Tristesse, Chanson du pecheur (another Gautier setting), and Aubade, together with Ici-bas and Barcarolle, can be dated to the early years of Faure's immersion in Pauline Viardot's circle (around 1872-74) by dint of their poems, musical style, dedications, and documented performances; but more exact detail within that time, or even their order of composition, is not verifiable.
and L'absent; link with Duparc Chant Baudelaire 1871 1879 Stylistic link to d'automne Duparc; context of Baudelaire settings Chanson du Gautier 1872 1877 Dedication to pecheur Pauline Viardot; (Lamento) Italianate style of Viardot-circle years; February 1873 Societe nationale performance Tristesse Gautier 1872-74 1876 Choice of poem; lighter Italianate style Aubade Pomey 1872-74 1879 Poet from Viardot circle; Italianate style Barcarolle Monnier 1873 1877 Working ms.
Barcarolle remained, in Faure's hands until after publication: he presented it to the singer Emilie Girette Risler in 1902.
13) The manuscript of Barcarolle in turn notates the vocal rhythm more clearly than printed sources, by using dotted rather than tied notation to distinguish duplet from triplet patterns (mm.
In musical terms, Barcarolle shows a passing manuscript variant of considerable interest in the musically identical mm.
Besides the songs that exist in more than one manuscript key, the G-minor manuscript of Barcarolle shows his autograph annotation "en fa" (the 1879 Choudens collection accordingly printed it in F minor), and, as noted above, the (high-voice) engraving manuscript of Poeme d'un jour bears his specific instruction above each of the three songs, "for mezzo-soprano or baritone, transpose to .
Chanson du pecheur, Barcarolle, Ici-bas, Au bord de l'eau (1877); Apres un reve, Sylvie (1878); L'absent, Hymne, La rancon, Chant d'automne, Aubade, Serenade toscane (1879).
As part of this reordering, Barcarolle was relocated to the end of the second collection and replaced by the much later Noel, op.
Fourteen of the twenty songs had been published in high-voice keys: Choudens had issued five in a single high-voice key (Dans les ruines dune abbaye, Hymne, Barcarolle, Au bard de l'eau, and Serenade toscane) and another nine in both high- and medium-voice keys (Le papillon et la flew; Mai, Rive d'amour, Lydia, Seule
One of many direct parallels can be found in the central part of Faure's First Barcarolle of ca.