Fauré Gabriel Urbain, *12 May 1845 Pamiers (Ariège), †4 November 1924 Paris, French composer, teacher and pianist. He was born into a provincial teacher’s family with no musical traditions. In 1854, he began studying classical subjects and music (especially organ and chorale) at the École de Musique Classique et Religieuse in Paris, newly founded by L. Niedermeyer. After Niedermeyer’s death (1861), he studied piano with the professor of that school, C. Saint-Saëns, with whom he soon became friends and who introduced him to the music of Schumann, Liszt, Wagner and his own, as well as guided his attempts at composition. During his studies, Fauré composed his first songs, including Le papillon Op. 1, a romance inspired by Gounod’s melodies. At the age of 19, Fauré composed Cantique de Racine for choir and organ, his first religious piece, a test of his polyphonic vocal skills.
In January 1866, Fauré took up a position of an organist at the church of St-Sauveur in Rennes, where he also gave piano lessons. In 1869, he signed a contract with the first publisher (Choudens, Paris). He left Rennes in 1870; he was appointed organist at the Paris church of Notre Dame de Clignancourt. During the Franco-Prussian War in July 1870, he enlisted in a cavalry regiment, and he took part in the Battle of Champigny in October. In March 1871, during the Commune, he was in Rambouillet, and then in Courssous-Lausanne in Switzerland; here, he served as professor of composition at the Niedermeyer school, which had found refuge in the estate of its founder.
After returning to Paris, Fauré took up the position of organist at St-Honoréd’Eylau and then at St-Sulpice, where he replaced Ch.M. Widor in accompanying the choir. In November 1871, he participated in the founding of the Société Nationale de Musique, established at the initiative of R. Bussine and Saint-Saëns with the participation of Franck, d’Indy, Lalo, Massenet, Bizet and Duparc. Under the slogan of propagating Ars Gallica, the society aimed to disseminate (especially unpublished) works by French composers belonging to the society, and especially symphonic and chamber music, non-theatrical works, which were then experiencing a renaissance. In 1871–79, Fauré maintained close contact with the Parisian musical world; Saint-Saëns introduced him to the Viardot family salon in 1872, which gathered distinguished figures of the era (Gounod, Turgenev, Flaubert, George Sand, Renan). Fauré became known at that time as a virtuoso pianist and a talented improviser. During this period, he wrote numerous songs, most often similar to the Italian canzona type: Sérénade toscane, Après un rêve, Tarentelle for 2 sopranos, dedicated to Claudie and Marianne, Pauline Viardot’s daughters. Fauré left the church of St-Sulpice in 1874and became C. Saint-Saëns’s deputy at La Madeleine. During this time, he became a friend of the household of Camille Clerc, a Parisian industrialist and music lover. In the favourable atmosphere of this house, he wrote the most important works of his youth: Violin Sonata No. 1 (1875), Piano Quartet No. 1 (1876) and Ballade for piano (1879). In April 1877, Fauré obtained the honourable position of Kapellmeister at La Madeleine (in place of T. Dubois). In July, he became engaged to Marianne Viardot, but the engagement was broken off in October. In December, he went with Saint-Saëns to Weimar for the German premiere of Samson and Dalila, where he met Liszt for the first time. The year 1878 began a series of Wagnerian journeys: with A. Messager to Cologne for Das Rheingold and Die Walküre, in September 1879 with Messager to Munich for the entire tetralogy, and finally in 1880 with Dubois to Munich for Die Meistersinger von Nürnberg, Tannhäuser and Goethe’s Egmont with Beethoven’s music. In July 1882, Fauré went with Saint-Saëns to Zurich, where he met Liszt for the second time and presented him with his Ballade, which surprised Liszt with its complicated pianistic texture. On 27 March 1883, Fauré married the daughter of the sculptor Emmanuel Fremiet, Marie. The union produced two sons: Emmanuel (1883–1971), later a professor of biology at the Collège de France, and Philippe (1889–1954), a writer and music lover who devoted himself to developing his father’s legacy.
In 1885 the composer’s father died, in 1887 – his mother; these circumstances became the impetus for the creation of Messe de Requiem, which was performed in January 1888 in its original 5-part version. Fauré was in Italy in 1891; his stay in Venice and Florence inspired the creation of the first major vocal cycle Cinq mélodies “De Venise” called “Venetian,” composed to the poetry of P. Verlaine. In 1892–1905 Fauré was an inspector of music schools. The composer participated in performances of his works in London and Geneva in November 1894. From 1894 to 1896, he wrote important piano pieces: Nocturne No. 6, Barcarolle No. 5 and Theme with Variations. On 2 June 1896 Fauré was appointed titular organist of the great organ at La Madeleine (until 1905).
Fauré took over the composition, counterpoint and fugue class after J. Massenet at the Paris Conservatory in 1896. He stayed in London in April and December 1896 and in December 1897, where his popularity grew particularly; he participated in concerts of his works held there. He was there again the following year: in March (performing La bonne chanson with a specially commissioned accompaniment of a string quartet and piano) and in June, when he conducted the first performance of the music for Maeterlinck’s Pelléas et Mélisande. From February to July 1900, at the request of M. Castelbon, Fauré composed music for the dramatic play Prométhée after Aeschylus. The piece was intended to be performed as part of the famous performances in the Béziers amphitheatre – with the participation of 400 performers, including three brass bands, 18 harps and excellent dramatic actors. Prométhée surprised Fauré’s music fans with its monumental dimensions; performed for 10,000 spectators, it was a great success and was repeated the following year. In 1903, Fauré began a permanent collaboration with “Le Figaro,” which lasted until 1913; he wrote reports occasionally until 1920. During this time, the composer noticed the first symptoms of hearing impairment. In 1903–14, he spent successive summers in Switzerland; in Lausanne and Zurich, he composed his Piano Quintet No. 1.
In 1905, Fauré took over as director of the conservatory from T. Dubois. The music circles were very surprised, and the new director’s activity soon proved to be innovative – given the French conditions of the time. He became an advocate of a progressive reform of education, recognising the importance of chamber and symphonic music. In 1906–10, Fauré composed Chanson d’Ève to poems by Ch. van Lerberghe, one of his most important vocal cycles, in which a further transformation of style towards greater restraint of expression is visible. Every summer from 1907 to 1913, he worked on the opera Pénélope. In March 1908, he gave a concert at Buckingham Palace in London for Queen Alexandra. At the same time, his compositional concerts were also held in Berlin, again in London and in Manchester. In 1909, Fauré took over as president of the newly established Société Musicale Indépendante, founded by young composers who rebelled against the Société Nationale, which had become a stronghold of the cult of C. Franck and all kinds of conservative tendencies. The rebels were mostly Fauré’s students, including M. Ravel, F. Schmitt, Ch. Koechlin, J. Huré, L. Aubert, Roger-Ducasse, and the renowned conductor D.E. Inghelbrecht, who wanted to perform their works.
