ALBUM OF SIX SONGS By GABRIEL FAURE WITH FRENCH © ENGLISH WORDS Esited Hens (0. monte v HIGH Low 60 Boston, Mass. THE BOSTON MUSIC COMPANY New York : G, Schirmer, Inc.CONTENTS Neu. aoe ‘Tus Rose or Isranan (Les Roses d'Ispahan) Love's Darra (Réve d'amour). ‘Tue Crapues (Ler Berceaux) Iw Prisow (Prison) vente (Soir)GABRIEL FAURE ABRIEL-URBAIN FAURE was born at Paniers (Arigge), France, on May 13, 1845 When he was three years old, his family moved to Foix, where his father, a school teacher by pro- fession, had been appointed director of the Normal School! ‘The boy showed early signs of musical talent, and his father, unlike so many parents of children that later have become famous musicians Saw no harm in the possibility of his son acquiring s musical edveations. He decided to take the boy to Paris, and ia. 1854 this plan was earried out, Young Gabriel became @ pupil at the School of Religious Musie, founded by Niedermeyer. His first year of study brought him a prize for his piano playing. When the burden that the tuition fees placed on the meager purse of the His compositions had meanwhile begua to be heard in Paris. Mme. Edouard Lalo sang two of his songs publicly in 1873, Edouard Colonne, with his orchestra, performed a Suite, in February, 1874. This work has never been published. On July 5, 1878, the composer and the violinist Maurin played at the Tracadéro for the first time the Tamous violin Sonata, Op. 13. ‘The composition of this work dates back to the year 1876; it marks a new epoch in French chamber music, Gabriel Fauré has never courted” public favor. His art is of an intimate nature, his effects ace subtle, his style one of supreme elegance. His works’ for the orchestra and the stage are few. His greatest achievements lie in his songs, that are probably the most perfect speci- school “supervisor proved too ‘mens of the lied form since Robert heavy, Fauré’s father confessed his predicament 10 Niedermeyer, who generously offered to keep the boy without compensation. Fauré then worked) not only under Niedermeyer, but also with Dietsch, and in particular with Camille Saint-Saens, who may be regarded as his real master. ‘The composer of “Samson and Dal- ilah” was then a teacher at Nieder- meyer's school, though in reality he never had but. two pupils worthy of the name, Gabriel Fauré and, later, André Messager. Fauré lelt Niedermeyer’s school in August, 1863, not without having won every possible distine- Schumann. Among them are especially | “Soir,” “Les Roses @Ispahan,” “Prison,” andthe whole of the marvellous “Bonne Chanson.” “Le Jardin Clos,” a cycle of eight songs, has been ublished in the summer of 1915. it shows the latest and ripest phaseof Fauré’s technique. What he has given to musical literature in these luminous gems will re- main imperishable, and their glow must necessarily” spread ever wider inthe course of time. Louis Laloy has justly claimed that with Fauré the renaissance of French music took its beginning Fauré married, in 1883, the ton. jn January, 1866, he ace cepted a position ‘as organist. at Rennes, and the four years that he spent there, under the moody skies of Brittany, left their trace in his soul, In 1870, Fauré had just been named organist of the church of Netre-Dame at Clignan- court, when the war broke out; and he joined one ‘of the Guard regiments, as a volunteer. After peace was restored, he re-entered the Niedermeyer school, now as a professor, and André Messager, aged 18, was among his first pupils, He successively became organist of