Apres un Reve, Op. 7, No. 1 Cover Image

Apres un Reve, Op. 7, No. 1: Medium Voice, Orchestra Accompaniment, Conductor Score & Parts

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Apres un Reve, Op. 7, No. 1 Cover Image

Apres un Reve, Op. 7, No. 1: Medium Voice, Orchestra Accompaniment, Conductor Score & Parts

By Gabriel-Urbain Faure, ed./arr. by Henri Busser/ Anonymous Italian poem, translated to French by Romain Bussine

Item: 36-A400590

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Description
APRÈS UN RÊVE (AFTER A DREAM) was originally part of a collection of three songs, titled TROIS MÉLODIES Op. 7, written for voice and piano by Gabriel Fauré (1845-1924). While APRÈS UN RÊVE is No. 1 in the collection, it was actually written last, in 1877, while No. 2 (HYMNE) was written in 1870, and No. 3 (BARCAROLLE) was written in 1873. The text is taken from an anonymous Italian poem adapted into French by Romain Bussine. The poem describes the dream of a flight with a lover away from earth. Upon awakening, the dreamer longs to return to their dream. Henri Büsser made this arrangement for medium voice and orchestra. Instrumentation: 1.1.1.1: 1.0.0.0: Str (9.8.7.6.5 in set): Solo Mz or Bar.

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Additional Details
Series: Kalmus Vocal Library
Publisher: Keiser Productions, Inc.
UPC: 659859459370
SKU: 36-A400590
Instrumentation: 1.1.1.1: 1.0.0.0: Str (9.8.7.6.5 in set): Solo Mz or Bar

More about this title

About the Composer: Gabriel-Urbain Faure

Gabriel Fauré (1845-1924) shaped French music through his mastery of lyrical melody and harmonic refinement. His songs, which number nearly 90, remain cornerstones of the art song repertoire and demonstrate his gift for setting French poetry to music of elegant restraint and emotional depth.

Why we love this

This orchestration gives Fauré's most intimate melody a new dimension without losing the song's essential warmth. The Büsser arrangement breathes with the orchestra rather than overwhelms it, making this a genuinely rewarding addition to concert programming alongside Romantic-era orchestral repertoire.

What to expect

The music suspends you in a state of gentle longing. Fauré's orchestration wraps the vocal line in soft woodwind colors and shimmering strings, creating an atmosphere of reverie that lingers even as the dreamer wakes. The whole work exhales rather than declaims.

Who it's for

Mezzo-sopranos and baritones with solid French diction and legit vocal technique will find this a rewarding recital or concert piece. Conductors building programs that blend art song sensibility with orchestral color appreciate this work as a bridge between chamber and symphonic contexts.

How to get the most out of it

  • Balance the vocal line above the orchestral texture by working with your conductor on dynamic relationships during early rehearsals; the orchestra should frame rather than compete with the singer.
  • Shape the phrasing across longer spans than the poem's line breaks suggest; the melody's arc benefits from breath placed musically rather than textually.
  • Communicate the dreamy quality through gentle rubato in the opening sections; coordinate timing carefully with the conductor since the orchestra will follow your lyrical flexibility.

How to use it

Program this as a centerpiece for a French art song concert, or pair it with other Romantic-era vocal works to showcase stylistic breadth. Its moderate orchestral forces and lyrical character make it accessible for orchestras of varying size, and it works equally well in a concert setting or as a concert intermission piece.

Skills your students will build

  • French language diction and interpretive singing in the Fauré style
  • Sustaining legit tone while maintaining textual clarity across longer phrases
  • Collaborative balance between soloist and orchestra
  • Understanding rubato within a composed score

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