(redirected from barcarolles)
Also found in: Dictionary, Thesaurus.


, barcarolle
1. a Venetian boat song in a time of six or twelve quaver beats to the bar
2. an instrumental composition resembling this
Collins Discovery Encyclopedia, 1st edition © HarperCollins Publishers 2005
The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.



the original name of the songs of Italian, primarily Venetian, boatmen (gondoliers). Later, any musical work (such as a song, piano piece, or choral piece) associated with boating.

The barcarole is sometimes called a gondola song. The music is usually light, lyric, and dreamy. The tempo is moderate, and the measure is 6/8 or 12/8. The melody of the barcarole is distinguished by its smoothness; elements of musical expressiveness are often used in the accompaniment. The composers of the most famous vocal barcaroles include Schubert and M. I. Glinka. Composers of barcaroles for the piano include Mendelssohn-Bartholdy, Chopin, Tchaikovsky, and Rachmaninoff. Barcaroles are also found in several Italian and French operas.


The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
L'absent, and Barcarolle (respectively "1871," "3 avril 1871," and "19 octobre 1873").
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.
Autographs of Ici-bas and Barcarolle, also in the Bibliotheque nationale, show each song in an earlier or intermediate version.
(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 ..."
Barcarolle: Autograph, G minor, 19 October 1873; F-Pn musique, Ms.
Choudens, Pere et Fils (Paris), 1869--1879: Le papillon et la fleur, Dans les ruines d'une abbaye (1869); Reve d'amour (1875); Les matelots, Tristesse (1876); Mai, Lydia, Seule!, 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.