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Shylock (Fauré)

January 01, 1970

The Shylock Suite, Op. 57 is a six-movement work by Gabriel Fauré, first performed in 1890. In addition to four purely orchestral movements it includes two serenades for solo tenor with orchestral accompaniment. The composer constructed the suite from incidental music he had written the previous year for Edmond Haraucourt's play Shylock, an adaptation of Shakespeare's The Merchant of Venice, presented at the Théâtre de l'Odéon in Paris. The theatre music had been written for a small orchestra, and Fauré greatly expanded the orchestration for the concert suite.

Scene from Act 1 of Shylock (1889) for which Fauré wrote the incidental music from which he drew the suite

Background edit

In 1889 Fauré composed incidental music for a new play, Shylock, an adaptation by Edmond Haraucourt of Shakespeare's The Merchant of Venice. The piece was premiered at the Théâtre de l'Odéon in Paris on 17 December 1889 in a lavish production starring Gabrielle Réjane as Portia.[1] It ran for 56 performances, a substantial run by the standards of the Odéon, where short runs were the norm.[2][n 1]

In his biography of Fauré, Robert Orledge observes that little is known about the composition of the score other than that "the superlative Nocturne" was composed in October 1889 after a short stay with the Vicomtesse Greffulhe at her country house.[3] Fauré wrote to her, "I was looking for a most searching musical phrase, a Venetian moonlight, for Shylock, and I found it! It is the air in your park that inspired it."[4] Before that, Fauré had composed the two serenades for the play, which he invited Haraucourt to hear in early October. The music for the casket scene was not at that point written.[5]

The theatre orchestra for which Fauré composed the music was not large, consisting of 15 strings, five woodwinds, a horn and a trumpet.[3] There were nine numbers in the score composed for the Odéon, and from these Fauré extracted and arranged a six-movement suite for full orchestra – with solo tenor in two movements – adding two harps, timpani and triangle.[3] It was first performed at a concert of the Société nationale de musique in Paris on 17 May 1890, by the singer Julien Leprestre and the society's orchestra, conducted by Jean Gabriel-Marie.[6]

Music edit

The suite is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani, triangle, harp and strings.[7] The playing time is a little under 20 minutes.[8] Both Nectoux and Orledge comment that the inclusion of a soloist may militate against the suite's opportunities for frequent concert programming.[9]

1. Chanson edit

The suite opens with the first of two movements for singer as well as orchestra; it is marked allegro moderato (♩ = 96).[10] The words, which bear no relation to anything in Shakespeare's play, are the invention of Haraucourt, a serenade sung by Venetian revellers.[11] In his 2004 study of Fauré Jean-Michel Nectoux comments, "one feels for Fauré, having to set to music the worst verse in the play!"[11] Despite this, Orledge and Nectoux both find this musically the better of the two vocal movements in the suite.[12] In the Odéon score the piece was in C; for the suite, Fauré transposed it to B♭.[13] The piece is opened by a cello solo, joined by the two harps before the tenor and the main orchestra enter.[14]

 
Copyist's manuscript of opening page of Shylock music

Fauré published versions of this, and the Madrigal from the third movement of the suite, with piano accompaniment in 1897.[6] Nectoux finds the orchestral versions preferable: "the piano writing sounds thin and inadequate compared to that in most of his other accompaniments".[16]

2. Entr'acte edit

Despite its title in the suite, the music of the Entr'acte was not played between movements during the Odéon production. The printed programme for the premiere of the suite more accurately labelled it "Scene of the caskets".[16] It was played in the theatre to accompany the action at Portia's house in Belmont, and is mostly pianissimo, intended as a background for spoken dialogue.[16] It opens with a flourish of trumpets,[17] before the main section of the movement begins with an allegretto (♩ = 84), fortissimo at first but subsiding to pianissimo after 16 bars and remaining so for the duration of the movement, except for two brief fortissimo episodes, which Nectoux conjectures accompanied the entrances of Portia's two royal suitors, the Princes of Morocco and Aragon.[18] The movement ends softly.[19]