Fauré was elected a member of the Académie des Beaux-Arts on 13 March 1909 in the seat of H. Berlioz; his opponent was Ch.M. Widor. At that time, Fauré was in Barcelona as a guest of I. Albéniz. In November 1910, he went on his longest concert tour to Helsinki, St. Petersburg and Moscow, where he achieved great triumph. He established numerous contacts and acquaintances with Russian composers – C. Cui and A. Glazunov; he also met A. Wieniawski and his wife. In 1913, he signed a new contract with Durand’s publishing house, resigning from Heugel’s services. The unsuccessful premiere of Pénélope took place in Monte Carlo. On 9 May 1913, the Paris premiere took place, but despite its success, Fauré’s opera gave way to the Ballets Russes evenings after ten performances and was not revived until six years later. In July 1914, at the outbreak of World War I, Fauré was undergoing treatment in Ems. He remained in Paris throughout the war, performing administrative and teaching duties at the conservatory; he spent the summers in the south of France. He composed three cycles of songs: Le jardin clos (1914), Mirages (1919) and L’horizon chimérique (1921). He was elected president of the Société Nationale in 1917 (a position he held until his death). This fact is considered to be the moment of the merger of the Société Nationale with the Société Musicale Indépendante, accomplished thanks to the authority of the president of both associations in one person. In 1919, Fauré spent his first summer in Annecy-le-Vieux with the Maillot family. In December of that year, in a poetry competition on the theme of peace announced by “Le Figaro,” first prize was awarded to Fauré’s song to the poem C’est la paix by G. Debladis. Due to hearing loss, Fauré resigned (1920) from his position as director of the conservatory; he was given a ceremonial farewell and received the order of the Legion of Honour. In 1921, at the age of 76, he gave his last concert in Tours. He received an official state commission on the occasion of the 100th anniversary of Napoleon’s death and composed Chant funéraire. On 20 June 1922, the “Hommage national” took place, a ceremony in Fauré’s honour organised by M. Maillot in the great amphitheatre of the Sorbonne. Fauré was in Annecy for the last time in the summer of 1924; after finishing String Quartet, his last work, he fell ill with pneumonia. He was taken to Paris where he died on 4 November. During his funeral at La Madeleine, his Requiem was performed. He was buried in the cemetery at Passy.
Fauré’s contribution as a musician and teacher to French musical culture is wide-ranging. As professor and director of the Paris Conservatoire, he introduced a progressive reform of teaching and educated his students with a sense of respect for tradition and creative freedom, demanding from them solid craftsmanship. Fauré’s significant period of teaching at the Paris Conservatoire followed Franck’s activity and preceded Messiaen’s. Fauré’s students included L. Aubert, N. Boulanger, A. Casella, Roger-Ducasse, G. Enescu, G. Greviez, Ch. Koechlin, M. Ravel, F. Schmitt, E. Vuillermoz and others.
Fauré’s work cam be divided into three distinctly different stylistic periods. The first one extended to 1884, the second covered the years 1884–1908, and the third period lasted from 1908 until his death. The first, youthful period, is characterised by melodic and harmonic ease, dominated by salon works; the first songs were written under the influence of Gounod, and the piano pieces – under the influence of Mendelssohn and Schumann. The middle period is the period of reaching full artistic maturity, which was manifested by the dominance of lyricism. In the last period, however, there was a turn towards the objectification of musical expression.
Fauré was an excellent virtuoso pianist. His playing emphasised the subtlety of his stroke, the dexterity of his fingers, and the qualities of his interpretation, the sources of which can be found in the teaching of Saint-Saëns. He was especially valued as an accompanist, improviser, and chamber musician. For Fauré, as for Chopin, the piano was a fundamental instrument. His piano works constitute the most significant part of his entire oeuvre. Moreover, in his chamber works, the composer particularly cultivated forms involving the piano (trios, quartets, piano quintets). He wrote over 40 piano pieces and collections. In his piano music, he cultivated forms borrowed from Romanticism, such as the prelude, impromptu, nocturne, waltz, and barcarolle. Fauré’s contribution to the development of piano texture is not groundbreaking. The significance and specificity of the composer’s piano works are manifested in the way he conducted the musical narrative and constructed the form, which was different from that in Romantic music. A typical textural device is the arpeggio, also often used in the accompaniment part; a device characteristic of later works is leading the melodic line in the bass part. Fauré remained in the circle of inspiration of the tradition of Chopin, Mendelssohn and Schumann.
Vocal works constitute the largest part of Fauré’s compositional output. They number over 100 songs written between 1860 and 1922. The composer’s personality is outlined in the songs at the earliest. Fauré did not always choose texts by famous poets of his era. In addition to texts by Ch. Baudelaire, Villiers de l’Isle-Adam, J. de la Ville de Mirmont, V. Hugo, and C. Mendès, he reached for poems by poets of lesser importance, such as A. Samain, Ch. Grandmougin and A. Silvestre. He preferred the poetry of P. Verlaine, competing with Debussy in its musical interpretation, sometimes perhaps even more apt. He developed a specific type of melodeclamation, recitative, which was a continuation of Debussy’s type of recitative. From the point of view of French language prosody, the cycles La bonne chanson and La chanson d’E Ève are particularly successful. In these works, the vocal part is inseparably fused with the whole, the harmonic element with the melodic line. The carrier of expression is primarily harmony, and the piano texture serves solely to accompany the vocal part. In Fauré’s music, there are no descriptive or illustrative elements, nor any reflection of the emotional content of individual words. This autonomy of music is the basic determinant of Fauré’s compositional aesthetics.
It was in chamber music that Fauré’s individual compositional style blossomed most fully. He was only peripherally interested in theatre, but the stage music for the dramas Caligula, Shylock and especially Pelléas and Mélisande was often used to create concert suites, with particular emphasis on the connection between Fauré’s theatre and ancient culture (Prometheus, Penelope). Over the years, this interpretation has been weakened in favour of emphasising the stronger and direct connection between Fauré’s dramas and the aesthetics of the Parnassians, through whose prism Hellenistic ideas were filtered (J.-M. Nectoux).
As a student of Niedermeyer’s school of religious music, and then a professional organist for a significant part of his life, Fauré also cultivated religious works. He gained worldwide recognition for his Requiem; in this work he revived this traditional form. A less popular, but particularly musically successful work is Messe basse for three female voices and organ. Fauré’s choral motets remain in oblivion.
Fauré’s musical imagination was shaped during the flowering of Romanticism. At the Niedermeyer’s school, one of the most significant educational institutions of the time, Fauré received an education as an organist with a special focus on Gregorian chant. These two aspects were reflected in all of his work.
Together with Debussy and Ravel, Fauré is one of the composers representing the trend of musical renewal at the beginning of the 20th century. However, his position is completely independent of the two basic trends in French music: the first leading from Chabrier to Debussy, Ravel, Schmitt and finally to Jolivet and Messiaen; the second given by Franck, Chausson, d’Indy, Dukas, Roussel and finally Dutilleux. Throughout his work, Fauré remained indifferent to the colours of the orchestra, the search for the dramatic and timbral effect of music. He became a true creator of French chamber music and song.
As a composer, he was guided by a sense of textural balance, and especially the dominant element – melody, searching for shades of expression in melody and harmony, continuity of musical flow arranged in symmetrical periods and the need for simplicity. He was accompanied by a love of Mozart’s music, and from contemporary music, Saint-Saëns. Constant care for harmony of expression, moderation and proportion, a preference for old forms indicate that the basic feature of his work is classicism, which, although it dominated Fauré’s compositional poetics, never took on a radical form, as, for example, in Busoni.
