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"Clair de Lune" is a song released by the Australian DJ duo Flight Facilities, written by singer-songwriter Christine Hoberg and producers Hugo Gruzman and James Lyell. It features a melodic interpretation of a section of " Clair de Lune " by French composer Claude Debussy .
[1] [2] In its orchestral form the song was included in Fauré's incidental music Masques et bergamasques in 1919. [1] The original published version (Hamelle, Paris, 1888) is in B-flat minor. The song is dedicated to Fauré's friend the painter Emmanuel Jadin, who was a talented amateur pianist.
"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
Passepied had first been composed under the title Pavane, while Clair de lune was originally entitled Promenade sentimentale. These names come from poems by Paul Verlaine. [1] The title of the third movement of Suite bergamasque is taken from Verlaine's poem "Clair de lune", which refers to bergamasks in the opening stanza: [1]
Claude Debussy's classical piece "Clair de Lune" served as the intro to the album's closing ballad, "Ballerina". The version of "Clair de Lune" on Crystal Ball features only DeYoung on piano, with the key changed from D flat to C, as the next track ("Ballerina") begins in C minor.
Later, researchers discovered that a misinterpretation of a reference frequency had led to the playback speed being doubled. Once corrected, it became apparent that the recording was of a man, probably the inventor Édouard-Léon Scott de Martinville himself, singing the French folk song "Au clair de la lune" at a slow pace. [4]
Fauré proposed a story based on the poem "Clair de lune" from the collection Fêtes galantes by Paul Verlaine (1869). Fauré had set the poem to music in 1887. [5] The title of the new work was taken from the opening lines of the poem. [n 1] The librettist of Pénélope, René Fauchois, provided a scenario accordingly.
The settings in his Fêtes galantes cycle contained some material from the earlier versions, mostly in "Fantoches", although in that song the composer replaced the original flamboyant and virtuosic ending with a gradual diminuendo, which became a frequent feature of his style. [5] "En sourdine" and "Clair de lune" are almost completely rewritten.