3. Madrigal edit

The second vocal number is another serenade, sung in Haraucourt's play by the Prince of Aragon under Portia's window. Nectoux describes it as "another insipid text, calling for another display of the 'galant' style". In Nectoux's view, Fauré's setting is less successful than in the first serenade, with melodic lines that droop and predictable harp entries in the accompaniment.[16] It is marked allegretto; Fauré specifies no metronome mark.[20] As in the first serenade, the original key was changed for the suite, in this case from F to E♭.[13]

 
Réjane as Portia in the Odéon production of Shylock

4. Épithalame edit

An epithalamium is "a nuptial song or poem in praise of the bride and bridegroom, and praying for their prosperity".[21] In Shylock this music followed Bassanio's success in winning Portia's hand.[n 2] Orledge describes this as the first of the truly inspired movements in the suite, with "unusually sonorous orchestration", rising to passionate heights and "almost Wagnerian in its opulence";[22] Nectoux suggests that it foreshadows the "calm lyricism" of Debussy's 1902 opera Pelléas et Mélisande. He adds that the marking in Fauré's manuscript, "adagio non troppo", seems preferable to the unqualified "adagio" in the published score of the suite".[23]

5. Nocturne edit

 
Main theme (violin) from the Nocturne

In the Odéon production the Nocturne was the music for the love scene between Jessica and Lorenzo in Portia's garden.[24][n 3] The movement is short – 27 bars in all – is in 3
4 time, in D major and marked andante molto moderato.[25] By general consent it is the highlight of the suite.[26] Orledge rates it as possibly the most beautiful movement in all Fauré's music for the theatre. Charles Koechlin wrote:

As for the Nocturne for strings alone, it is impossible to place this music, so profound and universally human is it. The intense tenderness of night here revealed was one of the most beautiful of Faure's inspirations.[27]
 
Fauré at a rehearsal of the Shylock music in 1909

The main theme haunted Fauré, and he returned to it in his Romance for Cello and Piano, Op. 69 (1894),[28] and his mélodies "Soir", Op. 83/2 (1894)[23] and "Exaucement", Op. 106/1, from Le Jardin clos, (1914).[22]

6. Finale edit

The finale, originally titled Aubade, was, like the Entr'acte, designed to be played beneath Haraucourt's dialogue. It was written for the last scene of the play, in which all the lovers assemble together.[23] Fauré rewrote it considerably for the suite.[13] Although he was not especially known for his orchestration, and in other pieces occasionally delegated the task of orchestrating to an assistant, the finale of the suite shows his orchestration at its most impressive.[29][30] Orledge comments, "The astonishing brilliance, lightness and variety of the orchestration more than compensate for the two rather undistinguished themes, which both undergo exciting development in this sparkling perpetuum mobile".[29]

Ballet edit

In 1967 George Balanchine used the orchestral music from the Shylock suite and Fauré's Pelléas et Mélisande for his ballet Jewels for the New York City Ballet.[31] The company's orchestra, conducted by Robert Irving recorded the orchestral movements of Fauré's scores for a 1986 CD set.[32]

Recordings edit

Orchestra Singer Conductor Year Ref
Orchestre national de la Radiodiffusion française Henri Legay Désiré-Emile Inghelbrecht 1955 [33]
Philharmonisches Staatsorchester Hamburg Frederick Widemann Heinz Steinecke 1958 [34]
Strasbourg Festival Orchestra Yves Duval Marcel Levine 1961 [35]
Orchestre de chambre de l'ORTF Michel Sénéchal Antonio de Almeida 1971 [36]
Orchestre du Capitole de Toulouse Nicolai Gedda Michel Plasson 1980 [37]
Orchestre symphonique français Guy Fletcher Laurent Petitgirard 1991 [38]
RTE Sinfonietta Lynda Russell (soprano) John Georgiadis 1995 [39]
Sinfonieorchester Basel Benjamin Bruns Ivor Bolton 2017 [40][41]

In 2005 a recording of the Shylock Suite was released in which the orchestra was replaced by piano accompaniment. In the 1890s Fauré's publisher, Hamelle, issued transcriptions for piano four hands of the four orchestral movements made by Léon Boëllmann, who had arranged other orchestral music of Fauré for Hamelle.[42][43] The 2005 recording features Jean-Paul Fouchécourt as tenor soloist, accompanied by Graham Johnson in Fauré's piano arrangements of the serenades; Boëllmann's transcriptions of the remaining four movements are played by Johnson and Ronan O'Hora [d].[44][45]