Fauré’s work is characterised by the evolution of musical style: from salon and sentimental art through sublime lyricism to achieving emotional distance, surrounding the statement with an atmosphere of mystery and seriousness. Wagner’s music had an influence on these changes. These include the blurring of symmetry, the tendency towards uninterrupted musical discourse, the appearance of irregular periods and a free melodic line (La bonne chanson). The piano conducts a dialogue with the vocal part or is endowed with an orchestral texture, which was not the ultimate goal of the composer’s aspirations. Finally, the tendency to eliminate the elements of the brillant style, the tendency towards ascetic texture, the preference for free polyphony of voices, the avoidance of modulation, and the return to diatonism contributed to the crumbling of the remnants of the romantic style. Fauré broadened the concept of tonality; he abundantly used foreign sounds and alterations that did not have the character of modulatory means. He was one of the first, being an organist by education, to reach for modal scales. However, it was the activity of M. Emmanuel that opened the way for the renewal of modality in French music, which resulted in the system of O. Messiaen’s modes.
In the last period of Fauré’s work, his music evolves into areas alien to Romanticism, but also to Classicism. Its basic feature becomes the elimination of contrasts, traditional formal framework and symmetry. It takes on a fluid and non-expressive character, becoming more than ever before an expressor of the creator’s intimate feelings: mysterious beauty, purification and serenity.
In his music, which does not yield to imitation, Fauré was not a precursor. He did not create a new attitude to music, as was the case with his contemporary Debussy, but his work showed the way for all French music. G. Migot, Fauré’s only direct heir, was able to draw special conclusions from its last stage. Fauré’s music can be compared with Matisse’s painting, as well as with the prose of M. Proust, who in a letter to the composer confessed that the impact of his music was “intoxicating.” Therefore, both Proust and Fauré, whose art is marked by long phrases of intertwining and crossing sentences and the constant presence of the ornamental element, typical of artistic trends around 1900, belong to the representatives of “l’art nouveau.”
Fauré’s work did not gain – apart from a few great successes (the staging of Prometheus) – wider recognition during his lifetime, nor did it bring the composer fame, often arousing controversial opinions, such as the Chanson d’Ève performed at the inaugural concert of the Société Musicale Indépendante on 20 April 1910; this work was not accepted by, among others, Saint-Saëns. After Fauré’s death, most of his creative output was forgotten, and only a few works, such as the Requiem, found concert life. This made it impossible to capture a comprehensive picture of Fauré’s work. It was only after World War II, and especially in recent years, that we can observe a renaissance of Fauré’s music in many European countries, primarily in England and Germany. The number of scholarly studies and editions also increased (J.M. Nectoux). In France, the Association des Amis de Gabriel Fauré looks after Fauré’s legacy and disseminates his music and ideas. In Poland, Fauré’s work has not yet gained a wider reception; apart from performances of the Requiem, only songs can be found in the repertoires of Polish performers.
Literature: Entretien avec Gabriel Fauré, “Comoedia” 12 July 1902, “Excelsior” 12 June 1922, “Comoedia” 10 November 1924; Lettres à une fiancée, ed. C. Bellaigue, “Revue des Deux Mondes” 15 August 1928; Lettres intimes (1885–1924), ed. Ph. Fauré-Fremiet, Paris 1951; F. Lesure Deux lettres de Gabriel Fauré à C. Debussy, “Revue de Musicologie” XLVIII, 1962; C. Saint-Saëns – G. Fauré. Correspondance: Soixante ans d’amitié, ed. J. M. Nectoux, Paris 1973; J.M. Nectoux Albéniz et Fauré (correspondance inédite), «Travaux de l’institut d’études ibériques et latino-américaines» XVI–XVII, 1976–77; Gabriel Fauré. Correspondance, ed. J.-M. Nectoux, Paris 1980.
O. Séré Musiciens français d’aujourd’hui, Paris 1911, 1921; L. Vuillemin Gabriel Fauré et son oeuvre, Paris 1914; A. Coeuroy La musique française moderne, Paris 1922; L. Aguettant Le genie de Gabriel Fauré, Lyon 1924; A. Bruneau La vie et les oeuvres de Gabriel Fauré, Paris 1925; Ch. Koechlin Gabriel Fauré, Paris 1927, 2nd ed. 1949; Ph. Fauré-Fremiet Gabriel Fauré, Paris 1929, 2nd ed. 1957; A. Cortot La musique française de piano, vol. 1, Paris 1930, 5th ed. 1948; R. Dumesnil Portraits de musiciens français, Paris 1938; V. Jankélévitch Gabriel Fauré. Ses mélodies, son esthétique, Paris 1938, 2nd ed. 1951; G. Fauré Gabriel Fauré, Paris 1945; C. Rostand L’oeuvre de Fauré, Paris 1945, German ed, Vienna 1949; W. L. Landowski Frédéric Chopin et Gabriel Fauré, Paris 1946; N. Suckling Fauré, London 1946, 21951; M. Favre Gabriel Faurés Kammermusik, Zurich 1949; H. Schouten Drie franse liederencomponisten: Duparc, Fauré, Debussy, Amsterdam 1950; Ph. Fauré-Fremiet Gabriel Fauré, Paris 1957; É. Vuillermoz Gabriel Fauré, Paris 1960; M. Long Au piano avec Gabriel Fauré, Paris 1963; J. M. Nectoux Fauré, Paris 1972; J. Vuaillat Gabriel Fauré, Lyon 1973; V. Jankélévitch Fauré et l’inexprimable. De la musique au silence, vol. 1, Paris 1974; R. Orledge Gabriel Fauré, London 1979; J.-M. Nectoux Phonographies, part 1: Gabriel Fauré, 1900–77, Paris 1979; J.-M. Nectoux Gabriel Fauré. A Musical Life, transl. R. Nichols, Oxford 2004; J.-M. Nectoux Gabriel Fauré: les voix du clair-obscur, Paris 2008; T. Hilca Aspecte ale termenilor de expresie ̨si dinamică în creątia pianistică a compozitorilor: Johannes Brahms, Gabriel Fauré, Frédéric Chopin, Bucharest 2008; E.R. Phillips Gabriel Fauré: a research and information guide. New York 2011, 2nd ed. 2021; G. Johnson Gabriel Fauré: The Songs and their Poets, with translation of the songs texts by R. Stokes, Oxon 2016; M. Trzęsiok Gabriel Fauré’s La Chanson d’Éve or The Book of Genesis à la moderne, in: Beethoven 8. Studies and Interpretations. Beethoven and the Romantic Song, ed. M. Chrenkoff, Kraków 2021; M. Kurcab Nokturn w twórczości fortepianowej Gabriela Fauré. Problematyka wykonawcza w kontekście przemian stylu kompozytorskiego, Kraków 2022 (with CD with piano music).
