SSE EE EO EB FAURE Bases DCC CHERRIES DOLLY Opus 56, 1894-97 x OCHO, FOR FLUTE, CLARINET AND PIANO (MICHAEL WEBSTER) ee RCC HOO ENC SOOO MCHC SSC OOO EEE SEE OO re INTERNATIONAL MUSIC COMPANY NEW YORK OOOH OR OO ROG POCDOLLY, Op. 56 by Gabriel Fauré (1845-1924) PREFACE Gabriel Fauré was the most important and innovative French composer of his generation. His choral works, songs and chamber music have become particularly popular, but the Dolly suite, like most works for piano, four hands, has remained somewhat obscure, in spite of having been orchestrated by Rabaud in 1906. Dolly was written during @ period of time (1894-97) when Fauré was achieving both personal and professional fulfillment. He was having a happy liaison with Emma Bardac (who later married Claude Debussy) and dedicated Dolly to her daughter. Long-deserved fame was finally arriving, and in 1896 he became chief organist at the Church of the Madeleine in Paris, as had Saint-Saéns thirty-nine years earlier. He also became professor of composition at the Paris Conservatory, where he influenced a whole generation of French composers. He lived a long and productive life, and before his death in 1924 had established himself as one of the important stylistic links between the nineteenth and After Dolly's birth in 1892, Fauré celebrated her second, third, and fourth birthdays by writing the second, third, and fourth movements of what became the Dolly Suite, The two feline titles are both misleading. Mi-a-ou was Dolly's nickname for her older brother, Raoul, who had a dog named Ketty, the dedicatee of the fourth movement. An engraver's error is apparently responsible for the transformation to Kitty. Raoul studied composition with Debussy, and is responsible for having introduced his mother to the second great composer of her life. Dolly is particularly well-suited to transcription for flute, clarinet, and piano because the melodies which originally appear as octaves in the primo fall naturally within the best soloistic ranges of the flute and clarinet, and many of the countermelodies given to the right hand of the secondo are perfect for the chalumeau register of the clarinet. There are virtually no questions as to accuracy of notes in standard editions of the original version, Mm, 94 and 110 of "Ketty-valse” have been retained as in the original, each having its own piquancy. Dynamics and especially articulations are a different story. Discrepancies and omissions have been unified or adapted to idiomatic usage for flute and clarinet. The markings of dolce and marcato espressivo without a dynamic in "Le jardin de Dolly" have been retained as having their own characteristic flavor. In other cases missing dynamics have been judiciously supplied and articulations added. This transcription, as well as Prélude d'aprés-midi d'un faune (IMC 3368), and Jeux enfants (materials in preparation), have been recorded by the Webster Trio (Leone Buyse, flute; Michael Webster, clarinet; Katherine Collier, piano) on Crystal Records CD 356, Tour de France. Michael WebsterDOLLY Opus 56 for Flute, Clarinet, and Piano* 7 Transcribed and edited by GABRIEL FAURE MICHAEL WEBSTER I. BERCEUSE (1845-1924) Allegretto moderato 4 =. 80 i—~ > Flute — — ‘Clarinet = — 7 dole Allegretto moderato @ =. 80 PIANO ao * Ped. * Ped. simile es poco crese. * Originally For piano duet (one pian, four hands) Cangh © 1999 Iteration Mais Company, New York: se "Allies Resrsdnrnaons Copyright StedPed. similesempre dolce | RAe po]55 59 os SS = —S im iw fa fe! S| Rm s eae = =: G es wT crese. o = By l atempo a a = Se P dolce es — fe a, fm; IP, E<¢ ites Jute pp Ea Ee Eee ae Ss = = < Ped. * Ped. similePed. * Ped. simileIL MI- A- OU* + Also known a5 "Messou ouf senpre f sempre P legsiero so" leggiero2B fF senpre peer f sempre Pid lento P Pid lento Allegro sempre re ere Allegro 119sempre ppTl. LE JARDIN DE DOLLY Andantino d =. 69 \e OO pS = dele (Andantino 4 ¢, 69 rece as sempre doe ee sempre dlee Pe y sempre p as6dolce espresso tempoP marca cote) eee ia P marca seal