Excerpts from the suite have been issued on records. In April 1932 Piero Coppola conducted the Orchestre de la Société des Concerts du Conservatoire in recordings of the four orchestral movements.[46] The four movements were recorded again in 1986 by Irving and the New York City Ballet Orchestra (see "Ballet", above). WorldCat lists recordings of the Nocturne, conducted by John Barbirolli, Enrique Bátiz, Philippe Gaubert, Jean-Jacques Kantorow and Thomas Schippers.[47] There are also recordings of the Nocturne arranged for organ solo and for cello and piano.[48]

Notes, references and sources edit

Notes edit

  1. ^ Shylock was followed by 45 other productions at the Odéon during 1890, only 25 of which had runs totalling double figures.[2]
  2. ^ Haraucourt followed Shakespeare's plot in having Portia's three suitors identify which of three caskets – gold, silver or lead – contains her portrait. Bassanio correctly chooses the lead casket, after the two princes have both chosen wrongly.[1]
  3. ^ As in Shakespeare's original, Jessica, Shylock's daughter, loves Lorenzo, a friend of the merchant Antonio and of Portia's suitor, Bassanio.[1]

References edit

  1. ^ a b c Noël and Stoullig (1890), pp. 80–81
  2. ^ a b Noël and Stoullig (1891), p. 161
  3. ^ a b c Orledge, p. 119
  4. ^ Quoted in Orledge, p. 119
  5. ^ Fauré (1984) p. 145
  6. ^ a b Nectoux, p. 542
  7. ^ Fauré (1897), p. 61
  8. ^ Anderson, Keith. Notes to Naxos CD 8.553360 OCLC 67292195; and notes to EMI CD 5 74840 2, OCLC 840330784
  9. ^ Orledge, p. 119; and Nectoux, p. 146
  10. ^ Fauré (1897), p. 1
  11. ^ a b Nectoux, p. 143
  12. ^ Orledge, p. 120; and Nectoux, p. 144
  13. ^ a b c Nectoux, p. 146
  14. ^ Fauré (1897), pp. 1–4
  15. ^ a b English translation combined from Google and Microsoft translators
  16. ^ a b c d Nectoux, p. 144
  17. ^ Fauré (1897), pp. 14–15
  18. ^ Orledge, pp. 120–121
  19. ^ Fauré (1897), pp. 15–33
  20. ^ Fauré (1897), p. 34
  21. ^ "epithalamium". Oxford English Dictionary (Online ed.). Oxford University Press. (Subscription or participating institution membership required.)
  22. ^ a b Orledge, p. 121
  23. ^ a b c Nectoux, p. 145
  24. ^ Orledge, p. 120
  25. ^ Fauré (1897), pp. 58–60
  26. ^ Duchen, p. 91; Orledge, p. 121; Nectoux, p. 145; Koechlin, p. 48
  27. ^ Koechlin, p. 48
  28. ^ Duchen, p. 91
  29. ^ a b Orledge, p. 122
  30. ^ Nectoux, pp. 258–259
  31. ^ Taper, p. 433
  32. ^ OCLC 1135174773
  33. ^ OCLC 1040369706
  34. ^ OCLC 26199221
  35. ^ OCLC 48994107
  36. ^ OCLC 456616621
  37. ^ OCLC 829237696
  38. ^ OCLC 162127993
  39. ^ OCLC 67292195
  40. ^ OCLC 1057317458
  41. ^ The Secret Fauré: Orchestral songs & suites at Muziekweb website
  42. ^ Nectoux, Jean-Michel. "Works Renounced, Themes Rediscovered: Eléments pour une thématique fauréenne", 19th-Century Music, March 1979, p. 240
  43. ^ "Shylock Boellmann", WorldCat. Retrieved 8 March 2021
  44. ^ OCLC 61698820
  45. ^ Shylock, Op 57 at Hyperion website (July 2005).
  46. ^ "Orchestre du Societe des Concerts du Conservatoire", CHARM. Retrieved 8 March 2021
  47. ^ OCLC 990186164, OCLC 961117319, OCLC 1153732408, OCLC 1183554064 and OCLC 6508951 respectively
  48. ^ OCLC 44697303 and OCLC 696015890

