Schoolkids Records (Retail & Label)

Mehldau performs four preludes, from a thirty-seven-year span of Gabriel Fauré's career, as well as a reduction of an excerpt from the Adagio movement of his Piano Quartet in G Minor. Here Mehldau's four compositions that Fauré inspired are presented in a group, sandwiched between two sections featuring the French composer's works. Discussing the Après Fauré album in his note, Mehldau says: "If the sublime foreshadows our mortality, this music might communicate the austerity of death-Fauré's as it approached him, but also the apprehension of our own. We find a kinship with the composer finally, in the form of a question that he tossed off into the future, to us. I have composed four pieces to accompany Fauré's music here, to share the way I have engaged with Fauré's question, with you, the listener."This format is similar to my After Bach project," he continues. "The connections are less overt, but Fauré's harmonic imprint is on all four. There is also a textural influence, in terms of how he presented his musical material pianistically-he exploited the instrument's sonority masterfully, as an expressive means. So, for example, in my first 'Prelude,' melody is welded to a continuous arpeggiation, both part of it and hovering above it; in my 'Nocturne,' it is possible to hear the harkening chordal approach in the opening of Fauré's No. 12."
Mehldau performs four preludes, from a thirty-seven-year span of Gabriel Fauré's career, as well as a reduction of an excerpt from the Adagio movement of his Piano Quartet in G Minor. Here Mehldau's four compositions that Fauré inspired are presented in a group, sandwiched between two sections featuring the French composer's works. Discussing the Après Fauré album in his note, Mehldau says: "If the sublime foreshadows our mortality, this music might communicate the austerity of death-Fauré's as it approached him, but also the apprehension of our own. We find a kinship with the composer finally, in the form of a question that he tossed off into the future, to us. I have composed four pieces to accompany Fauré's music here, to share the way I have engaged with Fauré's question, with you, the listener."This format is similar to my After Bach project," he continues. "The connections are less overt, but Fauré's harmonic imprint is on all four. There is also a textural influence, in terms of how he presented his musical material pianistically-he exploited the instrument's sonority masterfully, as an expressive means. So, for example, in my first 'Prelude,' melody is welded to a continuous arpeggiation, both part of it and hovering above it; in my 'Nocturne,' it is possible to hear the harkening chordal approach in the opening of Fauré's No. 12."
075597900859
Mehldau, Brad - Apres Faure

Details

Format: CD
Label: Nonesuch
Rel. Date: 05/10/2024
UPC: 075597900859

Apres Faure
Artist: Mehldau, Brad
Format: CD
New: In Stock $14.98
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Formats and Editions

DISC: 1

1. Nocturne No. 13 in B Minor, Op. 119 (1921)
2. Nocturne No. 4 in E-Flat Major, Op. 36 (c. 1884)
3. Nocturne No. 12 in E Minor, Op. 107 (1915)
4. Prelude
5. Caprice
6. Nocturne
7. Vision
8. Nocturne No. 7 in C-Sharp Minor, Op. 74 (1898)
9. Piano Quartet No. 2 in G Minor, Op. 45 (c. 1887): III. Adagio non troppo (Extract)

More Info:

Mehldau performs four preludes, from a thirty-seven-year span of Gabriel Fauré's career, as well as a reduction of an excerpt from the Adagio movement of his Piano Quartet in G Minor. Here Mehldau's four compositions that Fauré inspired are presented in a group, sandwiched between two sections featuring the French composer's works. Discussing the Après Fauré album in his note, Mehldau says: "If the sublime foreshadows our mortality, this music might communicate the austerity of death-Fauré's as it approached him, but also the apprehension of our own. We find a kinship with the composer finally, in the form of a question that he tossed off into the future, to us. I have composed four pieces to accompany Fauré's music here, to share the way I have engaged with Fauré's question, with you, the listener."This format is similar to my After Bach project," he continues. "The connections are less overt, but Fauré's harmonic imprint is on all four. There is also a textural influence, in terms of how he presented his musical material pianistically-he exploited the instrument's sonority masterfully, as an expressive means. So, for example, in my first 'Prelude,' melody is welded to a continuous arpeggiation, both part of it and hovering above it; in my 'Nocturne,' it is possible to hear the harkening chordal approach in the opening of Fauré's No. 12."
        
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