the churches Saint-Honoré @Eylau, and Saint-Sulpice, and temporarily re- placed Saint-Saéns at the Madeleine, when concert tours called the older master to foreign countries, In 1877, Fauré accompanied Saint-Saéns to Weimar, where Liszt gave the first performance of “Samson and Dalilah” at the Grand-Ducal Theater. In 1878, with Messager as a traveling companion, he heard “Rheingold” and “Walkire” at’ Cologne, and later the whole “Nibelungen Ring” at Munich. daughter "of the. wellknown sculptor Fremiet, In 18%, after having for several years been the chief organist at the Madeleine Church, he followed. Massenet 4s teacher of composition and counterpoint at the Paris Conservatory, of which he was appointed director, in 1905.” In''1909, he received the Gistinetion ‘of being elected to the Institut de France, occupying the seat formerly “held by Emest’ Reyer, who in his turn had. succeeded Hector Berlice. Gaston Caraud once wrote of Faueés The frat impression one receives, upon closer study of his musie, sone of great charm, a novel and vague charm, like that which certain women exercise, snd which, though it seeme superficial, emanates from the very depths of their souls. His is a grace hich sometimes. seems fleeting, ‘or quintessen- alized; he evokes rich and perfumed interiors, or gorgeous flower-beds, that spread in the shade of dreamy old trees.”Nell LECONTE de LISLE $e English version by SBE, GABRIEL FAURE Edited by Henry Clough-Leighter Andante, quasi allegretto = yy) =) —————=—= Voice == - ses em-pur - pled be - ro ~ se de pour ~ pred ton Piano 2 col Pedule Se nnn cordn , ° ae == J ¥- neath the sun, bright, So in- clair so teit, . De, Pencehens je lorgamente S45 heart and your rose would be mon COE anfang dt TH 7 Stet pa un poco erese: cline to. me—— your gold-en cup of light, si vers moi ta cou - pe do-re - fy-25 418 co Copyright, 1918, by The Boston Music Co.(pochiss rit) a tempo 9 ——— —— = Where the heav-y trees make a can-0 - py, Sous le mol a= bride ta feuit-legm-brew pockiss rita tempo = pp ring-dove coos in the Cun ra ~ miter — chan-teau bois ri - ses a fer-ventsigh to - day, mon > tesa sons pir deca tup- Jargamente dim tempo While my heart is fost in your beau - . sa plain feg-mou-rew = a tempo woods a - way, é = cart, largamente eco, 4719p= paolee =—— == How your beam is love -ly a - loft to-night, Que tu perle est dow ~ ceawctel en ~ flam-mé, un poco orese. uf © star of évening,calm-ly glimm - ’ring;. B- tot - te ts ta anit fen ~ si — —= is your ring, Which il - ceest la clar-t8 ci - = te” Qui ray much more bright__— Dien plus dow = — aco, 4219Jargnmente ces, poco poco al J =—__ _¥. —= tum ines ay, soul all my soul with its om = meen man e008, garg fry ft (00H char eresc_ poco @ poco ul mf < tempo Sa =— (poco rit) light. a tengo porn rit of a tempo =| » =— On the burning sands the al-might-y sea. In mur- murs e-ter~ nal shall La chan-tan- te mer, te long du ri-ta ~ ge,tat = ra son mur-mu~reéeter a tempo \ 2S — 2 Bute. 4719w — allargando > ish, Ere from out my heart, O my love,my Nell, Can de- Avant guen mon coeur, chi rea-mour, 6 Nell, ne flen- allargandto 4 mp molto larganente <= —— part the im - age I cher ish, Cande-part the im- age I ris = se plus ton f= ma ef one flens ris = se plus ton i ~ : 2 Linco largamente’ 2° | aco, A719The Rose of Ispahan Les Roses-d’Ispahan. LECONTE de LISLE English version by LAF. Buited by Henry Clough-Leighter GABRIEL FAURE Andantino ed amoroso (d=60) Voice _— saopena bargumente Pete rle ces i Srarmaento SS SS |S ee den mostenuto | ze \ dim, ) Le = cod Pele - piolee —=, —= «= —= The rose of Is-pa- han, in its moss-cov-er blush. ing, Jas-mine Les ro = ses d'Is-pu~ ham dans leur gat ne de mow — 4 Tes jas — a tempo ae nochisscrit (tempo) fe flowts from Mossoul,the bloom -" ing or-ange tree, mins de Mos-siut, les flewrs— de Vo- ran ger, —— . pochtss.rit, atenpo_—~ a Aven pea ores re) Copyright, 1916, by The Boston Music Cu,10 poco largamente = orese. poco a poco ul f Waft a per-fume less fresh, less del- i-cate-ly pleas - ing, Q dove - like Ont wn par- fun moins frais, ont w= neo-deur moins dou ee, G bun ~ he aoa Oe erese, poco « poco al mf : a a 1 x poco largamente —~__ > = = ee 4 — 3 2 ~____| Compe) poco rit Le-i-lah,—— than your breath on my cheek. Leni tah! que ton suif~ fle Ub germ op atom Zi > jd mareuto| iipnea bres From lips, red-der than cor- al,your heav-en- ly Te t= ereest de eo ~ rail ef ton ri- re Ue uppena largamente a tempo auce.6720u pochiss. rit a tempo ———= laugh - ter Rip-ples cool -er than rain. and with a sound more pleas - : er. Sonne mieux que eau th > teat dh me Tox plus ton ~ pochiss.rit temp ngitse ncn m poco Wf Cool - er than Zeph-yr winds that rock the orange tree, Mivwy que te vent joys cnx gui herece Puaran = ger, f eveses piven a pen ul ny Fee sr = hens 7 —— ply J wd |: poco largamente =———_ ‘a fempo Sweet-er than birds that sing be- side anest inthe branch - - es. Miews que Poi-seay qi chan ~ team bard dun nid de mos = ow poco targamente atempo euco.re0sempre dotee lah, since kis-ses you de - ny to me, ‘And since my_ sF-lah! de = puis que de leur. cal te ~ ger. Tous tes bai = sempre > (tempo) poco rit ma hope is fled ev-er-more to. €m - brac sers ont fui de ta tre si dow poco rit, a poco largimente —_ ce 7 - = Se i 7 ‘There's no beau-ty re-mains in the white or-ange tree, Naught do the breez-es 1 west plas de por ~fum dans le pd lea-ran ~ ger, AF de eb les tea aoa poen largamente |]|* ewcoarza13 poco rit ——_—_=s— (tempo bring from foses new-ly bud - - ding. Poomeas ro-ses dans Tear mous = ~ we. zoee rit a tempo ng Pm = P (pockiss. rit) a tempo _m, hy may your heed-less___ love which id-ly brush’d my o%, que ton jeu-neg = mor, ce pa-pil- ton te ~ pochiss, rit a tempo Mor eres dim ==, P cheek, Re - turn to my heart, a but - ter-fly light and “en Re ~ vien-ne vers mon cur’ d'u-neai Ie prompte et e.w.c0.47204 rese, peg a poco al fp mp geous, And cause to glow a - gain in bloom the or-ange tree, ee, EY quil par fn- meew-eor ta fleur de Vo-ran~ ger = as Frese pes poco al nf —= poen ral atempo ——= And the rose of Ts- pa-han, in its. moss - cov-er blush - - Les ru ~ sts a? Is pa an dans ter gut ne de moss 7 porn aT tempo yall. poco « poco alfine a.m.ce.0720Love’s Dream Réve d ‘amour se VicTOR HuGo GABRIEL FAURE Puglich version by LOE. Feited by Uory Clough-Leighter Allegretto vezzoso Voice Piano col Pedate eee atempo there is a pleas-ant spot, fair streams a- flow - ing, est un char-mant — ga~ 200 te ciel ar ra = Sp ance. anit Copyright, 1918, by The Ruston Muste Co.16 un poco erese. © Where the win-ter con-quers not What in Spring was glow - ing ;. Oi maisse en tan te Sab = som Quel - que fleur belo = 56) un poco erese. a et ee poco largamente SS mperese Where in hand-fuls lil-ies shine, Hon-ey-sue-kle and jes- sa-mine;__ on Von cueille i plei-ne main, Lys, che--trecfewil ~ leet jas-miny. (§ a. (tempo) roll, =p —= —— There a path-way I would twine And with you be go - ing. Jren reux fui ~ re fe che = min Ok ton pied se po ~ se. by alt a tempo ..c0,472117 poco erese pe teneramente If