Sources edit

  • Duchen, Jessica (2000). Gabriel Fauré. London: Phaidon. ISBN 978-0-71-483932-5.
  • Fauré, Gabriel (1897). Shylock, Suite Op. 57: Full score (PDF). Paris: Hamelle. OCLC 305056.
  • Fauré, Gabriel (1984) [1980]. Jean-Michel Nectoux (ed.). Gabriel Fauré: His Life Through Letters. London and New York: Marion Boyars. ISBN 978-0-7145-2768-0.
  • Koechlin, Charles (1945) [1927]. Gabriel Faure. London: Dobson. OCLC 906350200.
  • Nectoux, Jean-Michel (1991). Gabriel Fauré: A Musical Life. Cambridge: Cambridge University Press. ISBN 978-0-521-23524-2.
  • Noël, Edouard; Edmond Stoullig (1890). Les Annales du théâtre et de la musique, 1889. Paris: Charpentier. OCLC 172996346.
  • Noël, Edouard; Edmond Stoullig (1891). Les Annales du théâtre et de la musique, 1890. Paris: Charpentier. OCLC 172996346.
  • Orledge, Robert (1979). Gabriel Fauré. London: Eulenberg. ISBN 978-0-903873-40-6.
  • Taper, Bernard (1996). Balanchine: A Biography. Berkeley: University of California Press. ISBN 978-0-52-020639-7.

Further reading edit

  • "Der Hörer ist in der Musik: rezeptionsästhetische Überlegungen anhand von Faurés Shylock", by Peter Eckerlin, pp. 172–179 in Gabriel Fauré: Werk und Rezeption by Peter Jost [de] (1996). Bärenreiter. In German. ISBN 978-3-76-181271-6. OCLC 610869737.