C. Saint-Saëns Une sonate, “Journal de Musique” 7 April 1877; H. Imbert Profils de musiciens. Gabriel Fauré, “L’Indépendance Musicale et Dramatique” 1887 nos 14 and 15; C. Benoit La Messe de Requiem de Gabriel Fauré, “Le Guide Musical” 1888 nos 32 and 33, separate ed. Paris 1888; E. Jaques-Dalcroze La bonne chanson, “Gazette Musicale de la Suisse Romande” 1894 no. 18; H. Gauthier-Villars M. G. Fauré and A. Amiel Prométhée, “Revue Éolienne” 1900 no. 17; E. Gauthie Fêtes de Béziers. Prométhée, “La Rampe” 16 September 1900; P. Dukas Prométhée, “La Revue Hebdomadaire” 6 October 1900; T. Klingsor Les musiciens et les poètes contemporains, “Le Mercure de France” November 1900; Ch. Koechlin Prométhée, “Le Mercure de France” September 1901; L. Vierne Silhouettes d’artistes. Gabriel Fauré, “L’Écho Musical” 1912 no. 12; J. Saint-Jean Pénélope, “La Nouvelle Revue” 15 June 1913; R. Hahn Gabriel Fauré, “Journal de l’Université des Annales” 15 July 1914; D. Milhaud Hommage à Gabriel Fauré, “Intentions” January 1923; E. Cools Le quatuor à cordes de Gabriel Fauré, “Le Monde Musical” June 1925; R. Bernard Gabriel Fauré and L’école fauréenne, in: Les tendances de la musique française moderne, Paris 1930; Ch. Koechlin Gabriel Fauré, musicien dramatique, “La Musique Française” 1933 no. 3; V. Jankélévitch Pelléas et Pénélope and R. Lafagotte Promenade au pays de Gabriel Fauré, “La Revue du Languedoc” 1945 no. 6; Ph. Fauré-Fremiet 1945; G. Samazeuilh La leçon de l’art de Gabriel Fauré, in: Musiciens de mon temps, Paris 1947; L. Aguettant Gabriel Fauré, “La vie intellectuelle”, November 1949; Proust et Fauré, “Bulletin des Arńis de Proust” 1971 no. 21; F. Gervais Étude comparée des langages harmoniques de Fauré et Debussy, “La Revue Musicale” 1971 nos 272–273; J.-M. Nectoux Ravel, Fauré et les débuts de la Société Musicale Indépendante, “Revue de Musicologie” LXI, 1975 no. 2; J.-M. Nectoux La genèse de Pénélope, “La Revue Musicale” Flaubert, Gallet, Fauré ou le démon du théâtre, “Bulletin du Bibliophile” 1976 no. 1; J.-M. Nectoux Gabriel Fauré et l’esthétique de son oeuvre théâtrale, “Revue Musicale de Suisse Romande” 1980 no. 2; E. Fedyczkowa Gabriel Fauré: Messe de requiem (op. 48), “Moderato” 2010 no. 1.
Special issues: “Musica” 1909 no. 77, authors: G. Carraud, R. Brussel, É. Vuillermoz, J. Saint-Jean, G. Pioch, J. Torchet; “La Revue Musicale” October 1922, authors: G. Fauré, E. Vuillermoz, M. Ravel, R. Chalupt, Ch. Koechlin, F. Schmitt, Roger-Ducasse, A. Cortot, N. Boulanger – contains also a bibliography and a musical supplement entitled Hommage musical à Fauré, authors: L. Aubert, G. Enescu, Ch. Koechlin, P. Ladmirault, M. Ravel, Roger-Ducasse and F. Schmitt; “Le Monde Musical” November 1924; “La Revue Musicale” 1945: Le centenaire de Gabriel Fauré, authors: Ph. Fauré-Fremiet, R. Dumesnil, G. Jean-Aubry – contains also letters of P. Verlaine to Fauré and of Fauré to A. Samain; “Publications Techniques et Artistiques” 1946, authors: H. Malherbe, Ph. Fauré-Fremiet, Roger-Ducasse, J. Thibaud, L. Beydts, G. Pioch.
Compositions:
Instrumental:
Romances sans paroles Op. 17 for piano, ca. 1863: 1. in A-flat major, 2. in A minor, 3. in A-flat major, published by Paris Hamelle
Gavotte in C-sharp minor for piano, 1869, with no Op. number, published by Paris Hamelle
Pièces brèves Op. 84 for piano, before 1869–1902: 1. in E-flat major, 2. in A-flat major, 3. in A minor, 4. in E minor, 5. in C-sharp minor, 6. in E minor, 7. in C major, 8. in D-flat major, premiere Paris 18 April 1903 (only pieces no. 2, 4, 7 and 8) R. Viñes, published by Paris Hamelle; the pieces included in the cycle Pièces brèves were written in different periods and were given the following titles in later editions (which Fauré had already objected to in a letter to Hamelle dated 14 August 1902): 1. Capriccio, 2. Fantaisie (before 1869), 3. Fugue (1869), 4. Adagietto (ca. 1898), 5. Improvisation (written for a prima vista reading competition at the Paris Conservatory, 1902), 6. Fugue (before 1869), 7. Allégresse (before 1902), 8. Nocturne (before 1902)
Orchestra Suite or Symphony in F major Op. 20, 1872–73, premiere Paris 16 May 1874, 1st part published in piano transcription for 4 hands by L. Boëllmann: Paris, Hamelle
Nocturne No. 1 in E-flat minor Op. 33 no. 1 for piano, ca. 1875, published by Paris Hamelle
Sonata No. 1 in A major Op. 13 for violin and piano, 1875, premiere Paris 27 January 1877, violin M. Tayau, piano G. Fauré, published in Leipzig 1878 B & H
Piano Quartet No. 1 in C minor Op. 15, 1876–79, premiere Paris 14 February 1880, violin O. Musin, viola Van Waefelghem, cello Mariotti, piano G. Fauré, published by Paris Hamelle
Romance in B-flat major for violin and piano Op. 28, 1877, published in Paris 1882
Hamelle, version for violin and orchestra 1882
Violin Concerto Op. 14, 1878–79, premiere Paris 12 April 1880, violin O. Musin
Berceuse in D major Op. 16 for violin and piano, 1879 (?), published in Paris 1879 Hamelle, version for violin and orchestra, Paris ca. 1888 Hamelle
Andante in B-flat major Op. 75 for violin and piano, ca. 1880, published in Paris 1897 Hamelle
Élégie in C minor Op. 24 for cello and piano, 1880, published in Paris 1883 Hamelle, version for cello and orchestra, published in Paris ca. 1901 Hamelle
Souvenirs de Bayreuth for piano for 4 hands, with no Op. number, 1880 (Quadrille sur les motifs favoris de l’Anneau de Nibelung composed by G.F. and A. Messager after their return from Munich in 1879), published by Hamelle (separately; Berceuse was published earlier in 1894)
Ballad in F-sharp major Op. 19 for piano and orchestra, 1881, premiere Paris 23 April 1881, piano G. Fauré, conductor E. Colonne, published in Paris 1881 Hamelle, also in piano transcription for 4 hands; version for piano solo, 1879, published by Paris Hamelle
Impromptu No. 1 in E-flat major Op. 25 for piano, 1881, premiere Paris 9 December 1882 C. Saint-Saëns, published by Hamelle
Barcarole No. 1 in A minor Op. 26 for piano, 1882, published by Paris Hamelle
Valse-caprice No. 1 in A major Op. 30 for piano, 1882, published by Paris Hamelle
Nocturne No. 2 in B-flat major Op. 33 no. 2 for piano, ca. 1882, published by Paris Hamelle
Nocturne No. 3 in A-flat major Op. 33 no. 3 for piano, ca. 1882, published by Paris Hamelle
