Marche gaie arranged for piano by Caroline Potter 布朗惹莉莉 進行曲 改編鋼琴耶誕頌歌 鋼琴獨奏 朔特版

莉莉-布朗熱（Lili Boulanger，1893-1918 年）在其短暫的職業生涯中創作了許多作品，這些作品的存在是毋庸置疑的，有證據表明它們曾經存在過，但現在卻消失了。2011 年，這些失蹤的作品之一《Marche gaie》以簡譜的形式出現在北卡羅來納州的一個私人收藏館中；手稿的主人是該作品的作者讓娜-萊格斯（Jeanne Leygues）的孫輩。Marche gaie》於 1916 年在法國音樂收藏協會（SACEM）登記為室內樂作品，因此我們可以推測該作品創作於 1916 年。雖然手稿的作者不詳，但有音樂和環境方面的證據，再加上家族的證詞（萊古斯的祖先與布蘭傑家族很熟），毫無疑問，這是莉莉-布蘭傑的遺作。 讓娜-萊熱（Jeanne Leygues）是法國政治家喬治-萊熱（Georges Leygues）的女兒，他曾在 1920-1 年擔任過法國總理，是藝術的忠實支持者，她嫁給了美國人保羅-洛克威爾（Paul Rockwell），保羅-洛克威爾曾在第一次世界大戰中與讓娜-萊熱的哥哥一起參加法國外籍軍團。我們可以推測，《Marche gaie》是為讓娜在 1916 年 12 月的婚禮而創作的，尤其是因為樂曲在第 25-32 小節中暗指孟德爾松著名的《婚禮進行曲》，這是莉莉-布朗熱喜歡引用和暗指的典型表現。Marche gaie》最初是與《Marche funèbre》搭配在一起的，這部作品至今仍未面世。作者非常感謝北卡羅來納州阿什維爾的保羅-肖拉爾和萬斯-布朗，感謝他們為《瑪爾切-蓋伊》的出版提供了慷慨的幫助

作曲家: Boulanger, Lili
校訂者: Potter, Caroline
樂器: piano
出版社: Schott Music
原文簡介:
In her all too brief career, Lili Boulanger (1893-1918) composed a number of works whose existenceis unquestioned for which there is proof they existed but which have now disappeared.One of these missing pieces, Marche gaie, resurfaced in short score form in 2011 in a privatecollection in North Carolina; the owners of the manuscript are the grandchildren of the work’sdedicatee, Jeanne Leygues. As Marche gaie was registered with SACEM (the collecting Society for music in France) as a work for chamberorchestra in 1916, we can assume it was composed in that year. While the manuscript is in anunknown hand, there is musical and circumstantial evidence, combined with testimony fromthe family (whose Leygues ancestors knew the Boulanger family well), that shows beyond reasonabledoubt that this is a missing work by Lili Boulanger.Jeanne Leygues, daughter of the French politician Georges Leygues, briefly Prime Minister in1920-1 and a great supporter of the arts, married an American, Paul Rockwell, who fought withhis brother in the French Foreign Legion in World War I. We can assume that Marche gaie wascommissioned for Jeanne’s wedding in December 1916, not least because the piece alludes toMendelssohn’s famous Wedding March in bars 25-32, a gesture typical of Lili Boulanger, whowas fond of quotation and allusion. Marche gaie was originally paired with a Marche funèbre,a work yet to resurface.It is a pleasure to bring this occasional piece to life. The author is very grateful to Paul Sholarand Vance Brown, of Asheville, North Carolina, for their generous assistance in preparingMarche gaie for publication.- Caroline Potter