External links edit

January 01, 1970
shylock, fauré, shylock, suite, movement, work, gabriel, fauré, first, performed, 1890, addition, four, purely, orchestral, movements, includes, serenades, solo, tenor, with, orchestral, accompaniment, composer, constructed, suite, from, incidental, music, wri. The Shylock Suite Op 57 is a six movement work by Gabriel Faure first performed in 1890 In addition to four purely orchestral movements it includes two serenades for solo tenor with orchestral accompaniment The composer constructed the suite from incidental music he had written the previous year for Edmond Haraucourt s play Shylock an adaptation of Shakespeare s The Merchant of Venice presented at the Theatre de l Odeon in Paris The theatre music had been written for a small orchestra and Faure greatly expanded the orchestration for the concert suite Scene from Act 1 of Shylock 1889 for which Faure wrote the incidental music from which he drew the suite Contents 1 Background 2 Music 2 1 1 Chanson 2 2 2 Entr acte 2 3 3 Madrigal 2 4 4 Epithalame 2 5 5 Nocturne 2 6 6 Finale 3 Ballet 4 Recordings 5 Notes references and sources 5 1 Notes 5 2 References 5 3 Sources 6 Further reading 7 External linksBackground editIn 1889 Faure composed incidental music for a new play Shylock an adaptation by Edmond Haraucourt of Shakespeare s The Merchant of Venice The piece was premiered at the Theatre de l Odeon in Paris on 17 December 1889 in a lavish production starring Gabrielle Rejane as Portia 1 It ran for 56 performances a substantial run by the standards of the Odeon where short runs were the norm 2 n 1 In his biography of Faure Robert Orledge observes that little is known about the composition of the score other than that the superlative Nocturne was composed in October 1889 after a short stay with the Vicomtesse Greffulhe at her country house 3 Faure wrote to her I was looking for a most searching musical phrase a Venetian moonlight for Shylock and I found it It is the air in your park that inspired it 4 Before that Faure had composed the two serenades for the play which he invited Haraucourt to hear in early October The music for the casket scene was not at that point written 5 The theatre orchestra for which Faure composed the music was not large consisting of 15 strings five woodwinds a horn and a trumpet 3 There were nine numbers in the score composed for the Odeon and from these Faure extracted and arranged a six movement suite for full orchestra with solo tenor in two movements adding two harps timpani and triangle 3 It was first performed at a concert of the Societe nationale de musique in Paris on 17 May 1890 by the singer Julien Leprestre and the society s orchestra conducted by Jean Gabriel Marie 6 Music editThe suite is scored for two flutes two oboes two clarinets two bassoons four horns two trumpets timpani triangle harp and strings 7 The playing time is a little under 20 minutes 8 Both Nectoux and Orledge comment that the inclusion of a soloist may militate against the suite s opportunities for frequent concert programming 9 1 Chanson editThe suite opens with the first of two movements for singer as well as orchestra it is marked allegro moderato 96 10 The words which bear no relation to anything in Shakespeare s play are the invention of Haraucourt a serenade sung by Venetian revellers 11 In his 2004 study of Faure Jean Michel Nectoux comments one feels for Faure having to set to music the worst verse in the play 11 Despite this Orledge and Nectoux both find this musically the better of the two vocal movements in the suite 12 In the Odeon score the piece was in C for the suite Faure transposed it to B 13 The piece is opened by a cello solo joined by the two harps before the tenor and the main orchestra enter 14 nbsp Copyist s manuscript of opening page of Shylock music Oh les filles Venez les filles aux voix douces c est l heure d oublier l orgueil et les vertus et nous regarderons eclore dans les mousses la fleur des baisers defendus c est Dieu qui les ordonne Oh les filles il fait le Printemps pour les nids il fait votre beaute pour qu elle nous soit bonne nos desirs pour qu ils soient unis Oh les filles hors l amour rien n est bonne sur la terre et depuis les soirs d or jusqu aux matins roses les morts ne sont jaloux dans leur paix solitaire que du murmure des baisers Oh Girls Come on soft spoken girls it is time to forget pride and virtue and we will see the flower of forbidden kisses bloom in the mosses it is God who commands it Oh Girls It is spring for the nests it makes your beauty so that it is good for us our desires to be united Oh Girls Beside love nothing is good on earth and from the golden evenings to the rosy dawns the dead are jealous in their solitary peace of the murmur of kisses 15 Faure published versions of this and the Madrigal from the third movement of the suite with piano accompaniment in 1897 6 Nectoux finds the orchestral versions preferable the piano writing sounds thin and inadequate compared to that in most of his other accompaniments 16 2 Entr acte edit Despite its title