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"Clair de lune" (Fauré), setting of the Paul Verlaine poem by Fauré, from his Two Songs, Op. 46 (1887) Clairs de lune, a set of four piano pieces, each titled "Claire de Lune", by Abel Decaux (1907) Piano Sonata No. 14 (Beethoven), Op. 27, No. 2 (1801), the "Moonlight" piano sonata by Beethoven, known in French as Sonate au Clair de lune
Clair de lune: Votre âme est un paysage choisi Que vont charmant masques et bergamasques Jouant du luth et dansant et quasi Tristes sous leurs déguisements fantasques. Tout en chantant sur le mode mineur L'amour vainqueur et la vie opportune, Ils n'ont pas l'air de croire à leur bonheur Et leur chanson se mêle au clair de lune,
Clair de lune" (French for "Moonlight") is a poem written by French poet Paul Verlaine in 1869. It is the inspiration for the third and most famous movement of Claude Debussy's 1890 Suite bergamasque. Debussy also made two settings of the poem for voice and piano accompaniment.
Clair de lune features prominently in the novel All the Light We Cannot See as well as the miniseries adaptation. In the 2022 comedy-drama Everything Everywhere All at Once, it is featured prominently as the theme for Deirdre. Clair de lune appears near the denouement in Ocean's Eleven (2001), as the team looks out over the Fountains of Bellagio.
Clair de lune (Op. 46, No. 2; for tenor and orchestra) Gavotte (from the 1869 symphony) Pavane (Op. 50, 1887) The suite drawn from the work has remained one of Fauré's most popular works. It was published by Durand et cie in 1919. [10] It is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, harp and strings. [10]
Download as PDF; Printable version; ... conductor, music publisher, editor, and piano manufacturer. ... Fantasy With Variations on Au Clair de la Lune For Piano in C ...
No. 3 La mort de Wallenstein; Op. 13, Clair de lune, song for soprano and piano after Victor Hugo (1872), orch. (1881) Op. 14, Attendez-moi sous l'orme, opéra-comique in one act after J. Prével (1876–82) Op. 15, Poème des montagnes, symphonic poem for piano (1881) Op. 16, Quatre pièces for piano (1882) Op. 17, Helvétia, three waltzes for ...
En sourdine" and "Clair de lune" are almost completely rewritten. The musicologist Roger Nichols writes that they display "a far more adventurous harmonic palette" than the composer had developed at the time of the first settings, "blending modality and chromaticism in equal measure".
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