{"id":4414,"date":"2024-02-16T11:53:08","date_gmt":"2024-02-16T11:53:08","guid":{"rendered":"https:\/\/resonatamusic.com\/?post_type=product&p=4414"},"modified":"2024-02-16T11:54:42","modified_gmt":"2024-02-16T11:54:42","slug":"faure-masques-et-bergamasques-for-trumpet-piano-pdf-download","status":"publish","type":"product","link":"https:\/\/resonatamusic.com\/?product=faure-masques-et-bergamasques-for-trumpet-piano-pdf-download","title":{"rendered":"Faur\u00e9 – Masques et Bergamasques for Trumpet & Piano (PDF Download)"},"content":{"rendered":"

What distinguishes Gabriel Faur\u00e9\u2019s Masques et bergamasques <\/i>from the other works in the Neoclassical Trumpet is that the music draws on no extant material other than from the composer\u2019s own earlier work. There are, though, yearnings (as the title suggests) towards a carefree and courtly neoclassical f\u00eate in this gloriously evergreen \u2013 though in chronology of output, autumnal \u2013 four-movement suite. Faur\u00e9\u2019s inspiration for drawing on such clearly articulated dance forms is perhaps characteristic of a perennial creative serenity that never, despite posthumous performance practices to the contrary, manifests itself in dreamy evocation at the expense of characterful incision.<\/p>\n

For the first bars of the \u2018Overture\u2019, the melody is sprung forward, the phrases questioned and answered, the second \u2018subject\u2019 effusive but soon to be inflected with flighty ambition, at once toying \u2013 like a Couperin \u2018ordre\u2019 \u2013 with memory, wit and anticipation. Faur\u00e9\u2019s mastery at capturing the theatrical conceits of his forbears is dream-filled but hardly dreamy. The work resumed life in 1919 (from a symphony some 50 years earlier) as a contributing part to a commission from Prince Albert of Monaco:\u00a0 an elaborate post-Great War entertainment to flatter a clientele with social delusions; a Commedia dell\u2019Arte troupe humorously observing imaginary assignations amongst a decidedly aristocratic audience.<\/p>\n

Four movements were subsequently extricated to form this famous suite. The \u2018Overture\u2019 is drawn from the early symphony, as indeed are the subsequent \u2018Menuet\u2019 and \u2018Gavotta\u2019. The former dance is suitably gracious, rich in the kind of poignant melodic nuancing that Faur\u00e9 inflects effortlessly even when providing music of relative objectivity. The middle section contains a delightful \u2018call to arms\u2019, perhaps an allusion to a town piper\u2019s fanfare for an approaching banquet? The \u2018Gavotta\u2019 exploits the bergamasque<\/i> vein \u2013 more rustic, energised and mondaine <\/i>than the ritualized contrivances of the previous movement. The \u2018Pastorale\u2019 is the only movement here freshly composed. It reveals itself as a masterpiece of subtle valediction, wryly observing a world born half a century earlier. Whether sourced from 1869 or 1919, Faur\u00e9\u2019s intention is clearly to create something of\u00a0 in his own words \u2018an impression you get from the paintings of Watteau\u2019 is delectably realized.<\/p>\n

Performers may find that experimenting with different mutes can bring additional colours to this perennial favourite with audiences.<\/p>\n

Jonathan Freeman-Attwood<\/i><\/p>\n

Parts included:<\/p>\n