Apres un reve by faure

Question 1

Performance circumstances

Answer 1

1845- 1924
Paris, France
Composed melodie songs, chamber music, piano music, orchestral works & a small body of church music.
Became professor at paris conservatoire in 1896 and its director in 1905 till 1920

published in 1878
romantic period
Genre= melodie - solo song for voice and piano
performed to small groups of people for amateurs
private performances
written for anybody to sing - female or male
about a dream lyrics written by Romain Bussine

Question 2

Structure

Answer 2

modified strophic form (A A1 B)
A section- b.2-15 ( preceded by one bar of piano intro)
A1 section- b.17-30’2 Varied repeat of bars 2-15, after a single transitional bar for piano (bar 16) Modifications from bar 26 onwards
B section - bars 30’3 to 48 material related to previous sections but treatment is new. v1&2 describe dreams. V3 singer has awoken, but cries to dream again.

Question 3

tonality

Answer 3

C minor
Bb Eb and Ab AND OBVS RAISED 7th
P.c in bar 45-47 ( first one )
imperfect cadences in C are reached at phrase ends b 6-8 21-23 and 36-38
modulations: structural modulations p.c in Eb major b.14 and 15 end of first section.
Elsewhere tonality passes through number of transient modulations such as through F minor, Bb minor & Ab major in b. 28-34

Question 4

harmony:

Answer 4

Descending circe of fifths: C F Bb Eb Eb Ab D G C

augmented and sevenths used

Question 5

melody

Answer 5

Use of non harmony notes ie. 
Chromatic lower auxiliary note b.5 & bar 10 
appoggiatura b.6 (Bb)
Chromatic passing note b.12 (Cb) 
9-8 sus b.4 (c) 
unbalanced varied phrase lengths 
bars 2-15: 3+4, 3+4 bars. 
bars 17-30: 3+4, 3+2+2 -shortening phrases builds up tension into new section 
bars 30'3 - 48'3: 4+4+4+5 bars

Question 6

texture

Answer 6

mel dom hom
3 part texture -
upper vocal melody
middle line in RH of piano consiting of continuous quavers chords setting rhythm and harmony
Bass line in the LH of the piano mostly in 8ves usually playing root of the chord

Question 7

rhythm and metre

Answer 7

3/4 - simple triple time
triplet quavers in the vocal line at the end of phrases
slow moving bass line, usually one note per bar
continuous quavers in the RH of the piano
free augmentation of first four notes of bar 2-3, b.38-41
cross rhythms created by triplets in vocal line against quavers in RH of the piano
most phrases start on beat 1 at the start of the piece; from bar 26 most phrases have an anacrusis to create urgency.

Question 8

Exam style question

Answer 8

NOT NEEDED AS AM DOING INSTRUMENTAL

Question 9

Forces;

Answer 9

soloist male or female and piano