Impromptu No. 2 in F minor Op. 31 for piano, 1883, premiere Paris 10 January 1885, C. Saint-Saëns, published by Paris Hamelle
Mazurka in B-flat major Op. 32 for piano, ca. 1883, published by Paris Hamelle
Impromptu No. 3 in A-flat major Op. 34 for piano, 1883, premiere Paris 10 January 1885, C. Saint-Saëns, published by Paris Hamelle
Nocturne No. 4 in E-flat major Op. 36 for piano, ca. 1884, published by Paris Hamelle
Nocturne No. 5 in B-flat major Op. 37 for piano, ca. 1884, published in Paris, Hamelle
Valse-caprice No. 2 in D-flat major Op. 38 for piano, 1884, published in Paris, Hamelle
Papillon in A major Op. 77 for cello and piano, ca. 1884, published by Paris 1898 Hamelle
Symphony in D minor Op. 40, 1884, premiere Paris 15 March 1885
Barcarole No. 2 in F major Op. 41 for piano, 1885, published in Paris, Hamelle
Piano Quartet No. 2 in G minor Op. 45, 1885–86 (?), premiere Paris 22 January 1887, violin Rémy, viola Van Waefelghem, cello Delsart, piano G. Fauré, published in Paris 1886 Hamelle
Barcarole No. 3 in G-flat major Op. 42 for piano, 1886, published in Paris, Hamelle
Barcarole No. 4 in A-flat major Op. 44 for piano, 1886, published in Paris, Hamelle
Pavane in F-sharp minor Op. 50, 1887, published in Paris, Hamelle
Petite pièce Op. 49 for cello and piano, ca. 1888
Piano Quintet No. 1 in D minor Op. 89, 1891, 1903–05, premiere Brussels 23 March 1906, Quatuor Ysaye, piano G. Fauré, published in New York 1907 G. Schirmer
Valse-caprice No. 3 in G-flat major Op. 59 for piano, 1893, published in Paris, Hamelle
Valse-caprice No. 4 in A-flat major Op. 62 for piano, 1893–94, published in Paris, Hamelle
Sicilienne in G minor Op. 78 for cello and piano, 1893, published in London 1896 Metzler & Co (used by Fauré in music for Moliere’s play Le Bourgeois gentilhomme and in transcription for orchestra included in the orchestra suite Pelléas and Mélisande)
Nocturne No. 6 in D-flat major Op. 63 for piano, 1894, published in Paris, Hamelle
Barcarole No. 5 in F-sharp minor Op. 66 for piano, 1894, published in Paris, Hamelle
Dolly. Six pièces Op. 56 for piano for 4 hands, 1894–96: 1. Berceuse, 2. Mia-ou, 3. Le jardin de Dolly, 4. Kitty-Valse, 5. Tendresse, 6. Le pas espagnol; transcription for piano solo by R. Howat, published by Editon Peters, Frankfurt am Main
Theme with Variations in C-sharp major Op. 73 for piano, 1895, published in Paris, Hamelle
Barcarole No. 6 in E-flat major Op. 70 for piano, 1896, published in London 1896 Metzler & Co.
Nocturne No. 7 in C-sharp minor Op. 74 for piano, 1898, published in Paris, Hamelle
Fantaisie in A major Op. 79 for flute and piano, 1898, published in Paris 1898 Hamelle
Pelléas et Mélisande, orchestra suite Op. 80, 1898, published in Paris 1901 Hamelle
Nocturne No. 8 in D-flat major Op. 84 for piano, before 1902, premiere Paris 18 April 1903 R. Viñes, published in Paris 1903 Hamelle
Morceau de lecture à vue for violin and piano, with no Op. number, 1903
Impromptu in D-flat major Op. 86 for harp, 1904, published in Paris 1904 Durand, version for piano Op. 86 bis, 1913, published in Paris 1913 Durand
Barcarole No. 7 in D minor Op. 90 for piano, 1905, published in Paris 1906 Heugel
Impromptu No. 4 in D-flat major Op. 91 for piano, 1905, published in Paris 1906 Heugel
Barcarole No. 8 in D-flat major Op. 96 for piano, 1908, premiere Paris 12 January 1906 E. Risler, published in Paris 1908 Heugel
Nocturne No. 9 in B minor Op. 97 for piano, 1908, published in Paris 1908 Heugel
Nocturne No. 10 in E minor Op. 99 for piano, 1908, published in Paris 1909 Heugel
Sérénade in B minor for cello and piano, with no Op. number, ca. 1908, published in Paris 1908 Heugel
Barcarole No. 9 in A minor Op. 101 for piano, 1909, published in Paris 1909 Heugel
Impromptu No. 5 in F-sharp minor Op. 102 for piano, 1909, published in Paris 1909 Heugel
Preludes Op. 103 for piano, 1910: 1. in D-flat major, 2. in C-sharp minor, 3. In G minor, 4. in F major, 5. in D minor, 6. in E-flat minor, 7. in A major, 8. in C minor, 9. in E minor, nos 1–3 published Paris 1910 Heugel, nos 4–9 published in Paris 1911 Heugel
Nocturne No. 11 in F-sharp minor Op. 104 no. 1 for piano, 1913, published in Paris 1913 Durand
Barcarole No. 10 in A minor Op. 104 no. 2 for piano, 1913, published in Paris 1913 Durand
Barcarole No. 11 in G minor Op. 105 for piano, 1913, published in Paris 1914 Durand
Barcarole No. 12 in E-flat major Op. 106 bis or 105 no. 2 for piano, 1915, published in Paris 1916 Durand
Nocturne No. 12 in E minor Op. 107 for piano, 1915, published in Paris 1916 Durand
Sonata No. 2 in E minor Op. 108 for violin and piano, 1916, premiere Paris 10 November 1917, violin L. Capet, piano G. Fauré, published in Paris 1917 Durand
Sonata No. 1 in D minor Op. 109 for cello and piano, 1917, premiere Paris 10 November 1917, cello G. Hekking, piano A. Cortot, published in Paris 1918 Durand
Une châtelaine en sa tour Op. 110 for harp, 1918, published in Paris 1918 Durand
Fantaisie in G major Op. 111 for piano and orchestra, 1919, premiere Paris 14 May 1919, piano A. Cortot, published in Paris 1919 Durand
Masques et bergamasques, orchestra suite Op. 112, 1919, premiere Paris 10 April 1919 (premiere at the Monte Carlo Opera as divertissement choréographique, staged by R. Gunsbourg, libretto after the poem by R. Fauchois), score and piano reduction for 4 hands published in Paris 1919 Durand
Piano Quintet No. 2 in C minor Op. 115, 1919–21, premiere Paris 12 May 1921, piano R. Lortat, violin Toürret, viola M. Vieux, cello G. Hekking, published in Paris 1921 Durand
Barcarole No. 13 in C major Op. 116 for piano, 1921, published in Paris 1921 Durand
Sonata No. 2 in G minor Op. 117 for cello and piano, 1921, premiere Paris 13 May 1922, cello G. Hekking, piano A. Cortot, published in Paris 1922 Durand
Nocturne No. 13 in B-flat minor Op. 119 for piano, 1921, published in Paris 1922 Durand
Chant funéraire for orchestra, instr. G. Balay, with no Op. number, 1921, premiere Paris 5 May 1921; used in Fauré’s transcription of Andante from Cello Sonata No. 2
Trio in D minor Op. 120 for piano, violin and cello, 1922–23, premiere Paris 12 May 1923, piano T. de Sanzévitch, violin R. Krettly, cello Patte, published in Paris 1923 Durand
String Quartet in E minor Op. 121, 1923–24, premiere Paris 12 June 1925, violin J. Thibaud, violin R. Krettly, viola M. Vieux, cello G. Hekking, published in Paris 1925 Durand.