in the suite the music of the Entr acte was not played between movements during the Odeon production The printed programme for the premiere of the suite more accurately labelled it Scene of the caskets 16 It was played in the theatre to accompany the action at Portia s house in Belmont and is mostly pianissimo intended as a background for spoken dialogue 16 It opens with a flourish of trumpets 17 before the main section of the movement begins with an allegretto 84 fortissimo at first but subsiding to pianissimo after 16 bars and remaining so for the duration of the movement except for two brief fortissimo episodes which Nectoux conjectures accompanied the entrances of Portia s two royal suitors the Princes of Morocco and Aragon 18 The movement ends softly 19 3 Madrigal edit The second vocal number is another serenade sung in Haraucourt s play by the Prince of Aragon under Portia s window Nectoux describes it as another insipid text calling for another display of the galant style In Nectoux s view Faure s setting is less successful than in the first serenade with melodic lines that droop and predictable harp entries in the accompaniment 16 It is marked allegretto Faure specifies no metronome mark 20 As in the first serenade the original key was changed for the suite in this case from F to E 13 nbsp Rejane as Portia in the Odeon production of Shylock Celle que j aime a de beaute plus que Flore et plus que Pomone et je sais pour l avoir chante que sa bouche est le soir d Automne et son regard le nuit d Ete Pour marraine elle eut Astarte pour patronne elle a la Madonne car elle est belle autant que bonne celle que j aime elle ecoute rit et pardonne n ecoutant que par charite elle ecoute mais sa fierte n ecoute ni moi ni personne et rien encore n a tente celle que j aime The one I love has beauty more than Flora and more than Pomona and I know having sung of it that her mouth is an autumn evening and her gaze a summer night For her godmother she had Astarte the Madonna as her patroness because she is beautiful as well as good the one I love she listens laughs and forgives listening only out of charity she listens but her pride does not listen to me nor anyone else and nothing has yet tried the one I love 15 4 Epithalame edit An epithalamium is a nuptial song or poem in praise of the bride and bridegroom and praying for their prosperity 21 In Shylock this music followed Bassanio s success in winning Portia s hand n 2 Orledge describes this as the first of the truly inspired movements in the suite with unusually sonorous orchestration rising to passionate heights and almost Wagnerian in its opulence 22 Nectoux suggests that it foreshadows the calm lyricism of Debussy s 1902 opera Pelleas et Melisande He adds that the marking in Faure s manuscript adagio non troppo seems preferable to the unqualified adagio in the published score of the suite 23 5 Nocturne edit nbsp Main theme violin from the NocturneIn the Odeon production the Nocturne was the music for the love scene between Jessica and Lorenzo in Portia s garden 24 n 3 The movement is short 27 bars in all is in 34 time in D major and marked andante molto moderato 25 By general consent it is the highlight of the suite 26 Orledge rates it as possibly the most beautiful movement in all Faure s music for the theatre Charles Koechlin wrote As for the Nocturne for strings alone it is impossible to place this music so profound and universally human is it The intense tenderness of night here revealed was one of the most beautiful of Faure s inspirations 27 nbsp Faure at a rehearsal of the Shylock music in 1909 The main theme haunted Faure and he returned to it in his Romance for Cello and Piano Op 69 1894 28 and his melodies Soir Op 83 2 1894 23 and Exaucement Op 106 1 from Le Jardin clos 1914 22 6 Finale edit The finale originally titled Aubade was like the Entr acte designed to be played beneath Haraucourt s dialogue It was written for the last scene of the play in which all the lovers assemble together 23 Faure rewrote it considerably for the suite 13 Although he was not especially known for his orchestration and in other pieces occasionally delegated the task of orchestrating to an assistant the finale of the suite shows his orchestration at its most impressive 29 30 Orledge comments The astonishing brilliance lightness and variety of the orchestration more than compensate for the two rather undistinguished themes which both undergo exciting development in this sparkling perpetuum mobile 29 Ballet editIn 1967 George Balanchine used the orchestral music from the Shylock suite and Faure s Pelleas et Melisande for his ballet Jewels for the New York City Ballet 31 The company s orchestra conducted by Robert Irving recorded the orchestral movements of Faure s scores for a 1986 CD set 32 Recordings editOrchestra Singer Conductor Year Ref Orchestre national de la Radiodiffusion francaise Henri Legay Desire Emile Inghelbrecht 1955 33 Philharmonisches Staatsorchester Hamburg Frederick Widemann Heinz Steinecke 1958 34 Strasbourg Festival Orchestra Yves Duval Marcel Levine 