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of Chimei Museum All Rights Reserved.
Music Appreciation
- / France Music /
- Jean-Marie Leclair《Violin Sonata in D Major, Op. 9, No. 3》
- Jules Massenet《Meditation de “Thaïs”》
- Gabriel Fauré《Après un Rêve, Op.7, No.1》
- Gabriel Fauré《Berceuse, Op. 16》
- Gabriel Pierne《Serenade, Op.7》
- Francois Joseph Gossec《Gavotte》
- Ambroise Thomas《Gavotte from “Mignon”》
- Cécile Chaminade《Serenade Espagnole, Op. 150》
- Pablo Martin Meliton Sarasate《Carmen Fantasy》
- Jean-Marie Leclair《Tambourin, Violin Sonata in C Major, Op.5, No.10》
- Ernest Chausson《Interlude, Op.19, No.2》
- Saint-Saëns《Caprice after a Study in Form of a Waltz, Op.52》
- Saint-Saëns《Mon coeur s'ouvre a ta voix from Samson et Dalila》
- Maurice Ravel《Kaddisch from Deux mélodies hébraïques, No.1,》
- Maurice Ravel《Berceuse》
- Claude Debussy《Rêverie》
- Claude Debussy《La Plus que Lente》
- Cécile Chaminade《Sérénade aux Étoiles, Op.142》
- Georges Bizet《Adagietto from L’arlésienne》
- Gabriel Fauré《Après un Rêve, op.7 no.1》
- Gabriel Fauré《Siciliene》
- Maurice Ravel《Tzigane》
- Claude Debussy《Clair de lune》
- Georges Bizet《Prelude from Carmen Suite》
- Maurice Ravel《Bolero》
- Charles-François Gounod《Ave Maria》
- Gabriel Fauré《Le jardin de dolly》
- Maurice Ravel《Piece en forme de Habanera》
- Jules Massenet《Thaïs Méditation》
- Camille Saint-Saëns《The Swan,fr." Carnival of the Animals"》
- Jacques Offenbach《"Barcarolle from "Les Contes d'Hoffmann>》
《Mon coeur s'ouvre a ta voix from Samson et Dalila》
Saint-Saëns (1835-1921)
Camille Saint-Saëns (1835-1921) : Mon coeur s'ouvre a ta voix from “Samson et Dalila” As a post-Romantic French composer, Saint-Saëns's versatility and outstanding composition techniques made him an influential figure, and he contributed a lot to many genres of French music. This piece is taken from Samson et Dalila, an opera in three acts. The two famous arias sung by Dalila are "printemps qui commence" and "Mon coueur s'ouvre a ta voix." The latter is taken from Act II of the opera, during which Dilala expresses her love for Samson. It is a choice selection often seen in the concert programs of mezzo-sopranos. The A section of the ABAB form is in triple meter. Although the same melody appears twice, the accompaniment the second time is more enticing than the first. The B section is in quadruple meter. As the piece progresses with the orchestra's accompaniment, the range rises into the higher pitches and the upbeat rhythmic patterns accentuate the love and passion expressed in the melody. The cello used in this recording was made by French luthier Jean-Baptiste Vuillaume (1798-1875) in 1863. The sound of the cello has features strikingly similar to those of the human voice, and it encapsulates the passionate sound of the mezzo-soprano. The piano replaces the original orchestra part. This arrangement for cello and piano gives this charming aria an entirely new rendering. It is worth listening to and enjoying over and over again.