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FANTAISIE Op.79 (Urtext)

FANTAISIE Op.79 (Urtext)

Composer:Faure, Gabriel (1845-1924)
Instrumentation:fl. pft.
Publisher Ref:FTR221
The only wind piece that Fauré wrote, towards the end of his forty year career as an organist, for which he wrote nothing. "Flute players are indeed fortunate that out of a handful of miniatures which he wrote for one instrument and piano, Faure has given us this gem." (Trevor Wye)

Price: £9.99
Qty
Sub Title:FANTASY Op.79
Editor:Birtel, Wolfgang
Skill Level:D
Publisher:Schott & Co.
ISMN:M001177672
ISBN:none specified
Faure moved to Paris in 1870 to the post of assistant organist at the new church of Notre Dame de Clignancourt, then in the northern suburbs. Although he preferred the piano, Fauré was to earn his living as a professional organist for the next forty years, combining this with teaching so that he achieved recognition in both spheres in 1896 by his appointment as chief organist to the church of La Madeleine and Professor of Composition at the Paris Conservatoire. He composed with "Discretion, reticence (and) restraint" at a time when Grand Opera was all the rage and so had no success with the Parisian musical public. It is known that Fauré had help from colleagues or pupils with the orchestration of some his larger works, possibly with all of them including the popular Requiem. But he knew his strengths - texture, melody and harmony and that his weakness lay in large scale, dramatic composition which he avoided to write instead exquisite and often hauntingly beautiful music.

The Fantaisie, Op.79 was written in 1898 at the request of Paul Taffanel who, as Flute Professor at the Paris Conservatoire and Fauré's colleague, wanted a virtuoso exam piece for his students. Fauré provided the Fantaisie with the clear advice that Taffanel should "modify unplayable passages" but as the autograph score is lost there is no way of telling what, if any changes were made. This is the only composition for wind in Faure's catalogue of over one hundred works. The thirty nine bar introduction is marked 'Andantino', nominally in the key of E minor but the tonality shifts alluringly. The body of the piece is centred around C Major/A minor, in a brisk 2/4 and 'brillante' in style.

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