diaghilev retained a fondness for the piece, and kept it in the company's repertoire until the end of his life.
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in the summer of 1887. He envisaged a purely orchestral composition, using modest forces, to be played at a series of light summer concerts conducted by
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Performance timings vary considerably. These recordings made between 1953 and 2014 have playing times from under five minutes to nearly seven:
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was not a piece of German romanticism, and that the text later added was "clearly a piece of light-hearted chaffing between the dancers".
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Fauré intended the piece to be played more briskly than it is sometimes performed in its more familiar orchestral guise. The conductor
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From the outset, the Pavane has enjoyed immense popularity, whether with or without chorus. With choreography by
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heard Fauré play the piano version several times and noted that he took it at a tempo no slower than 100
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on 25 November 1888. Three days later, the choral version was premiered at a concert of the
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Fauré's example was imitated by his juniors, who went on to write pavanes of their own:
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608:: Ô la mortelle injure!/Tenors: La cadence est moins lente et la chute plus sûre./
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The distribution of the words between sopranos, contraltos, tenors and basses is:
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470:. Boult commented that the composer's sprightly tempo emphasised that the
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English translation combined from Google and
Microsoft translators
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The work is scored for modest orchestral forces consisting of
592:: Comme ils sont provocants! Comme ils sont fiers toujours!/
790:, Bibliothèque nationale de France. Retrieved 3 March 2021
584:: C'est Lindor, c'est Tircis et c'est tous nos vainqueurs/
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Comme ils sont provocants! Comme ils sont fiers toujours!
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C'est Lindor, c'est Tircis et c'est tous nos vainqueurs!
66:. After Fauré opted to dedicate the work to his patron,
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Orledge, Robert (1993). Notes to EMI CD CDM 7-64715-2
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Farewell and good days to the tyrants of our hearts!
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C'est
Myrtille, c'est Lydé! Les reines de nos coeurs!
664:: Adieu donc et bons jours aux tyrans de nos cœurs!/
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How provocative they are, how proud they are always!
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588:: Cest Myrtil, c'est Lydé! les reines de nos cœurs/
518:Adieu donc et bons jours aux tyrans de nos coeurs!
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Et c'est toujours de même, et c'est ainsi toujours!
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1067:(trans.). Cambridge: Cambridge University Press.
698:, Oxford Music Online, accessed 15 November 2011
596:: Comme on ose régner sur nos sorts et nos jours/
525:It's Myrtil! it's Lydé! the queens of our hearts!
523:It's Lindor! it's Tircis! and all our conquerors!
644:: On s'adore, on se hait! On maudit ses amours!/
550:And it's always the same! And will be so always!
529:How they dare reign over our fates and our days!
108:The orchestral version was first performed at a
1044:. New Haven and London: Yale University Press.
489:Comme on ose régner sur nos sorts et nos jours!
51:The work is titled after the slow processional
660:: Adieu Myrtil! Eglé, Chloé, démons moqueurs!/
556:Farewell, Myrtil! Eglé! Chloe! Mocking demons!
178:, and "Pavane de la belle au bois dormant" in
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552:They love one another! They hate one another!
516:Adieu Myrtille, Eglé, Chloé, démons moqueurs!
147:, danced to music by not only Fauré but also
8:
1084:Léonide Massine and the 20th Century Ballet
131:a ballet version entered the repertoire of
35:50, is a short work by the French composer
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1086:. Jefferson NC.: McFarland & Company.
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1144:Choral Public Domain Library (ChoralWiki)
1134:International Music Score Library Project
953:, Vol. 117, No. 1600 (June 1976), p. 490
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58:Fauré composed the orchestral version at
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1016:Gabriel Fauré: His Life Through Letters
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1018:. London and New York: Marion Boyars.
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616:: Nous serons bientôt leurs laquais!/
492:Faites attention! Observez la mesure!
7:
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612:: Nous rabattrons bien leur caquets/
547:How crazy they are! Coquettish airs!
89:performed, what a treat it would be!
53:Spanish court dance of the same name
1645:Orchestral compositions with chorus
532:Pay attention! Observe the measure!
895:Deutsche Grammophon 00028942308923
503:Nous serons bientôt leurs laquais!
501:Nous rabattrons bien leur caquets!
352:Academy of St Martin in the Fields
139:in 1917, alternatively billed as
14:
1446:Messe des pêcheurs de Villerville
507:Qu'ils sont fols! (Airs coquets!)
16:1887 composition by Gabriel Fauré
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1154:The Lied and Art Songs Text Page
505:Qu'ils sont laids! Chers minois!
545:How ugly they are! Sweet faces!
175:Pavane pour une infante défunte
1061:Gabriel Fauré – A Musical Life
541:We'll tone down their chatter!
1:
1640:Compositions in F-sharp minor
1625:Compositions by Gabriel Fauré
1285: (1878–1879; unfinished)
1059:Nectoux, Jean-Michel (1991).
1040:The Art of French Piano Music
636:: Et c'est toujours de même,/
563:Notes, references and sources
68:Elisabeth, comtesse Greffulhe
543:Soon we'll be their lackeys!
118:Société nationale de musique
868:Sony Classical 074646264423
640:: Et c'est ainsi toujours!/
496:La cadence est moins lente!
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538:And the fall more certain!
104:, danced to Fauré's Pavane
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1497:Cinq mélodies "de Venise"
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760:Fauré (1984), pp. 130–131
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1010:Fauré, Gabriel (1984) .
877:Parlophone 5099962172059
859:Parlophone 5099990993251
656:: On maudit ses amours!/
481:
1438:Cantique de Jean Racine
1265:Masques et bergamasques
1082:Norton, Leslie (2004).
988:Fauré, Gabriel (1901).