there is a — gen-tle heart, Ten - der love re - veal - ing, S’it ext un sein bien ai~ maxt, Dont Vhon-neur dis - po - se, ee = Where de-vo-tion holds a-part ory bit-ter feel - ing. Dont te ten-dre— dé= towe-ment rien de mo- ro - st iu poco erese, ce 8.0,60.472148. dargamente crese. poco « poco for aye this no-le breast Would its own_ true worth at-test, Ss foucjuurs ce no-ble sein Bat pour un di - gue des-sein, Largamente erese, poeo 4 poco 2 ——— tS" On its pil- low softly rest, rene fii = re le cons-sin Sleep your eye-lids seal - ing. 0% “tun front se po = se. null a tempo un poco erese: B.n.9. 4721Molto pitt lento P (tengo) =—— there's a vi - sion of love, — Per - fume steal-ing 0 - ver, est un re = te Pa ~ mone. Par = fume de ru - sep ie = © Where, as through each day we move, Joys we yet dis- cov - er, 08” Pon trom te chaque jour Qert que donnce chy = sey mpoen erent i ee | — 8.W.¢0.472120 Jurgumente of — ‘Vi - sion which by God is blest, Where, u - ni - ted, Un ro = te que Dien be-nit, i mek Pa = me stu nit, — ae saan R- ——— —* *: ee 7 — > i ———| ‘There at last Vd make my nest,— Hap-py, hap- py lov - er! Oh, gren veux fui = re le id. Oh fon cwur se po - se. aI ‘Tempo 12 — eae = = + at 4 5 = - 7 $ =| Dp = = a? =a foe IS 8.n.t0.4721The Cradles *" Les Berceaux SULLY PRUDHOMME = GABRIEL FAURE English version by JOP. Edited by Heary Clough-Leighter Andantino e quasi sognando Voice rive asia; sempre Piano » col Pedale by the wharf the great — ships lie long du ga, les grants eais-seaux, una corda i due Pedati == § et SF Where the surge is qui - et - ly sweep ~ Que la hu tein-cli > oneen sh ~ ten . a.cs.4722 Copyright 1018, by The Roston Music Co.22 ———_—_= =———— —— + ty SS = lit = tle they think of a moth ~~ ers sigh, prin = ment pas gar = - dena. ber ceaux, (tempo. Poon ait —_—— : = Bend -ing o'er the cra - die and weep me ta main des fom = aes ba ~ tan Oseco ral 7 ores poco u poco sin'al nif =——— Soon will come the day fare-well; Mais view dra “ Jour a dieux, —_— ass pp me poor penal Wf ato. 4722— f And a-gain Car i faut tre corde ger gue poco allargande Ou = ward Tex + tent proce wltarganda e.w.ce. 4722 wom = que is man, tes hom to. shores ts ho = ——_—__== = an will be dex fem mes un-trav - el’d ri-zous qui wail pew sai leur 2824 = —— pockiss.rit ___ 3 tempo the great ships____ roam, les grands. Pais-seans, Yet all the while. EI ce jour Ta atenpo una corde Fino Pedute —— —— ee i; 5 = ee et EE 5 While o’er the lone - ly sea they scour, ———__ Fay unt le port qui di ~ mine - > oy ae s.w.to.4722mporese. They feel their helm Sen = tent deur mas Q Pp crese.un poco 25 e.w.co. 472226 pochiss, erese of ca - dies tbat a Par ne - me des loins una cordn sempre poco rall tem them at ee a Lentando poco u poco sin’ul fine wait tains poco val. v.co, 4722In Prison . Prison PAUL VERLAINE, == GABRIEL FAURE Enulish version by 5.8.8, Edited by Henry Clovgh-La ighter Alquanto adagio —— Voice Piano vina corda idue Pedale —_== roof, Its blue A tree, so far a-bove the wil, Si Blew, Un__ ar ~ bre, par- dessus de bell with - clo - che, Copyright, 1016, by The Boston Music Co, am.t2.4729in the heav- ens woof Faint - ly is danse ciel queen tit, Dou ~ ce ~ ment the tree a bird sits a- loof, Wear- i - ly of = sean su Par = bre qu'un’ ruil Chan te sa a Largamente a tempo —= sing - - ing. ° God, my God, all pian ~ ae Mon Dien, mon Dien, a atenpo Largamente be fo —— Say. g! * wc, 472329 poco rit _ — there, Calm,— full of pit “a, Sinpie tran = quit Ed 42 6 tempo = Seg E So does the peace- ful mur-mur sound