Vocal-instrumental:
songs:
Le papillon Op. 1 no. 1 for voice and piano, words by V. Hugo, ca. 1862, published in Paris 1869 Choudens
Mai Op. 1 no. 2 for voice and piano, words by V. Hugo, ca. 1862, published in Paris 1871 Hartmann
Dans les ruines d’une abbaye Op. 2 no. 1 for voice and piano, words by V. Hugo, ca. 1862, published in Paris 1869 Choudens
Les matelots Op. 2 no. 2 for voice and piano, words by T. Gautier, ca. 1865, published in Paris 1871 Hartmann
Seule Op. 3 no. 1 for voice and piano, words by Th. Gautier, ca. 1871, published in Paris 1871 Hartmann
Sérénade toscane Op. 3 no. 2 for voice and piano, words by R. Bussine, 1878, published in Paris 1879 Choudens
Chanson du pêcheur. Lamento Op. 4 no. 1 for voice and piano, words by T. Gautier, 1875, published in Paris Choudens
Ave Maria for 3-voice male choir, with no Op. number, 1871
Lydia Op. 4 no. 2 for voice and piano, words by Leconte de Lisle, ca. 1871, published in Paris 1871, Hartmann
Chant d’automne Op. 5 no. 1 for voice and piano, words by Ch. Baudelaire, ca. 1875, published in Paris 1879, Choudens
Rêve d’amour Op. 5 no. 2 for voice and piano, words by V. Hugo, ca. 1871, published in Paris 1875, Choudens
L’absent Op. 5 no. 3 for voice and piano, words by V. Hugo, 1871, published in Paris, Choudens
Aubade Op. 6 no. 1 for voice and piano, words by L. Pommey, ca. 1879, published in Paris, Choudens
Tristesse Op. 6 no. 2 for voice and piano, words by T. Gautier, ca. 1876, published in Paris 1876, Choudens
Sylvie Op. 6 no. 3 for voice and piano, words by P. de Choudens, 1878, published in Paris, Choudens
Après un rêve Op. 7 no. 1 for voice and piano, words by R. Bussine, 1878, published in Paris, Choudens
Hymne Op. 7 no. 2 for voice and piano, words by Ch. Baudelaire, ca. 1870, published in Paris 1871, Hartmann
Barcarolle Op. 7 no. 3 for voice and piano, words by M. Monnier, ca. 1876, published in Paris 1877, Choudens
Au bord de l’eau Op. 8 no. 1 for voice and piano, words by Sully Prudhomme, 1875, published in Paris 1877, Choudens
La rançon Op. 8 no. 2 for voice and piano, words by Ch. Baudelaire, 1878, published in Paris, Choudens
Ici-bas! Op. 8 no. 3 for voice and piano, words by Sully Prudhomme, 1877, published in Paris, Choudens
Puisque ici-bas Op. 10 no. 1 for 2 soprano and piano, words by V. Hugo, 1874, published in Paris 1879, Choudens
Tarentelle Op. 10 no. 2 for 2 soprano and piano, words by M. Monnier, 1874, published in Paris 1879, Choudens
Cantique de Racine Op. 11 for 4-vocie mixed choir and organ or piano, 1864, published in Paris 1873 Schoen; version for 4-voice choir, harmonium and string quintet, 1866, published in Paris, Hamelle
Les Djinns Op. 12 for 4-voice mixed choir and orchestra or piano, words by V. Hugo, 1875, published in Paris 1875, Hamelle
Nell Op. 18 no. 1 for voice and piano, words by Leconte de Lisle, 1878, published in Paris, Hamelle
Le voyageur Op. 18 no. 2 for voice and piano, words by A. Silvestre, 1878, published in Paris, Hamelle
Automne Op. 18 no. 3 for voice and piano, words by A. Silvestre, 1878, published in Paris, Hamelle
Poème d’un jour Op. 21 for voice and piano, words by Ch. Grandmougin, 1880: 1. Rencontre, 2. Toujours, 3. Adieu, published in Paris, Hamelle
Le Ruisseau Op. 22 for 2-voice female choir and small orchestra or piano, anonymous words, 1881, published in Paris, Hamelle
Les berceaux Op. 23 no. 1 for voice and piano, words by Sully Prudhomme, 1879, published in Paris, Hamelle
Notre amour Op. 23 no. 2 for voice and piano, words by A. Silvestre, 1880, published in Paris, Hamelle
Le secret Op. 23 no. 3, words by A. Silvestre, 1881, published in Paris, Hamelle
Messe basse for 3 female voices and organ, with no Op. number, 1881: 1. Kyrie, 2. Sanctus, 3. Benedictus, 4. Agnus Dei, premiere 4 September 1881, published in Paris 1907, Heugel (Kyrie by Fauré from 1881 remains in a manuscript; Heugel’s edition included Kyrie by A. Messager, in whose instrumentation the entire Messe basse was also performed in 1882 in the church in Villerville)
Chanson d’amour Op. 27 no. 1 for voice and piano, words by A. Silvestre, 1882, published in Paris, Hamelle
La fée aux chansons Op. 27 no. 2 for voice and piano, words by A. Silvestre, 1882, published in Paris, Hamelle
La naissance de Vénus, mythological scene Op. 29 for voices solo, choir and orchestra, words by P. Colin, 1883, published in Paris, Hamelle
Madrigal Op. 35 for soprano, alto, tenor, bass or choir and orchestra or piano, words by A. Silvestre, 1883, published in Paris, Hamelle
Aurore Op. 39 no. 1 for voice and piano, words by A. Silvestre, 1884, published in Paris, Hamelle
Fleur jetée Op. 39 no. 2 for voice and piano, words by A. Silvestre, ca. 1884, published in Paris, Hamelle
Le pays des rêves Op. 39 no. 3 for voice and piano, words by A. Silvestre, ca. 1884, published in Paris, Hamelle
Les roses d’Ispahan Op. 39 no. 4 for voice and piano, words by Leconte de Lisle, ca. 1884, published in Paris, Hamelle, also version with orchestra
Tu es Petrus for baritone solo or 4-voice mixed choir, with no Op. number, 1884, published in Paris, Durand
Noël Op. 43 no. 1 for voice and piano (accompanied by piano and harmonium ad libitum), words by V. Wilder, 1886, published in Paris, Hamelle
Nocturne Op. 42 no. 2 for voice and piano, words by Villiers de Lisle-Adam, 1886, published in Paris, Hamelle
Les présents Op. 46 no. 1 for voice and piano, words by Villiers de Lisle-Adam, 1887, published in Paris, Hamelle
Clair de lune Op. 46 no. 2 for voice and piano, words by P. Verlaine, 1887, published in Paris, Hamelle, also version with orchestra
O salutaris Op. 47 no. 1 for voice and organ, 1887, published in Paris, Hamelle
Maria Mater Gratiae Op. 47 for 2 voices and piano, 1888, published in Paris, Hamelle
Messe de Requiem Op. 48 for soprano, baritone, mixed choir, organ and orchestra: 1. Introit et Kyrie, 2. Offertoire, 3. Sanctus, 4. Pie Jesu, 5. Agnus Dei, 6. Libera me, 7. In Paradisum, 1st version 1877 (it didn’t include 2nd and 6th parts for baritone solo), performed 16 January 1888, 2nd version 1888–91, performed 28 January 1892, baritone L. Ballard; published in Paris 1900, Hamelle: new ed. Gabriel Urbain Fauré Requiem: in full score, New York 1992
Pavane Op. 50 for choir and orchestra, words by R. de Montesquieu, 1887, also version for piano solo, 1887, published in Paris, Hamelle
Larmes Op. 51 no. 1 for voice and piano, words by J. Richepin, 1888, published in Paris, Hamelle
Au cimetière Op. 51 no. 2 for voice and piano, words by J. Richepin, 1888, published in Paris, Hamelle
Spleen Op. 51 no. 3 for voice and piano, words by P. Verlaine, 1888, published in Paris, Hamelle
La rose Op. 51 no. 4 for voice and piano, words by Leconte de Lisle, ca. 1888, published in Paris 1891, Hamelle
Ecce fidelis servus Op. 54 for 3 voices solo and an instrument, ca. 1890, published in Paris 1894, Hamelle