955:(subscription required)
700:(subscription required)
642:Sopranos and contraltos
626:Sopranos and contraltos
554:They curse their loves!
512:On s'adore! On se hait!
286:ORTF National Orchestra
29:Pavane in F-sharp minor
1563:Emmanuel Fauré-Fremiet
965:Fauré (1901), pp. 6–23
604:: Observez la mesure!/
536:The pace is less slow!
498:Et la chute plus sûre!
440:San Francisco Symphony
308:Philadelphia Orchestra
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145:Les Jardins d'Aranjuez
105:
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1473:Trois mélodies, Op. 7
1108:. London: Eulenberg.
922:SFS Media190295689018
620:: Qu'ils sont laids!/
514:On maudit ses amours!
494:Ô la mortelle injure!
446:Michael Tilson Thomas
204:and one pair each of
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95:
79:Robert de Montesquiou
22:
1545:L'horizon chimérique
1257:Pelléas et Mélisande
1199:List of compositions
1150:text and translation
904:Decca 00028942144026
886:Decca 00028947820246
829:Nectoux, pp. 108–109
719:Fauré (1984), p. 129
628:: Qu'ils sont fols!/
600:: Faites attention!/
534:O the deadly insult!
424:Yan Pascal Tortelier
162:'s Passepied in his
1630:Choral compositions
1513:le plus doux chemin
1384:Piano Quintet No. 2
1366:Violin Sonata No. 2
1360:Piano Quintet No. 1
1337:Piano Quartet No. 2
1315:Piano Quartet No. 1
1309:Violin Sonata No. 1
1152:of the Pavane from
1012:Jean-Michel Nectoux
229:Jean-Michel Nectoux
112:under the baton of
1406:Piano solo and duo
1378:Cello Sonata No. 2
1372:Cello Sonata No. 1
997:. Paris: Hamelle.
820:Fauré (1901), p. 1
696:Grove Music Online
468:crotchets a minute
330:Orchestre de Paris
292:Sir Thomas Beecham
227:The Fauré scholar
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1635:1887 compositions
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1115:978-0-903873-40-6
1051:978-0-300-14547-2
1025:978-0-7145-2768-0
950:The Musical Times
943:Boult, Adrian C.
646:Tenors and basses
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396:Montreal Symphony
165:Suite bergamasque
114:Charles Lamoureux
110:Concert Lamoureux
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1529:La chanson d'Ève
1505:la bonne chanson
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652:: On se hait/
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181:Ma mère l'oye
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149:Maurice Ravel
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37:Gabriel Fauré
34:
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23:Fauré in 1887
21:
1548: (1921)
1543:
1540: (1919)
1535:
1527:
1524: (1914)
1519:
1516: (1904)
1511:
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1500: (1891)
1495:
1492: (1887)
1487:
1484: (1883)
1479:
1471:
1452:
1449: (1881)
1444:
1436:
1412:
1392: (1923)
1386: (1921)
1380: (1921)
1374: (1917)
1368: (1916)
1362: (1906)
1356: (1898)
1351:
1347: (1898)
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1333: (1883)
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1325: (1879)
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1311: (1875)
1294: (1918)
1289:
1263:
1260: (1898)
1255:
1252: (1890)
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1244: (1887)
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1225: (1913)
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199:
196:Opening bars
179:
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28:
26:
1565: (son)
1421:Piano music
1276:Concertante
380:Seiji Ozawa
141:Las Meninas
102:Las Meninas
64:Jules Danbé
39:written in
1619:Categories
1390:Piano Trio
1344:Sicilienne
1233:Orchestral
1034:Howat, Roy
676:References
662:Contraltos
618:Contraltos
610:Contraltos
590:Contraltos
270:Paul Paray
249:Conductor
246:Orchestra
60:Le Vésinet
1352:Fantaisie
1292:, Op. 111
1290:Fantaisie
1214:Prométhée
1140:this work
1003:844205333
214:clarinets
153:Velázquez
1582:Category
1481:Madrigal
1354:, Op. 79
1322:Berceuse
1222:Pénélope
1104:(1979).
1036:(2009).
654:Sopranos
606:Sopranos
598:Sopranos
582:Sopranos
218:bassoons
75:Verlaine
1537:Mirages
1454:Requiem
1302:Chamber
1249:Shylock
1142:in the
1014:(ed.).
982:Sources
693:"Pavan"
255:Timing
202:strings
160:Debussy
47:History
1595:Portal
1430:Choral
1330:Élégie
1268:(1919)
1241:Pavane
1130:Pavane
1112:
1090:
1071:
1048:
1022:
1001:
991:Pavane
658:Tenors
638:Basses
634:Tenors
630:Basses
622:Tenors
614:Basses
602:Basses
586:Basses
472:Pavane
220:, and
206:flutes
86:Pavane
1465:Songs
1414:Dolly
1206:Opera
995:(PDF)
568:Notes
478:Verse
454:6:12
451:2014
432:6:19
429:1995
410:6:39
407:1987
388:6:51
385:1986
366:6:35
363:1981
344:6:18
341:1974
322:6:58
319:1968
300:5:09
297:1959
278:4:50
275:1953
252:Year
222:horns
210:oboes
188:Music
170:Ravel
1110:ISBN
1088:ISBN
1069:ISBN
1046:ISBN
1020:ISBN
999:OCLC
258:Ref
168:and
96:The
72:à la
41:1887
27:The
172:'s
143:or
135:'s
33:Op.
1621::
1063:.
947:,
927:^
834:^
795:^
724:^
684:^
224:.
216:,
212:,
208:,
184:.
124:.
31:,
1597::
1182:e
1175:t
1168:v
1118:.
1096:.
1077:.
1054:.
1028:.
1005:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
