Marche gaie arranged for piano by Caroline Potter 布朗惹莉莉 进行曲 改编钢琴耶诞颂歌 钢琴独奏 朔特版

莉莉-布朗热（Lili Boulanger，1893-1918 年）在其短暂的职业生涯中创作了许多作品，这些作品的存在是毋庸置疑的，有证据表明它们曾经存在过，但现在却消失了。2011 年，这些失踪的作品之一《Marche gaie》以简谱的形式出现在北卡罗来纳州的一个私人收藏馆中；手稿的主人是该作品的作者让娜-莱格斯（Jeanne Leygues）的孙辈。Marche gaie》于 1916 年在法国音乐收藏协会（SACEM）登记为室内乐作品，因此我们可以推测该作品创作于 1916 年。虽然手稿的作者不详，但有音乐和环境方面的证据，再加上家族的证词（莱古斯的祖先与布兰杰家族很熟），毫无疑问，这是莉莉-布兰杰的遗作。 让娜-莱热（Jeanne Leygues）是法国政治家乔治-莱热（Georges Leygues）的女儿，他曾在 1920-1 年担任过法国总理，是艺术的忠实支持者，她嫁给了美国人保罗-洛克威尔（Paul Rockwell），保罗-洛克威尔曾在第一次世界大战中与让娜-莱热的哥哥一起参加法国外籍军团。我们可以推测，《Marche gaie》是为让娜在 1916 年 12 月的婚礼而创作的，尤其是因为乐曲在第 25-32 小节中暗指门德尔松著名的《婚礼进行曲》，这是莉莉-布朗热喜欢引用和暗指的典型表现。Marche gaie》最初是与《Marche funèbre》搭配在一起的，这部作品至今仍未面世。作者非常感谢北卡罗来纳州阿什维尔的保罗-肖拉尔和万斯-布朗，感谢他们为《玛尔切-盖伊》的出版提供了慷慨的帮助

作曲家: Boulanger, Lili
校订者: Potter, Caroline
乐器: piano
出版社: Schott Music
原文简介:
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