Tantum ergo Op. 55 for soprano and tenor, 4-voice choir and organ, harp or piano, double bass or organ pedal, ca. 1890, published in Paris, Hamelle
Chanson et Madrigal Op. 57, words by E. Haraucourt, 1889, published in Paris 1890, Hamelle; arrangement for voice and piano of the 1st and 3rd parts from music to Shylock by E. Haraucourt; cf. scenic compositions
En prière for voice and piano, with no Op. number, words by S. Bordèse, 1890, published in Paris 1890, Durand
Cinq mélodies, called De Venise Op. 58 for voice and piano, words by P. Verlaine, 1891: 1. Mandoline, 2. En sourdine, 3. Green, 4. À Clymène, 5. C’est l’extase, published in Paris 1891, Hamelle
La bonne chanson Op. 61 for voice and piano (also in author’s version for voice, piano and string quartet, 1898), words by P. Verlaine, 1892: 1. Une sainte en son auréole, 2. Puisque l’aube grandit, 3. La lune blanche, 4. J’allais par des chemins perfides, 5. J’ai presque peur, 6. Avant que tu ne t’en ailles, 7. Donc, ce sera par un clair jour d’été, 8. N’est-ce pas, 9. L’hiver a cessé, published in Paris, Hamelle
Sérénade for voice and piano (comes from the music for Moliere’s play Le Bourgeois gentilhomme), with no Op. number, 1893
Hymne à Apollon Op. 63 bis for soprano, flute, 2 clarinets, harp or piano, Greek text from the 2nd century BC, 1894, published in Paris 1894, Bornemann
Ave verum Op. 65 no. 1 for 2 female voices (or choir) and organ, 1894
Tantum ergo Op. 65 no. 2 for voices solo and 3-voice and female choir, 1894, published in Paris, Hamelle
Salve Regina Op. 67 no. 1 for voice and organ, 1894, published in Paris, Hamelle
Ave Maria Op. 67 no. 2 for voice and organ, 1894, published in Paris, Hamelle
Pleurs d’or Op. 72 for mezzo-soprano, baritone and piano, words by A. Samain, 1896, published in Paris, Hamelle
Le parfum impérissable Op. 76 no. 1 for voice and piano, words by Leconte de Lisle 1895, published in Paris 1897, Hamelle
Arpège Op. 76 no. 2 for voice and piano, words by A. Samain, 1897, published in Paris 1897, Hamelle
Prison Op. 83 no. l for voice and piano, words by P. Verlaine, 1894, published in Paris 1896, Fromont; published by E. Fromont as Op. 51 no. 1 (together with Soir)
Soir Op. 83 no. 2 for voice and piano, words by A. Samain, 1896, published in Paris 1896, Fromont; published by E. Fromont as Op. 68 no. 2 (together with Prison)
Dans la forêt de septembre Op. 85 no. 1 for voice and piano, words by C. Mendès, 1902, published in Paris, Hamelle
La fleur qui va sur l’eau Op. 85 no. 2 for voice and piano, words by C. Mendès, 1902, published in Paris, Hamelle
Accompagnement Op. 85 no. 3 for voice and piano, words by A. Samain, 1902, published in Paris, Hamelle
Le plus doux chemin Op. 87 no. 1 for voice and piano, words by A. Silvestre, 1904, published in Paris 1907, Hamelle
Le ramier Op. 87 no. 2 for voice and piano, words by A. Silvestre, 1904, published in Milan 1904, The Gramophone Co.
Tantum ergo in G-flat major for soprano or tenor and mixed choir, with no Op. number, 1904, published in Paris 1905, Durand
Le don silencieux Op. 92 for voice and piano, words by J. Dominique, 1906, published in Paris 1906, Heugel
Ave Maria Op. 93 for 2 sopranos and piano or organ, 1876–1906, 1906, published in Paris, Heugel
Chanson Op. 94 for voice and piano, words by H. de Régnier, 1907, published in Paris 1907, Heugel
Pénélope, lyrical drama in 3 acts, libretto R. Fauchois, 1907–13, premiere Monte Carlo 4 March 1913, conductor L. Jehin, published in 1903, Heugel (published separately by Heugel: Prélude for orchestra, 12 scenes and arias for voice and piano and transcriptions of fragments of the opera made by C. Samazeuilh for piano, piano for 4 hands, violin and flute with piano accompaniment)
Vocalise for voice and piano, 1907, published in Paris 1907, Leduc
La chanson d’Ève Op. 95 for voice and piano, words by Ch. van Lerberghe, 1906–10: 1. Paradis, 2. Prima verba, 3. Roses ardentes, 4. Comme Dieu rayonne, 5. L’aube blanche, 6. Eau vivante, 7. Veilles-tu, ma senteur de soleil, 8. Dans un parfum de roses blanches, 9. Crépuscule, 10. O mort, poussière d’étoiles, published in Paris 1906–10, Heugel
Le jardin clos Op. 106 for voice and piano, words by Ch. van Lerberghe, 1914: 1. Exaucement, 2. Quand tu plonges tes yeux, 3. La messagère, 4. Je me poserai sur ton coeur, 5. Dans la nymphée, 6. Dans le pénombre, 7. Il m’est cher, Amour le bandeau, 8. Inscription sur le sable, published in Paris 1915, Durand
Mirages Op. 113 for voice and piano, words by baron de Brimont, 1919: 1. Cygne sur Veau, 2. Reflets dans l’eau, 3. Jardin nocturne, 4. Danseuse, published in Paris 1919, Durand
C’est la paix Op. 114 for voice and piano, words by G. Debladis, 1919, published in Paris 1920, Durand
L’horizon chimérique Op. 118 for voice and piano, words by J. de la Ville de Mirmont, 1921: 1. La mer est infinie, 2. Je me suis embarqué, 3. Diane, Séléné, 4. Vaisseaux, nous vous aurons aimés…, published in Paris 1922, Durand
Scenic:
Caligula Op. 52, text by A. Dumas père, 1888: 1. Prologue, 2. Les heures du jour, les heures de la nuit, 3. Andante, 4. Choeur, Air de danse, 5. Mélodrame et choeur, 6. Choeur final (Andante); premiere 8 November 1888, published in Paris 1888 Hamelle
Shylock Op. 57 (there is a concert version for tenor solo and symphonic orchestra), text by E. Haraucourt after Shakespeare, 1889: 1. Chanson, 2. Entr’acte, 3. Madrigal, 4. Épithalame, 5. Nocturne, 6. Finale; premiere 17 December 1889, conductor G. Fauré, published in Paris 1890, Hamelle
Le bourgeois gentilhomme, text by Moliere
Pelléas et Mélisande Op. 80, text by M. Maeterlinck, 1898: 1. Prélude, 2. Fileuse, 3. Molto adagio (“Mort de Mélisande”) instr. Ch. Koechlin; premiere London 21 June 1901, conductor G. Fauré (a song of Mélisande from the 3rd act wasn’t performed in London; published by Hamelle only in 1937 as Melisande’s Song), published in Paris, Hamelle
Prométhée Op. 82, lyrical tragedy for voices solo, reciting voices, choirs, 3 wind orchestras, string orchestra and 18 harps, instr. Ch. Eustace, text by J. Lorrain and F. A. Ferdinand after Aeschylus, 1899–1900, premiere Béziers 27 August 1900, conductor G. Fauré, published in Paris, Hamelle
Jules César (Fauré took a fragment from the music for Caligula Op. 52), with no Op. number, text after Shakespeare, premiere Orange 7 August 1905, conductor E. Colonne
Piano transcription of works by C. Saint-Saëns (published by Durand):
Overture for La Princesse Jaune for piano for 4 hands
Suite Algérienne for piano for 4 hands
Septuor for piano for 4 hands
Piano Concerto No. 4 in C minor for 2 pianos
Overture for La Princesse Jaune, Suite pour orchestre for 2 pianos and 8 hands
Cadences (published by Schneider 1927):
for Piano Concerto in C minor by Beethoven (1869)
for Piano Concerto in C minor KV 491 by Mozart (1902).