Col = te pat st = bere mer = ti etempo = = poco sfe Lurgumente - y! Allin vain, un - hap - py —— Qwas- tu fait, & tok gue to = Inrgumente Bn.to, $72230 oro pall 00 vitenuto pono ralk__ —=——— ea For ev- er weep - __ ing, What have you a, Pleus rant suns ces, Dis, qwas tn poco rath ———— spent the years? is que tui - La, ta jen —————., pie rath aa PP ——————_ Pil pit possibite B.mato, 4723Evening : Soir ALBERT SAMAIN = GABRIEL FAURE English version by TOR. Baited by Henry Clough-Leighter Lento andante: calmato ¢ con molto affetto P Voice Be - hold, how the! For = et que les jar- Piano oo DP molto soavemente sempre “ae corda t due Pedale ES Pp. val ~ leys of night spread in bloom, dins de ta mut font flen = rir, EE OPE TR BOT | fr ———————- —- =——— _ pp faint dt last the hues, — through dusk ___ they pale - ly Vi = gues, des cou ~ leurs, — tes Sons de cin = nent f: e.n.ca. 128 Copyright, 2015, 03 The Buston Music Co.32 = fin- al, dy- ing rays on your bright jewels le der-nier rayon a sga- wise a tes | Art erase pochtss, = — ly love, see you not Death which. moves through the Ma sweur, — wen-tends-tu pas quel-que chy ~ se mone = ptolee sempre _— : 5 I = * 754 ee : SS eS a gloom? Put on my fore- head your fin - gers, cool - er than vir? Mets sur mon front tes mains frat ~ ches” comme ame ea face 412833 = - showrs, Put on my eye- lids your hands, sweet - er than pu Mets sur mes yeux tes mains dou ces com ~ me des py tt POCO crese. ———— Spring; ‘And may my soul, where tears are ev-er lan - guish- sfunrs, EY que min time” okt te gut secret tes = Pp ing, Beas on your gir dle- ring, — those plenrs, Sait cone an 5s Si ~ dle e 8.M.c0, 4728a4 pocy largamente — tone Lt. (poco rit) pale pile poco lurgamente un - daunt - ed flow’ rs. ata cms tee ne a tempo poco rit he’ beb, aid Si tre corde pine Mer - cy a-lone soft- ly take from us Cesta pix tie pose ain = si sun doigt a tempo —_ Pdi eres. poco @ poco sii’alf care; And from all_which the earth holds of de-spair_a-ris - ing. Ent eo que la terre 4 de cpirs qui mon ~ tent, erese, poco a poco sintalf a.wte, 472835 =——_ ot Z t; allarganto ——— grief con- tent, my heart finds a rap - fare sur- pri - sing: Your Sem = Ble quel” mon cwnr en = i ere. tera - con = tent Tes allargando tre corde Jargamente sempre ] ———— —= eyes to heavn up - rais’d, yeux Wee tis an largamente sempre una corda ral (tempo) of and so dane quasi a tempo 9THE BOSTON MUSIC COMPANY COLLECTION OF BOOKS FOR 'THE MUSIC APPRENTICE Covering the complete field of Musical Science and History Abbreviations: o.—eloth; fl. d.—flexible cloth; #?.—paper; if nothing special is indicated the book ia sold in paper cover only, ‘but all kinds of binding, artistically executed and at moderate prices, will be done upon order. All prices marked are nel. Complete catalog of Musical Literature (200 ps.) subdivided according to the language (English, French, Cerman, etc) may be had upon appli THEORY, HARMONY, etc. BU, A BAGURPLELS, Soden Hivinony Broads Re Ragen eles LBRORMIND. R.. Study of Modera Hard SERPS, fe cacn o Be Aged ibe too aso Tomas at # BS A et Seer nase STRING INSTRUMENTS SCHROEDER, C, Handbook of Vista nd Visa 7 ook of Vite ots Vota WESSEL Y, HANS, Pucca Gali to Vika Playing ce 1S ORCHESTRA, INSTRUMENTATION, etc. eSECEEBEEE Fase UTHER. We, Wag ad th die fe Op a Vinge: "A.Citial Blogaphy fl) Ek 1 i ily Catan OWS Her te of Steal Hinory Par LITURGY DOUGLAS, The Man Song Service —— iSHARI i Re We he Oreae Acconiat tie Cae Sevie—~E a. THE BOSTON MUSIC COMPANY : BOSTON, MASS, : +: 26 & 28 WEST ST.