Dolly Suite

Dolly Suite
Composed by Gabriel Faure (1845-1924)
For flute and piano (originally for piano – 4 hands)
Transcribed and edited by Trygve Peterson
Published by Falls House Press

Berceuse (E) | Mi-A-Ou (F) | Jardin de Dolly (E) | Kitty Valse (Ab) | Tendresse (Db) | Pas Espagnol (F)

      The original music for this transcription comes from Faure's only piano/four-hands composition, the Dolly Suite. Originally written and published between 1893 and 1896, the Dolly Suite contains some of the most beautiful music ever written by Faure.
      Most flutists are already familiar with the numerous other editions of the opening Berceuse. But beyond this movement are five more equally charming and elegant compositions that work superbly for flute and piano. Several movement titles suggest that a cat (always a favorite with the French) was the inspiration for this Suite. In fact, the original source for this work apparently has nothing to do with any felines at all. Dolly was written for a real “Dolly”, the daughter of Emma Bardac, the second wife of Claude Debussy, and the six movements are small episodes from her young life. The Berceuse is Dolly singing one of her dolls to sleep. Mi-a-ou, despite its “meowing” title, was apparently the nickname that Dolly gave to her brother Raoul. Le Jardin de Dolly (Dolly's Garden) evokes a summery and relaxing stroll through her yard or the countryside. Kitty-Valse described the antics of her little dog (again, not a cat!). Tendresse is a haunting and loving poem from the composer. And the brilliant finale, Pas Espagnole (Spanish Dance), was inspired by an equestrian bronze statue in Dolly's home that she especially loved.
      This edition has taken the single melodic material found in the right-hand piano part and transcribed it almost vertabim over to the flute part. Small changes in octave voicing in the piano part and a small reversal of lines in the 6th movement are the only deviations from the score. Care was taken in all instances to retain the nature of Faure's original music: no breath marks, phrasings, metronome indications, or other edition markings have been added. This will hopefully allow the performer full opportunity to explore the original music without any editiorial bias.
— Trygve Peterson