***
Edition Peters, Frankfurt am Main and London under the editorship of Roy Howat has published new critical urtext edition of the complete works of Gabriel Fauré since 1990
Works:
Lettre à propos de la réforme de la musique religieuse, “Le Monde Musical” 15 December 1903
Joachim, “Musica” April 1906
Lucienne Bréval. J. Raunay, “Musica” January 1908
Édouard Lalo, “Le Courrier Musical” 15 April 1908
André Messager, “Musica” September 1908
introduction to Dogmes musicaux by J. Huré, Paris 1909
Réponse à l’enquête sur la musique moderne italienne de L. Borgex, “Comoedia” 31 January 1910
introduction to La nouvelle édition des oeuvres classiques pour piano, ed. L Philipp, Paris, no year
introduction to Décentralisation musicale by H. Auriol, “Comoedia” 26 December 1912
introduction to La musique française d’aujourd’hui by G. Jean-Aubry, Paris 1916
Camille Saint-Saëns, “La Revue Musicale” 1 February 1922
Souvenirs, “La Revue Musicale” 1 October 1922
Hommage à E. Gigout, Paris 1923
introduction to Musiques d’aujourd’hui by E. Vuillermoz, Paris 1923
introduction to Les quatuors de Beethoven by J. de Marliave, Paris 1925
Opinions musicales, introduction by P. B. Gheusi, Paris 1930 (collection of articles and reviews published in “Le Figaro” 1903–21)
Discography:
archival recordings:
Barcarolle No. 1, Romance No. 3 sans paroles: piano G. Fauré /Columbia, Telefunken, Allegro/.
Élégie: cello M. Gendron, orchestra of the Monte Carlo Opera, conductor R. Benzi /Philips/
Ballade: piano M. Long, conductor A. Cluytens /Plaisir Musical/
Fantaisie: piano F. Blumenthal /Columbia/; piano G. Johannesen, conductor E. Goossens /VSM/
Pieces for piano solo and for four hands: piano R. Howat with E. Kilpatrick /ABC Classics/
chamber pieces:
quartet “Via Nova”: piano J. Hubeau, violin R. Gallois-Montbrun, viola G. Lequien, cello A. Navarra, 5 records /Erato/; piano J. Eymar, violin G. Kehr, W. Neuhaus, viola E. Sichermann, cello B. Braunholz; Quatuor Lowenguth, 3 records /Vox/ (all chamber pieces)
Piano Quartet No. 1: piano M. Long, Trio Pasquier /Plaisir Musical, Columbia/; piano R. Casadesus, Quatuor Calvet /VSM/
Piano Quartet No. 2: piano M. Long, violin J. Thibaud, viola M. Vieux, cello P. Fournier /Columbia/
Piano Quintets: piano G. Thyssens-Valentin, Quatuor ORTF /Charlin/
Violin Sonatas: violin J. Thibaud, piano A. Cortot /Columbia/; violin C. Ferras, piano P. Barbizet /VSM/
Sonata in A major for violin and piano Op. 13: violin K. Jakowicz, piano W. Malicki /DUX/; violin Ji-yoon Park, piano Ilya Rashkovskly /DUX
Romance Op. 28, violin transcription Romance sans paroles: violin J. P. Wallez, piano B. Rigutto /Classic/.
All pieces for violin and piano: violin A. Beikirche, piano R. Howat /BMG, Arte Nova/
Cello Sonata No. 2: cello R. Albin, piano C. Helffer /Musidisc/
piano pieces (all):
É. Crochet, 6 records /Vox/
J. Doyen, 5 records /Erato/
Impromptu No. 2, No. 3, Ballades No. 4: M. Long /Plaisir Musical/
Nocturnes, Thème et Variations: E. Heidsieck /VSM/
Nocturnes: G. Thyssens-Valentin /Testament/; M. Kurcab /CD Academy of Music in Kraków/
Barcarolles: J. Ph. Collard /EMI/
pieces for harp (transcriptions):
Impromptu: A. Chalan /Columbia/
Une châtelaine en sa tour: N. Zabaleta /DGG/
songs (all):
Dumont-Sureau, B. Kruysen, C. Maurane, G. Souzay, 5 records /Pléiade/
other pieces often without opus numbers:
Messe basse, Maria Mater Gratiae: choir S. Caillat, organ J. Langlais /Erato/
Messe basse, Tantum ergo: choir St. John’s College, Cambridge /Argo/
Messe basse, Cantique de Racine, Maria Mater Gratiae, Ave verum, Tantum ergo, Ave Maria, En prière and 2 fragments from Requiem /Turtu/
Messe basse: Łódź Philharmonic Choir, conductor D. Ber /DUX/
Requiem and Cantique de Racine: conductor L. Frémaux /Erato/; conductor M. Corboz /Erato/; conductor É. Martin /Charlin, Nonesuch/; conductor A. Cluytens /Candide/; conductor E. Ansermet /Decca/.
Pelléas, Masques, Dolly: Orchestre de Paris, conductor S. Baudo /VSM/
Pelléas, Masques, Prélude (from Pénélope): Orchestre de Suisse Romande, conductor E. Ansermet /Decca/
Pelléas: Philadelphia Orchestra, conductor Ch. Munch /CBS/
Shylock, Pavane, Madrigal, Caligula: tenor M. Sénéchal, Orchestre de chambre ORTF, Choeurs de l’Opéra, conductor A. de Almeida /Inédits ORTF/