1961 35 Orchestre de chambre de l ORTF Michel Senechal Antonio de Almeida 1971 36 Orchestre du Capitole de Toulouse Nicolai Gedda Michel Plasson 1980 37 Orchestre symphonique francais Guy Fletcher Laurent Petitgirard 1991 38 RTE Sinfonietta Lynda Russell soprano John Georgiadis 1995 39 Sinfonieorchester Basel Benjamin Bruns Ivor Bolton 2017 40 41 In 2005 a recording of the Shylock Suite was released in which the orchestra was replaced by piano accompaniment In the 1890s Faure s publisher Hamelle issued transcriptions for piano four hands of the four orchestral movements made by Leon Boellmann who had arranged other orchestral music of Faure for Hamelle 42 43 The 2005 recording features Jean Paul Fouchecourt as tenor soloist accompanied by Graham Johnson in Faure s piano arrangements of the serenades Boellmann s transcriptions of the remaining four movements are played by Johnson and Ronan O Hora d 44 45 Excerpts from the suite have been issued on records In April 1932 Piero Coppola conducted the Orchestre de la Societe des Concerts du Conservatoire in recordings of the four orchestral movements 46 The four movements were recorded again in 1986 by Irving and the New York City Ballet Orchestra see Ballet above WorldCat lists recordings of the Nocturne conducted by John Barbirolli Enrique Batiz Philippe Gaubert Jean Jacques Kantorow and Thomas Schippers 47 There are also recordings of the Nocturne arranged for organ solo and for cello and piano 48 Notes references and sources editNotes edit Shylock was followed by 45 other productions at the Odeon during 1890 only 25 of which had runs totalling double figures 2 Haraucourt followed Shakespeare s plot in having Portia s three suitors identify which of three caskets gold silver or lead contains her portrait Bassanio correctly chooses the lead casket after the two princes have both chosen wrongly 1 As in Shakespeare s original Jessica Shylock s daughter loves Lorenzo a friend of the merchant Antonio and of Portia s suitor Bassanio 1 References edit a b c Noel and Stoullig 1890 pp 80 81 a b Noel and Stoullig 1891 p 161 a b c Orledge p 119 Quoted in Orledge p 119 Faure 1984 p 145 a b Nectoux p 542 Faure 1897 p 61 Anderson Keith Notes to Naxos CD 8 553360 OCLC 67292195 and notes to EMI CD 5 74840 2 OCLC 840330784 Orledge p 119 and Nectoux p 146 Faure 1897 p 1 a b Nectoux p 143 Orledge p 120 and Nectoux p 144 a b c Nectoux p 146 Faure 1897 pp 1 4 a b English translation combined from Google and Microsoft translators a b c d Nectoux p 144 Faure 1897 pp 14 15 Orledge pp 120 121 Faure 1897 pp 15 33 Faure 1897 p 34 epithalamium Oxford English Dictionary Online ed Oxford University Press Subscription or participating institution membership required a b Orledge p 121 a b c Nectoux p 145 Orledge p 120 Faure 1897 pp 58 60 Duchen p 91 Orledge p 121 Nectoux p 145 Koechlin p 48 Koechlin p 48 Duchen p 91 a b Orledge p 122 Nectoux pp 258 259 Taper p 433 OCLC 1135174773 OCLC 1040369706 OCLC 26199221 OCLC 48994107 OCLC 456616621 OCLC 829237696 OCLC 162127993 OCLC 67292195 OCLC 1057317458 The Secret Faure Orchestral songs amp suites at Muziekweb website Nectoux Jean Michel Works Renounced Themes Rediscovered Elements pour une thematique faureenne 19th Century Music March 1979 p 240 Shylock Boellmann WorldCat Retrieved 8 March 2021 OCLC 61698820 Shylock Op 57 at Hyperion website July 2005 Orchestre du Societe des Concerts du Conservatoire CHARM Retrieved 8 March 2021 OCLC 990186164 OCLC 961117319 OCLC 1153732408 OCLC 1183554064 and OCLC 6508951 respectively OCLC 44697303 and OCLC 696015890 Sources edit Duchen Jessica 2000 Gabriel Faure London Phaidon ISBN 978 0 71 483932 5 Faure Gabriel 1897 Shylock Suite Op 57 Full score PDF Paris Hamelle OCLC 305056 Faure Gabriel 1984 1980 Jean Michel Nectoux ed Gabriel Faure His Life Through Letters London and New York Marion Boyars ISBN 978 0 7145 2768 0 Koechlin Charles 1945 1927 Gabriel Faure London Dobson OCLC 906350200 Nectoux Jean Michel 1991 Gabriel Faure A Musical Life Cambridge Cambridge University Press ISBN 978 0 521 23524 2 Noel Edouard Edmond Stoullig 1890 Les Annales du theatre et de la musique 1889 Paris Charpentier OCLC 172996346 Noel Edouard Edmond Stoullig 1891 Les Annales du theatre et de la musique 1890 Paris Charpentier OCLC 172996346 Orledge Robert 1979 Gabriel Faure London Eulenberg ISBN 978 0 903873 40 6 Taper Bernard 1996 Balanchine A Biography Berkeley University of California Press ISBN 978 0 52 020639 7 Further reading edit Der Horer ist in der Musik rezeptionsasthetische Uberlegungen anhand von Faures Shylock by Peter Eckerlin pp 172 179 in Gabriel Faure Werk und Rezeption by Peter Jost de 1996 Barenreiter In German ISBN 978 3 76 181271 6 OCLC 610869737 External links editShylock suite Op 57 Faure Gabriel at the International Music Score Library Project Shylock comedie en trois actes et sept tableaux Text of Haraucourt s play 1890 Retrieved from https en wikipedia org w index php title Shylock Faure amp oldid 1210955577, wikipedia, wiki, book, books, library,

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