Faure Sicilienne for Flute and Piano


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Faure Sicilienne for Flute and Piano

Faure Sicilienne for Flute and Piano

Sicilienne from Pelleas et Melisande
Flute and Piano
Edited and arranged by Robert Bigio


Faure first conceived this Sicilienne as a work for cello/piano (Op.78). He later included an orchestrated version of it as part of his Op 80 incidental music to Maurice Maeterlinck’s play, ‘Pelleas et Melisande’. In this arrangement, the accompaniment is based on that of the original, while the solo part closely follows the flute part of the orchestral version. Faure’s original tempo indication was Andantino; he changed this to Allegretto molto in the orchestral version.

Gabriel Fauré

Fauré (1845-1924) was a French Romantic composer, organist, pianist and teacher. People regard him as one of the foremost French composers of his generation, not to mention his musical style influenced many 20th-century composers.  He studied at the Ecole de Musique Classique et Religieuse Paris, aged 9. Fauré then studied piano with Camille Saint-Saëns. After he graduated, he earnt a living as an organist and teacher.

In 1896 he became church organist at the church of La Madeleine in Paris and Professor of composition at the Paris Conservatoire. Among his students were Maurice Ravel, Georges Enesco, and Nadia Boulanger. In 1905, he took up the post of Director of the Paris Conservatoire.

He is best known for his contribution to solo piano repertoire. He also wrote over 100 songs, incidental music for plays, orchestral works, chamber and instrumental pieces, and vocal and church music.


Robert Bigio

Robert Bigio was born in the Middle East but raised in Vancouver, Canada. He earned a BMus from the University of British Columbia prior to relocating to Britain, where he achieved a PhD from the University of London. Robert embarked on a professional flute-playing career spanning numerous years, eventually transitioning into flute making.

Renowned for his expertise, he is also recognised as an accomplished author and scholar in the realm of flutes and their manufacture. He served as the editor of the British Flute Society’s journal for a five-year period. Robert has penned two notable flute-centric books: “Readings in the History of the Flute,” an assemblage of writings from nineteenth-century London encompassing monographs, essays, reviews, letters, and advertisements; and the freshly published “Rudall, Rose & Carte: The Art of the Flute in Britain.”


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